{"info": {"total": 14479, "parameters": {"skip": 0, "limit": 1000, "created_before": 1900, "created_after": 1800, "select": "accession_number,accession_number_sortable,cover_accession_number,department,department,gallery,classification_type,collection"}}, "data": [{"id": 102578, "accession_number": "1921.1239", "share_license_status": "CC0", "tombstone": "Portrait of Dora Wheeler, 1882\u201383. William Merritt Chase (American, 1849\u20131916). Oil on canvas; framed: 180.6 x 188.6 x 11 cm (71 1/8 x 74 1/4 x 4 5/16 in.); unframed: 159.8 x 166.4 cm (62 15/16 x 65 1/2 in.). The Cleveland Museum of Art, Gift of Mrs. Boudinot Keith in memory of  Mr. and Mrs. J. H. Wade, 1921.1239", "current_location": "208 American Gilded Age and Realism", "title": "Portrait of Dora Wheeler", "creation_date": "1882\u201383", "creation_date_earliest": 1882, "creation_date_latest": 1883, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 180.6 x 188.6 x 11 cm (71 1/8 x 74 1/4 x 4 5/16 in.); Unframed: 159.8 x 166.4 cm (62 15/16 x 65 1/2 in.)", "dimensions": {"framed": {"height": 1.806, "width": 1.886, "depth": 0.11}, "unframed": {"height": 1.598, "width": 1.664}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  WM M. Chase [WM in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 360895, "title": "Painting Today and Yesterday in the United States", "description": "<i>Painting Today and Yesterday in the United States</i>. Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (June 5-September 1, 1941).", "opening_date": "1941-06-05T04:00:00"}, {"id": 520746, "title": "The First West Coast Retrospective Exhibition of Paintings by William Merritt Chase", "description": "<i>The First West Coast Retrospective Exhibition of Paintings by William Merritt Chase</i>. Art, Design & Architecture Museum, UC Santa Barbara, Santa Barbara, CA (organizer) (October 6-November 8, 1964); Museum of Contemporary Art, San Diego, La Jolla, CA (December 1-27, 1964); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (January 10-February 7, 1965); Seattle Art Museum, Seattle, WA (March 3-April 4, 1965); The Gallery of Modern Art, New York, NY (April 27-May 30, 1965).", "opening_date": "1964-10-06T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"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": 215111, "title": "American Impressionism, Images \"of hope, of life, of promise\"", "description": "<i>American Impressionism, Images \"of hope, of life, of promise\"</i>. Worcester Art Museum, Worcester, MA (organizer) (October 4, 1997-January 4, 1998).", "opening_date": "1997-10-04T00:00:00"}, {"id": 207232, "title": "Candace Wheeler:  The Art and Enterprise of American Design, 1875-1900", "description": "<i>Candace Wheeler:  The Art and Enterprise of American Design, 1875-1900</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 10, 2001-January 6, 2002).", "opening_date": "2001-10-10T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"id": 224230, "title": "After Whistler: The Artist and His Influence on American Painting", "description": "<i>After Whistler: The Artist and His Influence on American Painting</i>. High Museum of Art, Atlanta, GA (organizer) (November 22, 2003-February 8, 2004); The Detroit Institute of Arts, Detroit, MI (March 13-June 6, 2004).", "opening_date": "2003-11-15T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 213635, "title": "Americans in Paris", "description": "<i>Americans in Paris</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (February 22-May 21, 2006); Museum of Fine Arts, Boston, Boston, MA (June 25-September 24, 2006); The Metropolitan Museum of Art, New York, NY (October 16, 2006-January 28, 2007).", "opening_date": "2006-02-22T00:00:00"}, {"id": 213855, "title": "William Merritt Chase: A Modern Master", "description": "<i>William Merritt Chase: A Modern Master</i>. The Phillips Collection, Washington, DC (organizer) (June 4-September 11, 2016); Museum of Fine Arts, Boston, Boston, MA (October 9, 2016-January 16, 2017).", "opening_date": "2016-06-04T00:00:00"}], "legacy": [{"description": "<em>Salon.</em> Paris, France (1883).", "opening_date": "1883-01-01T04:56:02Z"}, {"description": "<em>Internationale Kunstausstellung</em>, Crystal Palace, Munich, Germany (1883).", "opening_date": "1883-01-01T04:56:02Z"}, {"description": "<em>Exhibition of Pictures, Studies, and Sketches by Mr. Wm. M. Chase under the Auspices of the American Art Association. </em>Boston Art Club, (November 13\u2013December 4, 1886), cat. 10, as Portrait of Miss Dora Wheeler.", "opening_date": "1886-11-13T05:00:00Z"}, {"description": "<em>Paintings by Mr. William M. Chase. </em>Moore's Art Galleries, New York, (March 2\u20133, 1887), cat. 115, [lent by Miss. Wheeler].", "opening_date": "1887-03-02T05:00:00Z"}, {"description": "<em>Chase Centennial Exhibition: Commemorating the Birth of William Merritt Chase</em>, <em>November 1, 1849.</em> John Herron Art Institute, Indianapolis (1949), no. 15, illus.", "opening_date": "1949-01-01T00:00:00"}, {"description": "<em>The 75th Anniversary Exhibition of Painting &amp; Sculpture by 75 Artists Associated with the Art Students League of New York. </em>Metropolitan Museum of Art, New York (1951), xiii, no. 6, p. 1, illus. p. 6.", "opening_date": "1951-01-01T00:00:00"}, {"description": "<em>150th Anniversary Exhibition. </em>Pennsylvania Academy of the Fine Arts, Philadelphia (15 January\u201313 March 1955); cat. no. 59, not illus.", "opening_date": "1955-01-15T00:00:00"}, {"description": "<em>American Portraiture in the Grand Manner: 1720-1920. </em>Los Angeles, Los Angeles County Museum of Art (1981\u201382), traveled to Smithsonian Institution, National Portrait Gallery.", "opening_date": "1981-01-01T05:00:00Z"}, {"description": "<em>William Merritt Chase: Portraits. </em>Akron, Akron Art Museum (1982).", "opening_date": "1982-01-01T00:00:00"}, {"description": "<em>William Merritt Chase, 1849-1916: A Leading Spirit in American Art.</em> University of Washington Henry Art Gallery, Seattle (1983).", "opening_date": "1983-01-01T00:00:00"}, {"description": "<em>In Pursuit of Beauty: Americans and the Aesthetic Movement. </em>Metropolitan Museum of Art, New York (1986\u201387)", "opening_date": "1986-01-01T05:00:00Z"}, {"description": "<em> American Impressionism and Realism: The Painting of Modern Life, 1885-1915. </em>The Metropolitan Museum of Art, New York (1994).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Dennis Miller Bunker: American Impressionist. </em>Museum of Fine Arts, Boston (1994).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Annual Exhibition</em>. Calumet Club, New York, NY (1884).", "opening_date": "1884-01-01T05:00:00Z"}, {"description": "<em>National Academy of Design, Society of American Artists Seventh Annual Exhibition</em>, New York, NY (May 26-June 21, 1884).", "opening_date": "1884-05-26T05:00:00Z"}, {"description": "<em>Inter-State Industrial Exposition of Chicago Twelfth Annual Exhibition</em>. Art Hall Gallery D, Chicago, IL (September 3-October 18,1884).", "opening_date": "1884-09-03T05:00:00Z"}, {"description": "<em>Portraits of American Women, from Romanticism to Surrealism. </em>Portraits, Inc., New York (December 5\u201329, 1945); cat. no. 15.", "opening_date": "1945-12-05T05:00:00Z"}, {"description": "<em>Survey of American Painting.</em> Pittsburgh, Carnegie Institute (1940), no. 155, pl. 49.", "opening_date": "1940-01-01T05:00:00Z"}, {"description": "<em>William Merritt Chase: A Retrospective Exhibition. </em>The Parrish Art Museum, Southampton, Long Island, New York (1957), illus. p. 47, no. 31.", "opening_date": "1957-01-01T05:00:00Z"}]}, "provenance": [{"description": "Dora Wheeler, later Mrs. Boudinot Keith [1856-1940], New York, NY, by donation to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1883-1921", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1921-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chase and Wheeler worked together to raise money for constructing the Statue of Liberty's pedestal.", "description": "Dora Wheeler became Chase's first student when he returned from overseas study in Munich and set up a teaching studio in New York. At the time, few American artists accepted women as private pupils. After her course of study, Wheeler joined her mother in launching a successful decorating firm, one of the first businesses in the country to be operated entirely by women. For the firm, she designed luxurious textiles, and the embroidered silk tapestry that fills the background in her portrait references her occupational interest. Chase's portrait was awarded a gold medal at an international exhibition of contemporary art in Munich in 1883, and later that year was also shown in Paris. At some later point, the painting was acquired by the sitter, who subsequently donated it to the museum.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503334"], "internet_archive": ["https://archive.org/details/clevelandart-1921.1239-portrait-of-dora-whe"]}, "citations": [{"citation": "Stein, Roger B. \"The Aesthetic Craze.\" <em>ARTnews </em>48, no. 8 (December 1986): 3 ;100-105.", "page_number": "Reproduced: P. 3; Mentioned and Reproduced: P. 100", "url": ""}, {"citation": "Connor, Holly Pyne, Newark Museum, McNay Art Museum, and Frick Art &amp; Historical Center. <em>Off the Pedestal : New Women in the Art of Homer, Chase, and Sargent.</em> Newark, N.J., New Brunswick, N.J.: Newark Museum ; Rutgers University Press, 2006.", "page_number": "Mentioned, pp. 40-41; reproduced, fig. 25.", "url": ""}, {"citation": "Van Hook, Bailey, \"Decorative Images of American Women: The Aristocratic Aesthetic of the Late Nineteenth Century,\" <em>Smithsonian Studies in American Art</em> 4 (Winter 1990).", "page_number": "Mentioned, p. 53.", "url": ""}, {"citation": "Dominic Green, \"The Body Electric,\" <em>Art &amp; Antiques</em> (Summer 2016).", "page_number": "Mentioned, p. 91; reproduced, p. 89.", "url": ""}, {"citation": "Judith H. Dobrzynski, \"Between Old and New,\" <em>Wall Street Journal</em>, August 11, 2016.", "page_number": "Mentioned and reproduced, p. D4.", "url": ""}, {"citation": "Brownell, W. C. \"American Pictures at the Salon.\" <em>The Magazine of Art </em>6 (1883): 492-501.", "page_number": "Mentioned: P. 494-495", "url": null}, {"citation": "Dumas, F. G., Henry Houssaye, and Ludovic Baschet. <em>[Paris salon de ...]</em>. Paris, France: Liepmannssohn ed Dufour, 1883.", "page_number": "Reproduced: no. 506", "url": null}, {"citation": "Internationale Kunstausstellung. <em>Illustrierter Katalog der internationalen Kunstausstellung im ko\u0308nigl. Glaspalaste in Mu\u0308nchen</em>. Munchen, Germany : Knorr &amp; Hirth, 1883-1937", "page_number": "Reproduced: p. 347", "url": null}, {"citation": "Society of American Artists. <em>Catalogue of the Exhibition</em>. New York, NY: [Society of American Artists], 1800.", "page_number": "Reproduced: no. 24", "url": null}, {"citation": "<em>Catalogue of the Art Hall of the Inter-State Industrial Exposition of Chicago, 1884 : Twelfth Annual Exhibition Open from September 3d until October 18th</em>. Chicago, IL: Rand, McNally, 1884.", "page_number": "Reproduced: no. 354", "url": null}, {"citation": "\"Mr. William M. Chase's Art.\" <em>The Art Interchange </em>12, no. 13 (June 19, 1884): 148.", "page_number": "Mentioned: P. 148", "url": null}, {"citation": "Pecht. \"A German Critic on American Art.\" <em>The Art Amateur</em> 11, no. 4 (1884): 76-79.", "page_number": "Mentioned: P. 78", "url": "www.jstor.org/stable/25628198"}, {"citation": "\"The Brush.\" <em>Chicago Tribune. </em>(September 14, 1884): 17.", "page_number": "Mentioned: P. 17", "url": null}, {"citation": "\"A Boston Estimate of a New York Painter.\" <em>The Art Interchange </em>17, no. 12 (December 4, 1886): 179.", "page_number": "Mentioned: P. 179", "url": null}, {"citation": "Wheeler, Candace. <em>Yesterdays in a Busy Life</em>. New York: Harper, 1918.", "page_number": "Mentioned: P. 253", "url": null}, {"citation": "J.C.G. \"Painting by Chase Given to Cleveland.\" <em>American Art News</em> 20, no. 15 (Jan. 21, 1922): 5.", "page_number": "Mentioned: P. 5", "url": "http://www.jstor.org/stable/25589899"}, {"citation": "Milliken, W. M. \u201cPortrait of Miss Dora Wheeler by William Merritt Chase.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 9, no. 3 (1922): 39\u201342.", "page_number": "Reproduced: P. 37", "url": null}, {"citation": "Cortissoz, Royal. <em>American Artists</em>. New York: C. Scribner's Sons, 1923.", "page_number": "Reproduced: P. 166", "url": null}, {"citation": "Whiting, Frederic. \"The Cleveland Museum of Art.\" <em>Art and Archaeology </em>16 (November 1923): 187-194.", "page_number": "Reproduced: P. 191.", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Mentioned and Reproduced: 32", "url": "https://archive.org/details/CMAHandbook_80839/page/n34"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Mentioned and Reproduced: p. 41", "url": "https://archive.org/details/CMAHandbook1928/page/n45"}, {"citation": "Cleveland Museum of Art. 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. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "no. 379", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 16, no. 30;Reproduced: pl. XIV, no. 30", "url": null}, {"citation": "Lane, James W. \u201cThis YEAR the CARNEGIE NATIONAL: Pittsburgh\u2019s Brilliant Survey of 160 Years of U.S. Painting.\u201d <em>ARTnews</em> 39, no. 4 (October 26, 1940): 7\u201318.", "page_number": "Mentioned and reproduced: P. 15-16", "url": null}, {"citation": "Saint-Gaudens, Homer. <em>The American Artist and His Times</em>. New York: Dodd, Mead &amp; Company, 1941.", "page_number": "Reproduced: P. 185, pl. 33", "url": null}, {"citation": "Cleveland Museum of Art, and Henry Sayles Francis. <em>Paintings in the Cleveland Museum of Art</em>. Picture Book, No. 1. Cleveland: Cleveland Museum of Art, 1945.", "page_number": "Reproduced: P. 14", "url": "https://archive.org/details/CMAPaintings1945/mode/2up"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 14", "url": "https://archive.org/details/CMAPaintings1945/page/n22"}, {"citation": "Flexner, James Thomas. \"The Great Chase.\" <em>ARTnews </em>48, no. 8 (December 1949): 32-34; 60.", "page_number": "Reproduced: P. 33; Mentioned: P. 34", "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. 538", "url": "https://archive.org/details/CMAHandbook1958/page/n99"}, {"citation": "Neumeyer, A. \"Chase, William Merritt.\" <em>Kindlers Malerei Lexikon: 1000 Malersignaturen, 1200 farbige Reproducktionen, 3000 schwarzweisse Reproduktionen in sechs Ba\u0308nden.</em> Zu\u0308rich : Kindler Verlag, 1964.", "page_number": "Mentioned: Band I, P. 730", "url": null}, {"citation": "University of California, Santa Barbara. Art Gallery. <em>The First West Coast Retrospective Exhibition of Paintings by William Merritt Chase, 1849-1916: An Exhibition Organized by the Art Gallery, University of California, Santa Barbara, in Cooperation with La Jolla Museum of Art, La Jolla; California Palace of the Legion of Honor, San Francisco; Seattle Art Museum, Seattle; with a Final Presentation at the Gallery of Modern Art Including the Huntington Hartford Collection, New York; 1964-1965</em>. Santa Barbara, Calif, 1964.", "page_number": "", "url": ""}, {"citation": "Francis, Henry. \"Portraits by Wheeler and Chase.\" <em>The Bulletin of The</em> <em>Cleveland Museum of Art</em> LII, no. 1 (January, 1965):19-22.", "page_number": "Reproduced: p. 20, fig. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 188", "url": "https://archive.org/details/CMAHandbook1966/page/n212"}, {"citation": "Wittke, Carl Frederick. <em>The First Fifty Years: The Cleveland Museum of Art, 1916-1966.</em> [Cleveland]: John Huntington Art and Polytechnic Trust, Cleveland Museum of Art, 1966.", "page_number": "Mentioned: P. 88", "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. 188", "url": "https://archive.org/details/CMAHandbook1969/page/n212"}, {"citation": "Milgrome, David. <em>The Art of William Merrit Chase</em>. 1970.", "page_number": "Mentioned: p. 74-76; Reproduced: p. p. 206", "url": null}, {"citation": "Flexner, James Thomas. <em>Nineteenth Century American Painting</em>. New York, NY: Putnam, 1970.", "page_number": "Reproduced: p. 166; Mentioned: p. 171", "url": null}, {"citation": "Flexner, James Thomas. <em>Nineteenth Century American Painting</em>. New York: Putnam, 1970.", "page_number": "Reproduced: P. 166; mentioned: P. 171", "url": null}, {"citation": "Wilmerding, John, and R. Peter Mooz. <em>The Genius of American Painting</em>. London. United Kingdom: Weidenfeld &amp; Nicolson, 1973.", "page_number": "Mentioned: p. 165-167; Reproduced: p. 166", "url": null}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976. </em>[Toledo]: Toledo Museum of Art, 1976.", "page_number": "Reproduced: P. 43", "url": null}, {"citation": "Pisano, Ronald G. \u201cTeaching Career of William Merritt Chase.\u201d <em>American Artist</em> 40 (May 1976): 26-33, 63-66..", "page_number": "Mentioned: P. 28; reproduced: P. 30", "url": null}, {"citation": "Young, Mahonri Sharp. <em>American Realists, Homer to Hopper</em>. New York, NY: Watson-Guptill Publications, 1977.", "page_number": "Reproduced: p. 100", "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. 233", "url": "https://archive.org/details/CMAHandbook1978/page/n253"}, {"citation": "Marling, Karal Ann. \"Portrait of the Artist as a Young Woman: Miss Dora Wheeler.\" <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 2 (1978): 47-57.", "page_number": "Reproduced: P. 46; mentioned: P. 47-48", "url": "http://www.jstor.org/stable/25159564"}, {"citation": "\"Les Chronique des Arts.\" <em>Gazette des Beaux-Arts</em> (November 1978): 27.", "page_number": "Reproduced: P. 27, fig. 31", "url": null}, {"citation": "Pisano, Ronald G. <em>William Merritt Chase</em>. New York, NY: Watson-Guptill, 1979.", "page_number": "Mentioned: p. 8, 29: Reproduced: p. 29", "url": null}, {"citation": "Quick, Michael, Marvin S. Sadik, and William H. Gerdts. <em>American Portraiture in the Grand Manner, 1720-1920</em>. Los Angeles, CA: Los Angeles County Museum of Art, 1981.", "page_number": "Mentioned: p. 68; Reproduced: p. 69", "url": null}, {"citation": "Ludwig, Horst. <em>Mu\u0308nchner Maler im 19. Jahrhundert</em>. Mu\u0308nchen, Germany: Bruckmann, 1981.", "page_number": "Mentioned: p. 173-174; Reproduced: p. 173", "url": null}, {"citation": "<em>William Merritt Chase: Portraits, Akron Art Museum, 5 June-29 August, 1982</em>. Akron, Ohio (70 E. Market St., Akron 44308): The Museum, 1982.", "page_number": "Mentioned: p. 10, 12-14; Reproduced: P. 13", "url": null}, {"citation": "Betsky, Celia. \"In the Artists Studio.\" <em>Portfolio</em> 4 (January-February 1982): 38-39.", "page_number": "Reproduced: P. 39", "url": null}, {"citation": "Bienenstock, Jennifer A. Martin. <em>The Formation and Early Years of the Society of American Artists, 1877-1884</em>. 1983.", "page_number": "Mentioned: p. 163-183, 316, 405-407", "url": null}, {"citation": "Johnston, Sona. <em>American Paintings, 1750-1900, from the Collection of the Baltimore Museum of Art</em>. Baltimore, MD: The Museum, 1983.", "page_number": "Reproduced:.p. 69", "url": null}, {"citation": "Pisano, Ronald G. <em>A Leading Spirit in American Art: William Merritt Chase, 1849-1916</em>. Seattle, WA: Henry Art Gallery, University of Washington, 1983.", "page_number": "Mentioned: p. 63,175; Reproduced: p. 16, 172", "url": null}, {"citation": "Boyle, Richard J. <em>American Impressionism</em>. Boston, MA: New York Graphic Society, 1974.", "page_number": "Mentioned: P. 182-206; Reproduced: p. 185", "url": null}, {"citation": "Bolger, Doreen. <em>In Pursuit of Beauty: Americans and the Aesthetic Movement</em>. New York, NY: Metropolitan Museum of Art, 1986.", "page_number": "Mentioned: p. 41, 406-407; Reproduced: p. 325", "url": null}, {"citation": "Simon, Robin. <em>The Portrait in Britain and America: With a Biographical Dictionary of Portrait Painters, 1680-1914</em>. Oxford, United Kingdom: Phaidon, 1987.", "page_number": "Mentioned: p. 32; Reproduced: p. 45", "url": null}, {"citation": "Fink, Lois Marie. <em>American Art at the Nineteenth-Century Paris Salons</em>. Washington, DC.: National Museum of American Art, Smithsonian Institution, 1990.", "page_number": "Mentioned: p. 240, 329; Reproduced: p. 266", "url": null}, {"citation": "Bryant, Keith L. <em>William Merritt Chase, a Genteel Bohemian</em>. Columbia, MO: University of Missouri Press, 1991.", "page_number": "Mentioned: p. 102-104, 136; Reproduced: p. 103", "url": null}, {"citation": "Hiesinger, Ulrich W. <em>Impressionism in America: The Ten American Painters</em>. Munich, Germany: Prestel, 1991.", "page_number": "Reproduced: p, 81", "url": null}, {"citation": "Butor, Michel, Jennifer Martin, Claude Massu, Sarah Nichols, Alexandra Parigoris, Denys Riout, and David Travis. <em>L'Art des Etats-Unis</em>. Paris, France: Citadelles &amp; Mazenod, 1992.", "page_number": "Mentioned: p. 209-210; Reproduced: p. 548", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland,OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 36", "url": null}, {"citation": ".Weinberg, H. Barbara, Doreen Bolger, and David Park Curry. <em>American Impressionism and Realism: The Painting of Modern Life, 1885-1915</em>. New York, NY: Metropolitan Museum of Art, 1994.", "page_number": "Mentioned: p. 38-41; Reproduced: p.", "url": null}, {"citation": "Hirshler, Erica E. <em>Dennis Miller Bunker: American Impressionist</em>. Boston, MA: Museum of Fine Arts Boston, 1994.", "page_number": "Mentioned and reproduced: p. 46-47", "url": null}, {"citation": "Fuller, Margaret, and Donna Dickenson. <em>Woman in the Nineteenth Century and Other Writings</em>. Oxford, NY: Oxford University Press, 1994.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Baigell, Matthew. <em>A Concise History of American Painting and Sculpture</em>. New York, NY: IconEditions, 1996.", "page_number": "Mentioned and reproduced: p. 161", "url": null}, {"citation": "Van Hook, Bailey. <em>Angels of Art: Women and Art in American Society, 1876-1914</em>. University Park, PA: Pennsylvania State University Press, 1996.", "page_number": "Mentioned: p. 49-67; Reproduced: p. 65", "url": null}, {"citation": "Brigham, David R. American Impressionism: Paintings of Promise. Worcester, Mass: Worcester Art Museum, 1997.", "page_number": "pp. 25-26, illus. p. 53, Pl. 13", "url": null}, {"citation": "Brigham, David R. <em>American Impressionism: Paintings of Promise</em>. Worcester, MA: Worcester Art Museum, 1997.", "page_number": "Mentioned: p. 25-26; Reproduced: p. 53", "url": null}, {"citation": "Turner, Jane. <em>Encyclopedia of American Art Before 1914</em>. New York, NY: Grove's Dictionaries, 2000.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Groseclose, Barbara S. <em>Nineteenth-Century American Art</em>. New York, NY: Oxford University Press, 2000.", "page_number": "Mentioned: p. 49-59; Reproduced: p. 55", "url": null}, {"citation": "Peck, Amelia, and Carol Irish. Candace Wheeler: The Art and Enterprise of American Design, 1875-1900. New York: Metropolitan Museum of Art, 2001.", "page_number": "cat. no. 47, illus. p. 175", "url": "http://libmma.contentdm.oclc.org/cdm/ref/collection/p15324coll10/id/48949"}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 50-51; Reproduced: p. 50", "url": null}, {"citation": "Merrill, Linda, and James McNeill Whistler. After Whistler: The Artist and His Influence on American Painting. Atlanta: High Museum of Art, 2003.", "page_number": "exh. cat no. 22, p.150-151", "url": null}, {"citation": "Tinterow, Gary, Genevie\u0300ve Lacambre, and Deborah L. Rolda\u0301n. <em>Manet/Vela\u0301zquez: The French Taste for Spanish Painting</em>. New York, NY: Metropolitan Museum of Art, 2003.", "page_number": "Reproduced: p. 290, fig. 10.34", "url": null}, {"citation": "Merrill, Linda, and James McNeill Whistler. <em>After Whistler: The Artist and His Influence on American Painting</em>. Atlanta, GA: High Museum of Art, 2003.", "page_number": "Mentioned and reproduced: p. 150-151", "url": null}, {"citation": "Merrill, Linda, and James McNeill Whistler. <em>After Whistler: The Artist and His Influence on American Painting</em>. Atlanta, GA: High Museum of Art, 2003.", "page_number": "Mentioned and reproduced: p. 150-151", "url": null}, {"citation": "Curry, David Park. <em>James Mcneill Whistler: Uneasy Pieces</em>. Richmond, VA: Virginia Museum of Fine Arts in association with Quantuck Lane Press, 2004.", "page_number": "Mentioned: p. 164-219; Reproduced: p. 197", "url": null}, {"citation": "Weber, Bruce, Sarah Kate Gillespie, and William Merritt Chase. <em>Chase Inside and Out: the Aesthetic Interiors of William Merritt Chase</em>. New York, NY: Berry-Hill Galleries, 2004.", "page_number": "Mentioned: p. 32-34; Reproduced: p. 33", "url": null}, {"citation": "Adler, Kathleen, Erica E. Hirshler, H. Barbara Weinberg, David Park Curry, Rodolphe Rapetti, and Christopher Riopelle. Americans in Paris, 1860-1900. London: National Gallery, 2006.", "page_number": "pp. 34, 236, plate 14", "url": null}, {"citation": "Adler, Kathleen, Erica E. Hirshler, H. Barbara Weinberg, David Park Curry, Rodolphe Rapetti, and Christopher Riopelle. <em>Americans in Paris, 1860-1900</em>. London, United Kingdom: National Gallery, 2006.", "page_number": "Mentioned: p. 34, 236; Reproduced: p. 35", "url": null}, {"citation": "Connor, Holly Pyne. <em>Off the Pedestal: New Women in the Art of Homer, Chase, and Sargent</em>. Newark, NJ.: Newark Museum, 2006.", "page_number": "Mentioned: p. 40, 43; Reproduced: p. 44", "url": null}, {"citation": "Brooklyn Museum, Teresa A. Carbone, Barbara Dayer Gallati, and Linda S. Ferber. <em>American Paintings in the Brooklyn Museum: Artists Born by 1876</em>. New York, NY: Brooklyn Museum, 2006.", "page_number": "Mentioned:  p. 362,369", "url": null}, {"citation": "Pisano, Ronald G., William Merritt Chase, and D. Frederick Baker. <em>The Complete Catalogue of Known and Documented Work by William Merritt Chase (1849-1916)</em>. New Haven, CT: Yale University Press, 2006.", "page_number": "Mentioned: p. 27, 50-51; Reproduced: p. 50", "url": null}, {"citation": "Goldin, Marco. <em>America!: storie di pittura dal nuovo mondo</em>. Treviso, Italy : Linea d\u2019ombra libri, 2007.", "page_number": "Reproduced: p. 380", "url": null}, {"citation": "Gallati, Barbara Dayer, and Ortrud Westheider. <em>High Society: American Portraits of the Gilded Age : Bucerius Kunst Forum, Hamburg, June 7-August 31, 2008</em>. Munich, Germany: Hirmer, 2008.", "page_number": "Reproduced: p. 48, fig. 2", "url": null}, {"citation": "Miller, Angela L., Janet Catherine Berlo, Bryan Jay Wolf, and Jennifer L. Roberts. <em>American Encounters: Art, History, and Cultural Identity</em>. Upper Saddle River, NJ: Pearson Education, Inc., 2008.", "page_number": "Reproduced: p. 48, fig. 2", "url": null}, {"citation": "Rudolph, William Keyse, A. Kate Sheerin, Chloe Barnett, and Julian Onderdonk. <em>Julian Onderdonk: American Impressionist</em>. New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned: p. 17-18; Reproduced: p. 18", "url": null}, {"citation": "Hirshler, Erica E., <em>Sargent's Daughters: The Biography of a Painting</em>. Boston, MA: MFA Publications, 2009.", "page_number": "Reperoduced: p. 111", "url": null}, {"citation": "Ringelberg, Kirstin. <em>Redefining Gender in American Impressionist Studio Paintings: Work Place/Domestic Space</em>. Surrey, UK, England: Ashgate, 2010.", "page_number": "Mentioned: p. 87-88; Reproduced:  p. 87", "url": null}, {"citation": "Reason, Akela, and Thomas Eakins. <em>Thomas Eakins and the Uses of History</em>. Philadelphia, PA: University of Pennsylvania Press, 2010.", "page_number": "Reproduced: p. 78, fig. 31", "url": null}, {"citation": "Marter, Joan M. <em>The Grove Encyclopedia of American Art</em>. New York, NY: Oxford University Press, 2011.", "page_number": "Mentioned and reproduced: p. 445-446", "url": null}, {"citation": "Pohl, Frances K. <em>Framing America: A Social History of American Art</em>. New York, NY: Thames &amp; Hudson, 2012.", "page_number": "Reproduced: p. 289, fig. 5.38", "url": null}, {"citation": "Marozeau, Maureen, and Matthieu de Sainte-Croix. <em>Art: 365 histoires pour e\u0301pater la galerie</em>. Paris, France: La Martinie\u0300re, 2012.", "page_number": "Mentioned and reproduced: p. 36-37", "url": null}, {"citation": "Major, Judith K. <em>Mariana Griswold Van Rensselaer: A Landscape Critic in the Gilded Age</em>. Charlottesville, VA: University of Virginia Press, 2013.", "page_number": "Reproduced: p. 31", "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. 50", "url": ""}, {"citation": "Hirshler, Erica E. <em>William Merritt Chas</em>e. Boston, Mass.: MFA Publications, Museum of Fine Arts, 2016.", "page_number": "Mentioned pp. 27-28; reproduced: pp. 24-25, 33.", "url": null}, {"citation": "Smithgall, Elsa. <em>William Merritt Chase: A Modern Master.</em> Washington, D.C.: The Phillips Collection; New Haven; London: in association with Yale University Press, 2016.", "page_number": "Reproduced: p. 103, pl. 16", "url": null}, {"citation": "Green, Dominic. \"The Body Eclectic.\" <em>Art &amp; Antiques</em>, (Summer 2016): 88-93.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Smithgall, Elsa. \"William Merritt Chase: A Modern Master\". <em>American Art Review</em>. 28, no.4 (Aug. 2016): 48-55, 111-112.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Carr, Carolyn Kinder. <em>Sara Tyson Hallowell: Pioneer Curator and Art Advisor in the Gilded Age. </em>Washington, D.C.: Smithsonian Institution Scholarly Press, 2009.", "page_number": "Mentioned and Reproduced: p. 41", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: p. 104-105", "url": null}], "url": "https://clevelandart.org/art/1921.1239", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_web.jpg", "width": "939", "height": "893", "filesize": "175673", "filename": "1921.1239_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_print.jpg", "width": "3400", "height": "3254", "filesize": "8163185", "filename": "1921.1239_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.1239/1921.1239_full.tif", "width": "5000", "height": "4786", "filesize": "71824808", "filename": "1921.1239_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Boudinot Keith in memory of  Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 102578, "creators": [{"id": 3071, "description": "William Merritt Chase (American, 1849\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1849", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1921-11-17T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882\u201383", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Miss Dora Wheeler"], "is_highlight": true, "updated_at": "2026-03-27 00:05:00.868000"}, {"id": 151904, "accession_number": "1927.1984", "share_license_status": "CC0", "tombstone": "The Biglin Brothers Turning the Stake, 1873. Thomas Eakins (American, 1844\u20131916). Oil on canvas; framed: 117 x 167 x 6.5 cm (46 1/16 x 65 3/4 x 2 9/16 in.); unframed: 101.3 x 151.4 cm (39 7/8 x 59 5/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1927.1984", "current_location": "207 American Realism", "title": "The Biglin Brothers Turning the Stake", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 117 x 167 x 6.5 cm (46 1/16 x 65 3/4 x 2 9/16 in.); Unframed: 101.3 x 151.4 cm (39 7/8 x 59 5/8 in.)", "dimensions": {"framed": {"height": 1.17, "width": 1.67, "depth": 0.065}, "unframed": {"height": 1.013, "width": 1.514}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  EAKINS 73.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"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": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 445590, "title": "Thomas Eakins: Retrospective Exhibition", "description": "<i>Thomas Eakins: Retrospective Exhibition</i>. Whitney Museum of American Art, New York, NY (organizer) (September 21-November 21, 1970).", "opening_date": "1970-09-21T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 205372, "title": "Thomas Eakins: The Rowing Pictures", "description": "<i>Thomas Eakins: The Rowing Pictures</i>. National Gallery of Art (June 23-September 29, 1996); Yale University Art Gallery (organizer) (October 11, 1996-January 14, 1997); The Cleveland Museum of Art, Cleveland, OH (February 19-May 15, 1997).", "opening_date": "1996-06-23T00:00:00"}, {"id": 205787, "title": "Thomas Eakins, American Realist", "description": "<i>Thomas Eakins, American Realist</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (September 30, 2001-January 6, 2002); Mus\u00e9e d'Orsay, Paris, France (February 3-May 12, 2002); The Metropolitan Museum of Art, New York, NY (June 10-September 15, 2002).", "opening_date": "2001-09-20T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 216543, "title": "Manly Pursuits: The Sporting Images of Thomas Eakins", "description": "<i>Manly Pursuits: The Sporting Images of Thomas Eakins</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (July 25-October 23, 2010).", "opening_date": "2010-07-25T00:00:00"}], "legacy": [{"description": "Long Branch, NJ, unknown location (Summer, 1878) as Biglen Brothers turning the Stake-boat; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Boston, Charitable Mechanics Association, 13th Exhibition (2 September-2 November 1878) as Turning the Stake; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Philadelphia, Philadelphia Society of Artists, 2nd Annual Exhibition (1 November-6 December 1880) as Turning the Stake, A pair oared Race; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "St. Louis, Art Hall, 21st St. Louis Fair, (3-8 October 1881) as Turning the Stake-boat; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Denver, National Mining and Industrial Exposition, 1st Annual Exposition (1 August-30 September 1882) as Biglen Brothers turning the Stake-boat; see Thomas Eakins: The Rowing Pictures (Washington, D.C, 1996).", "opening_date": "1996-01-01T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, Loan Exhibition of the Works of Thomas Eakins (5 November-3 December 1917), illus. cat. no. 3, pl. 3 as The Biglin Brothers Turning the Stake-Boat.", "opening_date": "1917-11-05T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, Memorial Exhibition of the Works of the Late Thomas Eakins (23 December 1917-13 January 1918), illus. cat. no. 33, listed p. 86.", "opening_date": "1917-12-23T00:00:00"}, {"description": "Philadelphia, Department of Fine Arts, Paintings, Sculpture, and Prints in the Department of Fine Arts Sesqui-centennial International Exposition (1926), listed cat. no. 360, p. 70.", "opening_date": "1926-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Memorial Exhibition of Paintings by Thomas Eakins, Albert P. Ryder, and J. Alden Weir (15 December 1927-23 January 1928)", "opening_date": "1927-12-15T00:00:00"}, {"description": "Philadelphia, PA, Pennsylvania Museum of Art, Work of Thomas Eakins (March 1930) New York, The Museum of Modern Art, Sixth Loan Exhibition: Winslow Homer, Albert P. Ryder, Thomas Eakins (May, 1930), illus. cat. no. 94, listed p. 29.", "opening_date": "1930-03-01T00:00:00"}, {"description": "Los Angeles, Los Angeles Museum of History, Science, and Art, Olympic Competition and Exhibition of Art (30 July 30-31 August 1932), listed cat. no. 753, p. 51.", "opening_date": "1931-07-30T00:00:00"}, {"description": "New York, Whitney Museum of American Art, American Genre: The Social Scene in Paintings and Prints (26 March-29 April 1935) cat. no. 28, listed p. 16, not illus.", "opening_date": "1935-03-26T00:00:00"}, {"description": "Baltimore, The Baltimore Museum of Art, Thomas Eakins 1844-1916: A Retrospective Exhibition of His Paintings (1 December 1936-1 January 1937), illus. cat. no. 5.", "opening_date": "1936-12-01T00:00:00"}, {"description": "Detroit, Detroit Institute of Art, Eighteenth Annual Exhibition of American Art (2 April-3 May 1937) cat. no. 1, listed p. 8, not illus.", "opening_date": "1937-04-02T00:00:00"}, {"description": "New York, National Academy of Design, The Special World's Fair Exhibition (8 May-25 July 1939), listed cat. no.213.", "opening_date": "1939-05-08T00:00:00"}, {"description": "San Francisco, The California Palace of the Legion of Honor, Seven Centuries of Painting: A Loan Exhibition of Old and Modern Masters (29 December 1939 - 28 January 1940), illus. cat. no. L-153, listed p. 50.", "opening_date": "1939-12-29T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, Five Centuries of Marine Painting (6 March-5 April 1942), listed no. 117, pp. 37-38, not illus.", "opening_date": "1942-03-06T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Thomas Eakins Centennial Exhibitions (8 April-14 May, 1944), illus. cat. no. 17, p. 123, listed p. 134.", "opening_date": "1944-04-08T00:00:00"}, {"description": "New York, M. Knoedler &amp; Company, A Loan Exhibition of the Works of Thomas Eakins 1844-1944, Commemorating the Centennial of His Birth (3 June-31 July 1944) illus. cat. no. 6.", "opening_date": "1944-06-03T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Boston Sport in American Art (10 October-10 December 1944), listed cat. no. 26, p.11, not illus.", "opening_date": "1944-10-10T00:00:00"}, {"description": "Pittsburgh, Department of Fine Arts, Carnegie Institute, Thomas Eakins: Centennial Exhibition 1844-1944 (26 April-1 June 1945), illus. cat. no. 110.", "opening_date": "1945-04-26T00:00:00"}, {"description": "London, The Tate Gallery, American Painting: From the Eighteenth Century to the Present Day (June - July 1946), illus. cat. no. 70, listed p. 12.", "opening_date": "1946-06-01T00:00:00"}, {"description": "Saginaw Museum, Michigan, (2-28 November 1948), Thomas Eakins Centennial, no catalogue can be found for this show.", "opening_date": "1948-11-02T00:00:00"}, {"description": "New York, NY, The Century Association, Exhibition of Paintings by Thomas Eakins (10 January-18 February 1951) no catalogue can be found for this show.", "opening_date": "1951-01-10T00:00:00"}, {"description": "Akron, OH, Akron Art Institute, Masterpiece Series ( 30 December 1952-1 February 1953) no catalogue.", "opening_date": "1952-12-30T00:00:00"}, {"description": "New York, Wildenstein &amp; Co., Landmarks in American Art, 1670-1950 (26 February-28 March 1953), illus. cat. no. 25, pl. 25 as The Biglen Brothers Turning the Stake.", "opening_date": "1953-02-26T00:00:00"}, {"description": "Syracuse, Syracuse Museum of Fine Arts, 125 Years of American Art (16 September-11 October 1953), illus. cat . no. no. 18 as Turning the Stake Boat.", "opening_date": "1953-09-16T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of Fine Arts, 150th Anniversary Exhibition (15 January-13 March 1955); listed p. 65, cat. no. 74, not illus.", "opening_date": "1955-01-15T00:00:00"}, {"description": "Washington, DC, National Gallery of Art, Smithsonian Institution, Thomas Eakins: A Retrospective Exhibition (8 October-12 November 1961); traveled to Chicago, The Art Institute of Chicago (1 December 1961-7 January 1962); to Philadelphia, Philadelphia Museum of Art (1 February-18 March 1962), illus. cat. no. 9, p. 43.", "opening_date": "1961-10-08T00:00:00"}, {"description": "New York, Whitney Museum of Art, Thomas Eakins: Retrospective Exhibition (22 September-21 November 1970), illus. cat. no. 10, p. 37, listed p. 69.", "opening_date": "1970-09-22T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March- 11 April 1976); traveled to Detroit, The Detroit Institute of Arts (5 May-13 June 1976); to Toledo, The Toledo Museum of Art (4 July-15 August 1976); to Cleveland, The Cleveland Museum of Art (8 September-10 October 1976), illus. cat. no. 22, illus.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Thomas Eakins Exhibition: Artist of Philadelphia (29 May-1 August 1982); traveled to Boston, Museum of Fine Arts, Boston (22 September-28 November 1982), illus. cat. no. 18, p. 22, illus.", "opening_date": "1982-05-29T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Boston A New World: Masterpieces of American Paintings 1760-1910 (7 September-13 November 1983); traveled to Washington, DC, Corcoran Gallery of American Art (7 December 1983-12 February 1984); to Paris, Grand Palais (16 March-11 June 1984) illus. cat. no. 58, p. 118, pp. 267-268, illus. p. 267.", "opening_date": "1983-09-07T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}]}, "provenance": [{"description": "Susan MacDowell Eakins [1851-1938], Philadelphia, sold to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Ownership of Eakins' unsold works passed to his wife, Susan Macdowell Eakins, upon his death in 1916.</div>"], "date": "1916-1927", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 121189, "description": "The Biglin Brothers Turning the Stake, 1873. Thomas Eakins (American, 1844\u20131916). Graphite and brush and brown wash; sheet: 35.5 x 43.1 cm (14 x 16 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1942.1066", "relationship": null}], "former_accession_numbers": ["1955.27", "1984.1927"], "did_you_know": "Rowing was among the most popular spectator sports in the U.S. during the 1870s.", "description": "Eakins's painting celebrates athletic teamwork while commemorating an actual event, a famous rowing race that took place on the Schuylkill River in Philadelphia during May 1872. Throngs of spectators line the riverbank and watch as Barney and John Biglin negotiate the tricky turn around a stake marking the halfway point in the contest. Their competitors, seen in the middle distance at the right, lag behind. The Biglin brothers won the race, cementing their status as the most celebrated oarsmen of the era. Trained in the United States and France, Eakins spent almost his entire artistic career in his hometown of Philadelphia. He is renowned for the unsentimental realism in his paintings, whose compositions he developed through painstakingly prepared figure and perspective drawings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117088141", "https://www.wikidata.org/wiki/Q60475307"], "internet_archive": ["https://archive.org/details/clevelandart-1927.1984-the-biglin-brothers"]}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Koja, Stephan, Nicolai Cikovsky, and \u00d6sterreichische Galerie Belvedere. <em>America : The New World in 19th-Century Painting. </em>Munich: Prestel, 1999.", "page_number": "Mentioned, p. 224.", "url": ""}, {"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 266; reprouced, p. 267.", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill, and Jason David LaFountain, eds.<em> A Companion to American Art.</em> Chichester, West Sussex, UK: Wiley Blackwell, 2015.", "page_number": "Reproduced, p. 149.", "url": ""}, {"citation": "McFeely, William S. <em>Portrait : The Life of Thomas Eakins</em>. New York, NY: W.W. Norton, 2007.", "page_number": "Mentioned pp. 69-70, 87.", "url": ""}, {"citation": "Koehler, S. R. \u201cSecond Annual Exhibition of the Philadelphia Society of Artists(Opened November 1. Closed December 6).\u201d <em>The American Art Review</em> 2, no. 3 (January 1881): 103\u201315.", "page_number": "Mentioned: P. 110", "url": "https://doi.org/10.2307/20559774"}, {"citation": "Metropolitan Museum of Art (New York, N.Y.). <em>Loan Exhibition of the Works of Thomas Eakins, New York, November 5 to December 3, MCMXVII.</em> New York: The De Vinne press, 1917.", "page_number": "Mentioned: pg 1; Reproduced: cat. no. 3, pl. 3", "url": "https://archive.org/details/loanexhibitionof00metr_2/page/20/mode/2up"}, {"citation": "Burroughs, Alan. \"Catalogue of Work of Thomas Eakins (1869-1916).\" <em>The Arts</em> 5, no. 6 (June 1924): 328-335.", "page_number": "Mentioned: P. 329", "url": ""}, {"citation": "\u201cCatalogue of the Works of Thomas Eakins.\u201d <em>Bulletin of the Pennsylvania Museum</em> 25, no. 133 (March 1930): 17\u201333.", "page_number": "Mentioned: P. 19, no. 25", "url": "http://www.jstor.org/stable/3794383"}, {"citation": "M.M \"Exhibitions.\" <em>The International Studio </em>30 (June 1930): 70-74.", "page_number": "Mentioned: P. 70; Reproduced: P. 74", "url": ""}, {"citation": "Goodrich, Lloyd, and Thomas Eakins. <em>Thomas Eakins: His Life and Work</em>. New York, NY: Whitney Museum of American Art, 1933.", "page_number": "Mentioned: p. 37-47; Reproduced: pl. 8", "url": null}, {"citation": "Cahill, Holger, and Alfred H. Barr. <em>Art in America in Modern Times</em>. New York, NY:: Reynal &amp; Hitchcock,1934.", "page_number": "Mentioned: p. 79-81; Reproduced: p. 81", "url": null}, {"citation": "Cleveland Museum of Art. 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. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "listed cat. no. 355, p. 132 as Turning Stake Boat, or Biglin Brothers Turning Stake Boat", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.<br>Published as: <em>Turning Stake Boat</em>", "page_number": "Mentioned: p. 20, no. 56; Reproduced: pl. IX, no. 56", "url": null}, {"citation": "\"The Story of American Painting Is Retold in Cleveland Exhibition.\" <em>Art Digest </em>11, no. 19 (August 1937): 5-9.", "page_number": "Mentioned and reproduced: P. 6", "url": ""}, {"citation": "Sweeney, J. J. \"L'Art Contemporain aux Etats-Unis.\" <em>Cahiers d'Art </em>13 (1938): 45-57.", "page_number": "Mentioned: P. 50; Reproduced: P. 57", "url": ""}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123", "url": "https://www.jstor.org/stable/25138029"}, {"citation": "McKinney, Roland Joseph, Aime\u0301e Crane, and Andre\u0301 Gloeckner. <em>Thomas Eakins</em>. New York, NY: Crown Publishers, 1942.", "page_number": "Mentioned: p. 9-22; Reproduced: p. 67", "url": null}, {"citation": "Richardson, E. P., and Robert Freund. <em>American Romantic Painting</em>. New York, NY: E. Weyhe, 1944.", "page_number": "Mentioned: p.5-22, 31-32; Reproduced: no. 231", "url": null}, {"citation": "Watkins, Franklin. \"Eakins.\" <em>ARTnews </em>63, no. 5 (April 15, 1944): 10-13.", "page_number": "Reproduced: P. 11", "url": ""}, {"citation": "Goodrich, Lloyd. \"Thomas Eakins Today.\" <em>Magazine of Art </em>37, no. 5 (May 1944): 162-166.", "page_number": "", "url": ""}, {"citation": "Ormsbee, Thomas H. \"Thomas Eakins, American Realist Painter.\" <em>American Collector: Biweekly for Dealers and Collectors </em>13, no. 6 (July 1944): 162-166.", "page_number": "Reproduced: P. 165.", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 13", "url": "https://archive.org/details/CMAPaintings1945/page/n21"}, {"citation": "O'Connor, Jr., John. \"Thomas Eakins, Consistent Realist.\" <em>Carnegie Magazine </em>19, no. 2 (April 1945): 35-39.", "page_number": "Reproduced: P. 39", "url": ""}, {"citation": "McHenry, Margaret. <em>Thomas Eakins Who Painted</em>. Oreland? PA: [Privately printed for the author], 1946.", "page_number": "Mentioned: p. 23-24, 155", "url": null}, {"citation": "Winchester, Alice. \"American Painting in London: A Comment On the Tate Gallery Exhibition.\" <em>The Magazine Antiques </em>51, no. 2 (February 1947): 100-108.", "page_number": "Reproduced: P. 105, fig. 44", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 541", "url": "https://archive.org/details/CMAHandbook1958/page/n100"}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art.</em> New York: H.N. Abrams, 1958.", "page_number": "Mentioned and reproduced: P. 60-61", "url": ""}, {"citation": "Porter, Fairfield. <em>Thomas Eakins</em>. New York: George Braziller,1959.", "page_number": "Reproduced: Pl. 11", "url": ""}, {"citation": "Grosser, Maurice. <em>Critic's Eye</em>. Indianapolis, IN: Bobbs-Merrill, 1962.", "page_number": "Reproduced: p. 166", "url": null}, {"citation": "Grosser, Maurice. <em>Critic's Eye</em>. Indianapolis: Bobbs-Merrill, 1962.", "page_number": "Mentioned: P. 166", "url": ""}, {"citation": "Kessler, Charles S. \"The Realism of Thomas Eakins.\" <em>Arts Magazine </em>36, no. 4 (January 1962): 16-22.", "page_number": "Mentioned and reproduced: P. 17-18", "url": ""}, {"citation": "Gracza, Margaret Young. <em>The Ship and the Sea in Art</em>. Minneapolis, MN: Lerner Publications Co, 1965.", "page_number": "Mentioned and Reproduced: p. 52", "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. 187", "url": "https://archive.org/details/CMAHandbook1966/page/n211"}, {"citation": "Schendler, Sylvan. <em>Eakins</em>. Boston, MA: Little, Brown, 1967.", "page_number": "Mentioned: p. 33-40, 284-285; Reproduced: p. 39, fig. 14", "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. 187", "url": "https://archive.org/details/CMAHandbook1969/page/n211"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 112, fig. 97", "url": null}, {"citation": "Cleveland Museum of Art, and Berthold Fricke. <em>The Cleveland Museum of Art.</em> Hannover: Knorr &amp; Hirth, 1970.", "page_number": "Mentioned and reproduced: P. 68-69", "url": ""}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver.<em> An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned and reproduced: P. 12-13", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: P. 25, no. 57", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Parry, Ellwood C., and Maria Chamberlin-Hellman. \u201cThomas Eakins as an Illustrator, 1878-1881.\u201d <em>American Art Journal</em> 5, no. 1 (May 1973): 20\u201345.", "page_number": "Mentioned: P. 35", "url": "https://www.jstor.org/stable/1593941"}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976 : </em>[Exhibition. [Toledo]: Toledo Museum of Art, 1976.", "page_number": "Mentioned and reproduced: No. 22", "url": ""}, {"citation": "Hirshhorn Museum and Sculpture Garden, and Phyllis D. Rosenzweig. <em>The Thomas Eakins Collection of the Hirshhorn Museum and Sculpture Garden</em>. Washington DC: Published for the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, by the Smithsonian Institution Press, 1977.", "page_number": "Mentioned and Reproduced: p. 50-51", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes.\" <em>Arts and Activities </em>82, no. 4 (December 1977): 28-33.", "page_number": "Mentioned: P. 31; Reproduced: P. 29, fig. 3", "url": ""}, {"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. 232", "url": "https://archive.org/details/CMAHandbook1978/page/n252"}, {"citation": "Johns, Elizabeth. \"Thomas Eakins: A Case for Reassessment.\" <em>Arts Magazine </em>53, no. 9 (May 1979): 130-133.", "page_number": "Mentioned: P. 131", "url": ""}, {"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism.</em> Cleveland, Ohio: Cleveland Museum of Art, 1980.", "page_number": "Mentioned and reproduced: P. 44-45, fig. 50", "url": ""}, {"citation": "Weinberg, Barbara H. \"American Impressionism in Cosmopolitan Context.\" <em>Arts Magazine </em>(November 1980): 160-165.", "page_number": "Mentioned and reproduced: P. 163-164, fig. 8", "url": ""}, {"citation": "Silver, Adele Z. <em>Guide to the Galleries.</em> Cleveland, Ohio: Cleveland Museum of Art, 1981.", "page_number": "Mentioned and reproduced: P. 83-84, fig. 77", "url": ""}, {"citation": "Goodrich, Lloyd. <em>Thomas Eakin</em>s. Cambridge, Mass: Published for the National Gallery of Art [by] Harvard University Press, 1982.", "page_number": "Mentioned: P. 83, Vol. I; Reproduced: P. 86, fig. 29", "url": ""}, {"citation": "Wilmerding, John. \u201cPhiladelphia. Thomas Eakins.\u201d <em>The Burlington Magazine</em> 124, no. 954 (September 1982): 583\u201385.", "page_number": "Mentioned: P. 583; Reproduced: P. 585, fig. 40", "url": "http://www.jstor.org/stable/880963"}, {"citation": "Goodrich, Lloyd. \"The Art of Thomas Eakins.\" <em>Portfolio </em>4, no. 5 (September/October 1982): 60-65.", "page_number": "Mentioned and reproduced: P. 61-62", "url": ""}, {"citation": "Parry, Ellwood. \"The 'Exact, Uncompromising' Eye of Thomas Eakins.\" <br><em>ARTnews </em>81, no. 8 (October 1982): 80-83.", "page_number": "Mentioned: P. 82", "url": ""}, {"citation": "Rosenblum, Robert, and H. W. Janson. <em>19th Century Art</em>. New York: Abrams, 1984.", "page_number": "Mentioned: P. 357-358; Reproduced: P. 340, pl. 58", "url": ""}, {"citation": "Weinberg, H. Barbara. <em>The American Pupils of Jean-Le\u0301on Ge\u0301ro\u0302me. </em>Fort Worth, Tex: Amon Carter Museum, 1984.", "page_number": "Mentioned and reproduced: P. 41-42, fig. 27", "url": ""}, {"citation": "Johns, Elizabeth. \"Thomas Eakins: Strokes of Genius.\" <em>Art &amp; Antiques</em> (September 1984): 72-76.", "page_number": "Mentioned and reproduced: P. 74-75", "url": ""}, {"citation": "Milroy, Elizabeth. <em>Thomas Eakins' Artistic Training, 1860-1870. </em>Thesis, University of Pennsylvania, 1986.", "page_number": "Mentioned: P. 326; Reproduced: P. 418, fig. 57", "url": ""}, {"citation": "Hubbard, Roberta. \"Cleveland: A Cultural Campaign.\" <em>Horizon </em>29, no. 10 (December 1986): 16-24.", "page_number": "Reproduced: P. 16", "url": ""}, {"citation": "Fried, Michael. <em>Realism, Writing, Disfiguration: On Thomas Eakins and Stephen Crane. </em>Chicago: University of Chicago Press, 1987.", "page_number": "Mentioned and reproduced: P. 47-48, fig. 36", "url": ""}, {"citation": "Kimmerle, Constance. <em>Thomas Eakins' Exploration of the Mechanism and Laws of Human Expression and Understanding in Themes of Mental Effort and Creative Activity.</em> Thesis, Dissertation, University of Pennsylvania, 1989.", "page_number": "Mentioned: P. 369", "url": ""}, {"citation": "Miyazaki, Katsumi. <em>Insho\u0304-ha No Miryoku.</em> Kyo\u0304to: Do\u0304ho\u0304sha Shuppan, 1990.", "page_number": "Mentioned and reproduced: P. 71", "url": ""}, {"citation": "Griffin, Randall C. \u201cThomas Anshutz\u2019s \u2018The Ironworkers\u2019 Noontime\u2019: Remythologizing the Industrial Worker.\u201d <em>Smithsonian Studies in American Art</em> 4, no. 3/4 (Summer-Autumn 1990): 129\u201343.", "page_number": "Mentioned and reproduced: P. 139, fig. 13", "url": "http://www.jstor.org/stable/3109019"}, {"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1991.", "page_number": "Mentioned and reproduced: no. 31", "url": ""}, {"citation": "Weinberg, H. Barbara. <em>The Lure of Paris: Nineteenth-Century American Painters and Their French Teachers.</em> New York: Abbeville Press Publishers, 1991.", "page_number": "Mentioned and reproduced: P. 9-10, pl. 5", "url": ""}, {"citation": "Wilmerding, John. <em>American Views: Essays on American Art.</em> Princeton, N.J.: Princeton University Press, 1991.", "page_number": "Mentioned: P. 314; Reproduced: P. 316, fig. 214", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, Ohio: The Museum, 1991.", "page_number": "Reproduced; p. 32", "url": "https://archive.org/details/CMAHandbook1991/page/n147"}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West. </em>New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned and reproduced: P. 145", "url": ""}, {"citation": "Homer, William Innes. <em>Thomas Eakins: His Life and Art. </em>New York: Abbeville Press, 1992.", "page_number": "Mentioned and reproduced: P. 61, fig. 50", "url": ""}, {"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": "Mentioned and reproduced: P. 71", "url": ""}, {"citation": "Wilmerding, John. <em>Thomas Eakins (1844-1916) and the Heart of American Life.</em> London: National Portrait Gallery, 1993.", "page_number": "Mentioned: P. 20, 69", "url": ""}, {"citation": "Griffin, Randall C. <em>Thomas Anshutz: Artist and Teach</em>er. Huntington, N.Y. : Heckscher Museum in association with the University of Washington Press, Seattle, 1994.", "page_number": "Mentioned: P. 46; Reproduced: P. 48, fig. 16", "url": ""}, {"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Mentioned: p. 170", "url": "https://www.jstor.org/stable/25161457"}, {"citation": "Berger, Martin Andrew. <em>Determining Manhood: Constructions of Sexuality in the Art of Thomas Eakins.</em> Dissertation Yale University, 1995.", "page_number": "Mentioned: P. 32-37; Reproduced: P. 173, fig. 8", "url": ""}, {"citation": "Milroy, Elizabeth, and W. Douglass Paschall. <em>Guide to the Thomas Eakins Research Collection with a Lifetime Exhibition Record and Bibliography.</em> Philadelphia, Pa: Philadelphia Museum of Art, 1996.", "page_number": "Mentioned: P. 21, 23, 36", "url": ""}, {"citation": "Cooper, Helen A. Thomas Eakins: The Rowing Pictures. New Haven, Conn: Yale University Art Gallery, 1996.", "page_number": "illus. fig. no. 26, p. 51, listed p. 137", "url": null}, {"citation": "Distel, Anne. \"Yerres.\" In <em>Gustave Caillebotte: The Unknown Impressionist.</em> Anne Distel, 45-62. London: Royal Academy of Arts, in association with Ludion Press, Ghent, 1996.", "page_number": "Mentioned and reproduced: P. 48-49, fig. 5", "url": ""}, {"citation": "Baigell, Matthew.<em> A Concise History of American Painting and Sculpture.</em> New York: IconEditions, 1996.", "page_number": "Mentioned and reproduced: P. 139-140, fig. 137", "url": ""}, {"citation": "M\u00f8rstad, Erik. <em>Malerileksikon: Teknikker, motivtyper og estetikk. </em>Oslo: Ad Notam Gyldendal, 1996.", "page_number": "Reproduced: P. 283", "url": ""}, {"citation": "Werbel, Amy Beth. <em>Perspective in the Life and Art of Thomas Eakins.</em> Dissertation, Yale University, 1996.", "page_number": "Mentioned: P. 118; Reproduced: P. 244, fig. 58", "url": ""}, {"citation": "Cooper, Helen. \"The Rowing Pictures of Thomas Eakins.\" <em>The Magazine Antiques </em>150, no. 2 (August 1996): 166-177.", "page_number": "Mentioned: P. 173; Reproduced: P. 174-175", "url": ""}, {"citation": "Loos, Ted. \"Eakins's Shell Game.\" <em>Art &amp; Antiques </em>19, no. 10 (November 1996): 99-105.", "page_number": "Mentioned and reproduced: P. 102", "url": ""}, {"citation": "Masschelein-Currie, Christina. 1997. \u201cThomas Eakins under the Microscope: A Technical Study of the Rowing Paintings.\u201d <em>American Artist</em> 61, no. 654 ( January 1997): 12-19.", "page_number": "Mentioned and reproduced: P. 15-17, figs. 1-4, 7-9", "url": ""}, {"citation": "Foster, Kathleen A., and Mark Bockrath. <em>Thomas Eakins Rediscovered: Charles Bregler's Thomas Eakins Collection at the Pennsylvania Academy of the Fine Arts.</em> New Haven: Yale University Press, 1997.", "page_number": "Mentioned: P. 83, 125, 126, 143", "url": ""}, {"citation": "Berger, Martin A. \"Modernity and Gender in Thomas Eakins's Swimming.\" <em>American Art </em>11, no. 3 (Fall 1997): 32-47.", "page_number": "Reproduced: P. 36, fig. 3; Mentioned: P. 38", "url": ""}, {"citation": "Burns, Sara Lea. \"Thomas Eakins Exposed.\" <em>Nineteenth-Century Studies </em>13 (1999): 139-152.", "page_number": "Mentioned: P. 143; Reproduced: P. 145", "url": ""}, {"citation": "Groseclose, Barbara S.<em> Nineteenth-Century American Art.</em> Oxford: Oxford University Press, 2000.", "page_number": "Mentioned and reproduced: P. 103, no. 65", "url": ""}, {"citation": "Mishory, Alec. <em>Art History: An Introduction.</em> Tel-Aviv: Open University of Israel, 2000.", "page_number": "Reproduced: P. 83, no. 69", "url": ""}, {"citation": "Berger, Martin A. <em>Man Made: Thomas Eakins and the Construction of Gilded Age Manhood</em>. Berkeley, Calif: University of California Press, 2000.", "page_number": "Mentioned: P. 3, 23, 133 n. 51; Reproduced: Pl. 2", "url": ""}, {"citation": "Sewell, Darrel, Kathleen A. Foster, and Thomas Eakins. Thomas Eakins: [... on the Occasion of the Exhibition \"Thomas Eakins. American Realist\" ... Philadelphia Museum of Art, October 4, 2001, to January 6, 2002 ...]. [New Haven, Conn.]: Yale Univ. Press, 2001.", "page_number": "illus. pl. 6, p. 45, pp. 27-40, 390-391", "url": null}, {"citation": "Ledes, Allison Eckardt. \"Current and Coming: Eakins in Philadelphia.\" <em>The Magazine Antiques </em>160, no. 4 (October 2001): 398-400.", "page_number": "Mentioned: P. 400; Reproduced: P. 398", "url": ""}, {"citation": "Esten, John.<em> Thomas Eakins: The Absolute Male.</em> New York, NY: Universe Pub, 2002.", "page_number": "Reproduced: P. 39; mentioned: P. 78", "url": ""}, {"citation": "Esten, John, and Thomas Eakins. Thomas Eakins: The Absolute Male. New York, NY: Universe Pub, 2002.", "page_number": "Mentioned and reproduced: P. 61-63", "url": ""}, {"citation": "Homer, William Innes. <em>Thomas Eakins: His Life and Art</em>. New York: Abbeville Press, 2002.", "page_number": "Mentioned and reproduced: P. 61-63, fig. 50", "url": ""}, {"citation": "Pinelli, Orietta Rossi. \"Un Pittore a Bordo Ring.\" <em>Art e dossier </em>175 (February 2002): 36-43.", "page_number": "Reproduced: P. 39", "url": ""}, {"citation": "Cleveland Museum of Art. <em>American Painting</em>. Cleveland, Ohio: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: P. 2", "url": ""}, {"citation": "Griffin, Randall C. <em>Homer, Eakins, and Anshutz: The Search for American Identity in the Gilded Age.</em> University Park, Pa: Pennsylvania State University, 2004.", "page_number": "Mentioned and reproduced: P. 50, fig. 19", "url": ""}, {"citation": "Rosenblum, Robert, and H. W. Janson. <em>19th-Century Art. </em>Upper Saddle River, N.J.: Prentice Hall, 2005.", "page_number": "Mentioned and reproduced: P. 364, fig. 350", "url": ""}, {"citation": "Adams, Henry. <em>Eakins Revealed: The Secret Life of an American Artist.</em> Oxford [England]: Oxford University Press, 2005.", "page_number": "Mentioned: P. 270, 243-244, 337; Reproduced: P. 192", "url": ""}, {"citation": "Updike, John. <em>Still Looking: Essays on American A</em>rt. New York: Knopf, 2005.", "page_number": "Mentioned: P. 76", "url": ""}, {"citation": "Burns, Sarah. \"Ordering the Artist's Body: Thomas Eakins's Acts of Self-Portrayal.\"<em> American Art </em>19, no. 1 (Spring 2005): 82-107.", "page_number": "Mentioned: P. 91", "url": ""}, {"citation": "Kirkpatrick, Sidney. <em>The Revenge of Thomas Eakin</em>s. New Haven: Yale University Press, 2006.", "page_number": "Reproduced: Pl. 5; Mentioned: P. 444, 146-147, 151-154, 160, 174, 187, 254", "url": ""}, {"citation": "Novak, Barbara. <em>Nature and Culture: American Landscape and Painting, 1825-1875.</em> New York, NY: Oxford University Press, 2007.", "page_number": "Mentioned and reproduced: P. 222, fig. 10.15", "url": ""}, {"citation": "Cooper, James F. \"Is Thomas Eakins a Great Artist?\" <em>American Arts Quarterly </em>24, no. 2 (Spring 2007): 2-9.", "page_number": "Mentioned: P. 3, 8", "url": ""}, {"citation": "Fonsmark, Anne-Birgitte, Dorothee Hansen, and Gry Hedin. <em>Gustave Caillebotte.</em> Ostfildern: Hatje Cantz, 2008.", "page_number": "Mentioned and reproduced: P. 112, fig. 4", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: P. 90-93", "url": ""}, {"citation": "\"Welcome Back!\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>48, no. 5 (May/June 2008): 5-6.", "page_number": "Mentioned: P. 6", "url": ""}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008", "page_number": "Mentioned and reproduced (detail), p. 8.", "url": "https://archive.org/details/CMAMM2008-08/page/8"}, {"citation": "Leja, Michael. \"Composite Images In a Hybrid Medium by Thomas Eakins and His Contemporaries.\" In <em>Shared Intelligence: American Painting and the Photograph.</em> Barbara Buhler Lynes, and Jonathan Weinberg, 28-41. Berkeley [Calif.]: University of California Press, 2011.", "page_number": "Mentioned and reproduced: P. 32-33", "url": ""}, {"citation": "Guttmann, Allen. S<em>ports and American Art from Benjamin West to Andy Warhol.</em> Amherst [Mass.]: University of Massachusetts Press, 2011.", "page_number": "Mentioned: P. 106; Reproduced: Pl. 17", "url": ""}, {"citation": "Fort, Ilene Susan. <em>Manly Pursuits: Writings on the Sporting Images of Thomas Eakins. </em>[Los Angeles]: Los Angeles County Museum of Art, 2011.", "page_number": "Mentioned: P. 66, 67, 227, 345-350; Reproduced: P. 43", "url": ""}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "Mentioned and reproduced: P. 266-267", "url": ""}, {"citation": "", "page_number": "Mentioned and reproduced: p. 25", "url": "https://archive.org/details/CMAMM2012-04/page/24/mode/2up"}, {"citation": "\"Personal Favorite: Gloria Plevin.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>53, no. 4 (July/August 2013): 16.", "page_number": "Mentioned and reproduced: P. 16", "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. 49", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill and Jason David LaFountain. <em>A Companion to American Art.</em> Malden, MA: Wiley- Blackwell, 2015.", "page_number": "Reproduced: p. 149, figure 9.2 Mention: p. 148", "url": null}, {"citation": "\"Personal Favorite: William Busta.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>55, no. 6 (November/December 2015): 12.", "page_number": "Mentioned and reproduced: P. 12", "url": "https://archive.org/details/CMAMM2015-06/page/12/mode/2up"}, {"citation": "Hendricks, Gordon. <em>The Life and Work of Thomas Eakins</em>. New York, NY: Grossman Publishers, 1974.", "page_number": "Mentioned: p. 65-86, 296-298, 335-336; Reproduced: pl. 12 and 13 (detail).", "url": null}, {"citation": "Lanouette, William. The Triumph of the Amateurs: The Rise, Ruin, and Banishment of Professional Rowing in the Gilded Age, Guilford, Connecticut : Lyons Press, 2021, 215", "page_number": "Mentioned: p. 215, Reproduced; second page of image section following p. 138", "url": ""}], "url": "https://clevelandart.org/art/1927.1984", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_web.jpg", "width": "1263", "height": "835", "filesize": "780656", "filename": "1927.1984_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_print.jpg", "width": "3400", "height": "2247", "filesize": "5271592", "filename": "1927.1984_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.1984/1927.1984_full.tif", "width": "7164", "height": "4735", "filesize": "101799424", "filename": "1927.1984_full.tif"}}, "alternate_images": [{"date_created": "2011-06-27T18:03:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt0_web.jpg", "width": "1193", "height": "893", "filesize": "805436"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt0_print.jpg", "width": "3400", "height": "2545", "filesize": "7465362"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt0_full.tif", "width": "6668", "height": "4992", "filesize": "99887404"}}, {"date_created": "2011-06-27T17:37:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt1_web.jpg", "width": "1180", "height": "893", "filesize": "803354"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt1_print.jpg", "width": "3400", "height": "2574", "filesize": "7327788"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt1_full.tif", "width": "6465", "height": "4896", "filesize": "94984952"}}, {"date_created": "2011-06-27T17:45:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt2_web.jpg", "width": "1193", "height": "893", "filesize": "808645"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt2_print.jpg", "width": "3400", "height": "2545", "filesize": "7276175"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt2_full.tif", "width": "6668", "height": "4992", "filesize": "99888472"}}, {"date_created": "2011-06-27T18:14:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt3_web.jpg", "width": "1193", "height": "893", "filesize": "795831"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt3_print.jpg", "width": "3400", "height": "2545", "filesize": "7483128"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt3_full.tif", "width": "6668", "height": "4992", "filesize": "99886904"}}, {"date_created": "2008-06-23T15:28:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt4_web.jpg", "width": "1240", "height": "893", "filesize": "910498"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt4_print.jpg", "width": "3400", "height": "2448", "filesize": "6362609"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.1984/1927.1984_alt4_full.tif", "width": "4556", "height": "3280", "filesize": "44874484"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 151904, "creators": [{"id": 4037, "description": "Thomas Eakins (American, 1844\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:09:35.482000"}, {"id": 110180, "accession_number": "1928.8", "share_license_status": "CC0", "tombstone": "The Race Track (Death on a Pale Horse), c. 1896\u20131908. Albert Pinkham Ryder (American, 1847\u20131917). Oil on canvas; framed: 84.5 x 102 x 6.5 cm (33 1/4 x 40 3/16 x 2 9/16 in.); unframed: 70.5 x 90 cm (27 3/4 x 35 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1928.8", "current_location": "207 American Realism", "title": "The Race Track (Death on a Pale Horse)", "creation_date": "c. 1896\u20131908", "creation_date_earliest": 1896, "creation_date_latest": 1908, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 84.5 x 102 x 6.5 cm (33 1/4 x 40 3/16 x 2 9/16 in.); Unframed: 70.5 x 90 cm (27 3/4 x 35 7/16 in.)", "dimensions": {"framed": {"height": 0.845, "width": 1.02, "depth": 0.065}, "unframed": {"height": 0.705, "width": 0.9}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"A. P. Ryder\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"id": 312428, "title": "Expressionism and Related Movements", "description": "<i>Expressionism and Related Movements</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 26-February 28, 1939).", "opening_date": "1939-01-26T05:00:00"}, {"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": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 314043, "title": "Art of the United States: 1670-1966", "description": "<i>Art of the United States: 1670-1966</i>. Whitney Museum of American Art, New York, NY (organizer) (September 28-November 27, 1966).", "opening_date": "1966-09-28T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 443572, "title": "Kaleidoscope of American Painting, Eighteenth and Nineteenth Centuries", "description": "<i>Kaleidoscope of American Painting, Eighteenth and Nineteenth Centuries</i>. William Rockhill Nelson Gallery, Kansas City, MO (organizer) (December 1, 1977-January 22, 1978).", "opening_date": "1977-12-01T05:00:00"}, {"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}], "legacy": [{"description": "New York, Metropolitan Museum of Art, Loan Exhibition of the Works of Albert P. Ryder (11 March - 14 April 1918), cat. no. 48, pl. 48.", "opening_date": "1918-03-11T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art (1918\u20131924).", "opening_date": "1918-01-01T00:00:00"}, {"description": "New York, Anderson Galleries, American Art from the Collections of Members of the Associated Dealers in American Painting (8 - 26 February 1927).", "opening_date": "1927-02-08T00:00:00"}, {"description": "Cleveland, Ohio, Cleveland Museum of Art, Memorial Exhibition of Paintings by Thomas Eakins, Albert P. Ryder, and J. Alden Weir (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "New York, The Museum of Modern Art, Sixth Loan Exhibition: Winslow Homer, Albert P. Ryder, Thomas Eakins (May 1930), no. 61, p. 61.", "opening_date": "1930-05-01T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, The Taste of Today in Masterpieces of Painting Before 1900 (10 July - 2 October 1932).", "opening_date": "1932-07-10T00:00:00"}, {"description": "Chicago, Art Institute of Chicago, The Century of Progress Exhibition (1 June - 1 November 1933), no. 475.", "opening_date": "1933-06-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Jeu de Paume, Trois Si\u00e8cles d'Art aux \u00c9tats-Unis (May - July 1938), no. 144.", "opening_date": "1938-05-01T00:00:00"}, {"description": "New York, The Museum of Modern Art, Art in Our Time: The Tenth Anniversary Exhibition of The Museum of Modern Art (April - October 1939), cat. no. 26, pl. 26.", "opening_date": "1939-04-01T00:00:00"}, {"description": "New York, M. Knoedler &amp; Co., Two American Romantics of the Nineteenth Century: Robert Loftin Newman 1827-1912, Albert Pinkham Ryder 1847 - 1917 (13 November - 2 December 1939), no. 9.", "opening_date": "1939-11-13T00:00:00"}, {"description": "Hartford, Connecticut, Wadsworth Atheneum, Night Scenes (15 February - 7 March 1940), no. 56.", "opening_date": "1940-02-15T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute, Survey of American Painting (24 October - 15 December 1940), cat. no. 205 (not ill.)", "opening_date": "1940-10-24T00:00:00"}, {"description": "London, The Tate Gallery, American Painting: from the Eighteenth Century to the Present Day (Summer 1946), cat. no. 178.", "opening_date": "1946-01-01T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Ryder Centenary Exhibition (18 October - 30 November 1947), no. 31, ill. p. 34.", "opening_date": "1947-10-18T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Diamond Jubilee Exhibition: Masterpieces of American Painting (4 November 1950 - 11 February 51); no. 62.", "opening_date": "1950-11-04T00:00:00"}, {"description": "New York, National Academy of Design, The American Tradition Exhibition of Paintings (3 December - 16 December1951), no. 120, ill. p. 44.", "opening_date": "1951-01-01T00:00:00"}, {"description": "Buffalo, New York, Albright Art Gallery, Expressionism in American Painting (10 May - 29 June 1952), no. 4, ill. p. 13.", "opening_date": "1952-05-10T00:00:00"}, {"description": "Frankfurt, St\u00e4delsches Kunstinstitut, Hundert Jahre Amerikanische Malerei 1800-1900, An Exhibition Circulated by the American Federation of Arts (14 March - 3 May 1953); traveled to M\u00fcnchen, Bayerische Staatsgemaldesammlungen (15 May - 28 June 1953); traveled to Hamburg, Kunstalle (18 July - 30 August 1953), cat. no. 78, p. 34, ill. p. 21.", "opening_date": "1953-03-14T00:00:00"}, {"description": "Rome, Galleria Nazionale d'Arte Moderna, Mostra di Pittura Americana del XIX Secolo (19 January - 7 February 1954), cat. no. 53, pl. 19.", "opening_date": "1954-01-19T00:00:00"}, {"description": "New York, Whitney Museum of American Art, American Painting in the Nineteenth Century (1954), cat. no. 53.", "opening_date": "1954-01-01T00:00:00"}, {"description": "Washington, D. C., The Corcoran Gallery, The American Muse (1959), cat. no. 63.", "opening_date": "1959-01-01T00:00:00"}, {"description": "Buffalo, New York, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776 - 1976 (6 March - 11 April 1976), cat. no. 26; traveled to Detroit, Detroit Institute of Arts (5 May - 13 June 1976); traveled to Toledo, Toledo Museum of Art (4 July - 15 August 1976); traveled to Cleveland, Cleveland Museum of Art (8 September - 10 October 1976).", "opening_date": "1976-03-06T00:00:00"}, {"description": "Kansas City, Missouri, William Rockhill Nelson Gallery of Art, Kaleidoscope of American Painting, Eighteenth and Nineteenth Centuries (2 December 1977 - 22 January 1978), no. 37, ill. p. 34.", "opening_date": "1977-12-02T00:00:00"}, {"description": "Washington, D.C., National Museum of American Art, The Art of Albert Pinkham Ryder (6 April - 29 July 1990); traveled to Brooklyn, Brooklyn Museum of Art (14 September 1990 - 8 January 1991); exhibition catalog published for the NMAA by the Smithsonian Institution Press, Washington, 1989), p.l 98, fig 86, cat. no. 51, p. 275.", "opening_date": "1990-04-06T00:00:00"}]}, "provenance": [{"description": "Albert Pinkham Ryder [1847-1914], New York, NY, sold to Louis Lehmeier", "citations": [], "footnotes": null, "date": "c. 1896\u20131906", "sortorder": 1}, {"description": "Louis Lehmeier, returned to the artist", "citations": [], "footnotes": ["<div><!--block-->1It is unclear why Lehmeier, an acquaintance of Ryder, returned the painting to the artist.</div>"], "date": "1906\u2013by 1913", "sortorder": 2}, {"description": "Albert Pinkham Ryder, probably sold to Albert T. Sanden", "citations": [], "footnotes": null, "date": "After 1906\u2013by 1913", "sortorder": 3}, {"description": "Albert T. Sanden, New York, NY", "citations": [], "footnotes": ["<div><!--block-->1Sanden, one of Ryder's closest friends, owned 11 paintings by the artist, most of which he purchased directly from the artist.&nbsp; Since Lehmeier returned this painting to Ryder, it is probable that this painting was one of them.</div>"], "date": "By 1913\u20131924", "sortorder": 4}, {"description": "(Ferargil Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->1Thomas H. Russell of Ferargil Galleries wrote to Margaret Evans of the Butler Institute of American Art that they had just acquired a group of Ryder paintings, including \"The Race Track,\" known as the \"Sanden pictures.\"</div>"], "date": "1924", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1928\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1931.27"], "did_you_know": "Counterclockwise horse racing in the United States was not standardized until the 1920s.", "description": "Ryder\u2019s subject was inspired by a horse race that took place in New York during 1888. One of the artist\u2019s friends wagered $500 on the race and then died by suicide after the horse lost. Medieval symbolism infuses the composition: death appears as a skeleton on horseback holding a scythe with which he cuts down the living, while a snake\u2014a sign of temptation and evil\u2014slithers in the foreground. An intense man, Ryder worked on the painting for several years and was deeply reluctant to part with it.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513294"], "internet_archive": ["https://archive.org/details/clevelandart-1928.8-the-race-track-death"]}, "citations": [{"citation": "<em>The Art Digest</em> (Feb. 1, 1928):2.", "page_number": null, "url": null}, {"citation": "<em>The Art Digest</em> (Feb. 1, 1928): 2.", "page_number": null, "url": null}, {"citation": "Zachary Ross, \u201cLinked by Nervousness: Albert Pinkham Ryder and Dr. Albert T. Sanden,\u201d <em>American Art</em> 17.2 (Summer 2003): 86-96.", "page_number": null, "url": null}, {"citation": "Sophie G. Lehmaier, letter, June 26, 1947, Goodrich, Lloyd and Edith Havens Papers Relating to Albert Pinkham Ryder, #F32, Special Collections, University of Delaware Library.", "page_number": null, "url": null}, {"citation": "Davis, John and Michael Leja, <em>Art of the United States 1750-2000: Primary Sources.</em> (Chicago: University of Chicago Press, 2020).", "page_number": "Mentioned and reproduced, p. 219.", "url": ""}, {"citation": "Blakelock, Ralph Albert, Sheldon Memorial Art Gallery, New Jersey State Museum, and Nebraska Art Association. Ralph Albert Blakelock, 1847-1919 : [Exhibition] January 14-February 9, 1975, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska [and] May 4-June 7, 1975, New Jersey State Museum, Trenton, New Jersey. [Lincoln]: [Nebraska Art Association], 1974.", "page_number": "Mentioned p. 13.", "url": ""}, {"citation": "Vincent, Glyn, and Ralph Albert Blakelock. The Unknown Night : The Madness and Genius of R.A. Blakelock, an American Painter. 1st ed. New York: Grove Press, 2003.", "page_number": "Mentioned p. 157.", "url": ""}, {"citation": "Gibran, Kahlil, Suheil B. Bushrui, Tania Sammons, and Telfair Museum of Art. <em>The Art of Kahlil Gibran at Telfair Museums.</em> Savannah, Georgia: Telfair Museum of Art, 2010.", "page_number": "Mentioned p. 14; reproduced p. 15.", "url": ""}, {"citation": "Kazarian, Choghakate. \"Unquicken the Pace: Albert Pinkham Ryder's Ripening Paintings.\" Ph.D. dissertation, Courtald Institute of Art, London, 2024.", "page_number": "Mentioned vol. 1, pp. 136-41, 155, 177, 179; illustrated, vol. 2, p. 49.", "url": ""}, {"citation": "Anderson, Sherwood. <em>Les Chevaux de L\u2019adolescence : Nouvelles. </em>Monaco: Rocher, 2006.", "page_number": "Reproduced, cover (detail).", "url": ""}, {"citation": "Novak, Barbara. <em>Voyages of the Self : Pairs, Parallels, and Patterns in American Art and Literature.</em> Oxford: Oxford University Press, 2007. Accessed December 29, 2025.", "page_number": "Mentioned, pp. 114, 128; reproduced, p. 115.", "url": ""}, {"citation": "Davis, John, Michael Leja. <em>Art of the United States, 1750-2000: Primary Sources. </em>Edited by Francesca Rose. Chicago, Illinois: Terra Foundation for American Art, 2020.", "page_number": "Mentioned and reproduced, p. 219.", "url": ""}, {"citation": "", "page_number": "Mentioned, p. 65; reproduced, p. 64-65.", "url": ""}, {"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 282; reproduced, p. 283.", "url": ""}, {"citation": "Grant, Simon, ed. <em>In My View: Personal Reflections on Art by Today\u2019s Leading Artists.</em> London: Thames &amp; Hudson, 2012.", "page_number": "Mentioned, p. 100-101; reproduced, p. 101", "url": ""}, {"citation": "Milliken, William M., \"Superb Art Display Marks Cleveland Museum's 20th Anniversary,\" <em>Art Digest</em> 10 (July 1, 1936).", "page_number": "Reproduced, p. 11.", "url": ""}, {"citation": "W. M. M. \u201c\u2018The Race Track,\u2019 or \u2018Death on a Pale Horse\u2019 by Albert Pinkham Ryder.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 15, no. 3 (March 1928): 65\u201371.", "page_number": "Mentioned: P. 65-71; Reproduced: P. 67", "url": "http://www.jstor.org/stable/25137113"}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses; Three Centuries of American Painting.</em> Cambridge, Mass: Harvard University Press, 1936.", "page_number": "Mentioned: P. 155-156", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 37-38, no. 164; Reproduced: pl. V", "url": ""}, {"citation": "Milliken, William M. \u201cAmerican Painting from 1860 until Today.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 24, no. 6 (June 1937): 96\u201398.", "page_number": "Mentioned: P. 97", "url": "http://www.jstor.org/stable/25137854"}, {"citation": "Kent, Rockwell, ed. <em>World-Famous Paintings.</em> New York: Wise &amp; Co., Inc, 1939.", "page_number": "Reproduced: pl. 96", "url": null}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123", "url": "https://www.jstor.org/stable/25138029"}, {"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. 91", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 15", "url": "https://archive.org/details/CMAPaintings1945/page/n23"}, {"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. 542", "url": "https://archive.org/details/CMAHandbook1958/page/n100"}, {"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. 188", "url": "https://archive.org/details/CMAHandbook1966/page/n212"}, {"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. 188", "url": "https://archive.org/details/CMAHandbook1969/page/n212"}, {"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. 233", "url": "https://archive.org/details/CMAHandbook1978/page/n253"}, {"citation": "Kitaj, R. B., and Timothy Hyman. \"A Return to London\" IN <em>Kitaj Paintings, Drawings, Pastels.</em> John Ashebury, Joe Shannon, Jane Livingston, 41. New York, N.Y.: Thames and Hudson, 1983.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 1991.", "page_number": "Mentioned and Reproduced: no. 37", "url": ""}, {"citation": "Gardner, Helen, Richard G. Tansey and Fred S. Kleiner.<em> Gardner's Art Through the Ages</em>. Fort Worth: Harcourt Brace College Publishers, 1996.", "page_number": "Reproduced: p. 1009, fig. 26-87", "url": null}, {"citation": "Dijkstra, Bram. <em>American Expressionism: Art and Social Change, 1920-1950. </em>New York: H.N. Abrams, in association with the Columbus Museum of Art, 2003.", "page_number": "Mentioned and Reproduced: P. 67-68, fig. 18", "url": ""}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. Oxford; New York: Oxford University Press, 2007.", "page_number": "Mentioned and Reproduced: P. 176-177, fig. 12.1", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: P. 10, fig. 4, 94-95", "url": ""}, {"citation": "Wilson, Kristina. <em>The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1925-1934</em>. New Haven: Yale University Press, 2009.", "page_number": "Mentioned and Reproduced: P. 123", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "Mentioned and reproduced: P. 282-283", "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. 53", "url": ""}, {"citation": "Kim, Miri. \"\"Right Matter in the Right Place\": The Paintings of Albert Pinkham Ryder.\" <em>Center 35: Record of Activities and Research Reports </em>(June 2014-May 2015): 112-115.", "page_number": "Mentioned: p. 114; reproduced: p. 112", "url": null}, {"citation": "Moore, John L., Esther Jun, Clodagh Keogh, William H. Robinson, Danni Shen, Enid Shomer, and Reto Thu\u0308ring. Demise: Rina Banerjee, Esperanza Corte\u0301s, Jae Rhim Lee, Brian Maguire, Paolo Pelosini, Levent Tuncer. 2018, 4.", "page_number": "Mentioned and reproduced: pp. 4-7.", "url": ""}, {"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": "Reproduced & mentioned: p. 80", "url": null}, {"citation": "McCree, J. Woodrow. Washington Irving's Critique of American Culture: Sketching a Vision of World Citizenship. 2021.", "page_number": "Mentioned and reproduced: p. 133, fig. 5.1", "url": ""}, {"citation": "Cleveland Museum of Art, and David Franklin. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd, 2012.", "page_number": "Mentioned and Reproduced: P. 64-65", "url": ""}, {"citation": "Kazarian, Choghakate. \"Unquicken the Pace: Albert Pinkham Ryder\u2019s Ripening Paintings.\" PhD diss., Courtauld Institute of Art, 2024.", "page_number": "Reproduced: p. 49, Vol. II; Mentioned: p. 136-140, fig. 36, Vol. I", "url": ""}], "url": "https://clevelandart.org/art/1928.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_web.jpg", "width": "900", "height": "711", "filesize": "190928", "filename": "1928.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_print.jpg", "width": "3400", "height": "2685", "filesize": "3014421", "filename": "1928.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.8/1928.8_full.tif", "width": "14577", "height": "11511", "filesize": "503415724", "filename": "1928.8_full.tif"}}, "alternate_images": [{"date_created": "2004-08-23T19:15:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt0_web.jpg", "width": "1136", "height": "893", "filesize": "799109"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt0_print.jpg", "width": "3400", "height": "2673", "filesize": "7530476"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt0_full.tif", "width": "7242", "height": "5694", "filesize": "123742276"}}, {"date_created": "2015-05-11T12:28:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt1_web.jpg", "width": "900", "height": "743", "filesize": "202756"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt1_print.jpg", "width": "3400", "height": "2807", "filesize": "2426444"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt1_full.tif", "width": "7179", "height": "5926", "filesize": "127658884"}}, {"date_created": "2008-08-13T14:38:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt2_web.jpg", "width": "1074", "height": "893", "filesize": "820469"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt2_print.jpg", "width": "3400", "height": "2826", "filesize": "8179526"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt2_full.tif", "width": "3829", "height": "3183", "filesize": "36605784"}}, {"date_created": "2015-05-11T12:47:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt3_web.jpg", "width": "900", "height": "781", "filesize": "201007"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt3_print.jpg", "width": "3400", "height": "2952", "filesize": "2685028"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1928.8/1928.8_alt3_full.tif", "width": "6259", "height": "5435", "filesize": "102082984"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 110180, "creators": [{"id": 3267, "description": "Albert Pinkham Ryder (American, 1847\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1847", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1928-01-06T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "c. 1896\u20131908", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:06:53.847000"}, {"id": 137259, "accession_number": "1962.2", "share_license_status": "CC0", "tombstone": "Mme L... (Laure Borreau), 1863. Gustave Courbet (French, 1819\u20131877). Oil on fabric; framed: 112.4 x 93 x 12.1 cm (44 1/4 x 36 5/8 x 4 3/4 in.); unframed: 81 x 61.2 cm (31 7/8 x 24 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1962.2", "current_location": "222 Impressionism & Post-Impressionism", "title": "Mme L... (Laure Borreau)", "creation_date": "1863", "creation_date_earliest": 1863, "creation_date_latest": 1863, "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: 112.4 x 93 x 12.1 cm (44 1/4 x 36 5/8 x 4 3/4 in.); Unframed: 81 x 61.2 cm (31 7/8 x 24 1/8 in.)", "dimensions": {"framed": {"height": 1.124, "width": 0.93, "depth": 0.121}, "unframed": {"height": 0.81, "width": 0.612}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Gustave Courbet / . . 63\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 444095, "title": "Gustave Courbet", "description": "<i>Gustave Courbet</i>. Mus\u00e9e du Louvre, Paris, France (October 1, 1977-January 2, 1978).", "opening_date": "1977-10-01T04:00:00"}, {"id": 220961, "title": "Courbet, Artist and Entrepeneur", "description": "<i>Courbet, Artist and Entrepeneur</i>. Mus\u00e9e Cantonal des Beaux-Arts, Lausanne, Switzerland (November 21, 1998-February 21, 1999).", "opening_date": "1998-11-21T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 522048, "title": "1863 \u2022 PARIS \u2022 1874: Revolution in Art - From the Salon to Impressionism", "description": "<i>1863 \u2022 PARIS \u2022 1874: Revolution in Art - From the Salon to Impressionism</i>. Wallraf-Richartz Museum, K\u00f6ln, Germany (organizer) (March 15-July 28, 2024) https://www.wallraf.museum/ausstellungen/aktuell/2024-03-15-paris-1874/.", "opening_date": "2024-03-15T04:00:00"}], "legacy": [{"description": "<em>Salon.</em> Palais des Champs-\u00c9lys\u00e9es, Paris, France. Salon (1863).", "opening_date": null}, {"description": "<em>Exposition d'art fran\u00e7ais du XIXe si\u00e8cle.</em> Paul Rosenberg, Possibly Paris, France (1917).", "opening_date": "1917-01-01T00:00:00"}, {"description": "<em>Cinquante ans de peinture fran\u00e7aise</em>. Mus\u00e9e des Arts D\u00e9coratifs, Paris, France (1925).", "opening_date": "1925-01-01T00:00:00"}, {"description": "<em>Portraits et figures de femmes. Ingres \u00e0 Picasso</em>. Galerie de La Renaissance, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Exposition Gustave Courbet</em>. Palais des Beaux-Arts de la ville de Paris (Petit Palais), Paris, France (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Exposition d'oeuvres importantes de Grands Ma\u00eetres du dix-neuvi\u00e8me si\u00e8cle</em>. Galerie Paul Rosenberg, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em> Loans in Honor of the Opening of the Avery Memorial.</em> Wadsworth Athenaeum. Hartford, CT (1934).", "opening_date": "1934-01-01T00:00:00"}, {"description": "<em>Exposition Gustave Courbet</em>. Paul Rosenberg, Paris, France (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Honderd Jaar Fransche Kunst.</em> Stedelijk Museum. Amsterdam, Netherlands (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877</em>. London, Rosenberg &amp; Helft Ltd., London, United Kingdom (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "<em>Great French Masters of the Nineteenth Century</em>: Corot to Van Gogh. Paul Rosenberg &amp; Co. New York, NY (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>French Art of the 19th and 20th Centuries </em>. Rhode Island School of Design Museum of Art, Providence, RI (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>Art of the United Nations</em>. M. H. de Young Memorial Museum, San Francisco, CA (1945).", "opening_date": "1945-01-01T00:00:00"}, {"description": "<em>Great French Masters of the 19th Century.</em> Possibly Paul Rosenberg &amp; Co, New York, NY (November, 17 -December 6, 1947).", "opening_date": "1947-12-06T00:00:00"}, {"description": "<em>Exhibition of 19th Century French Paintings. </em>Paul Rosenberg &amp; Co., New York, NY (1954).", "opening_date": "1954-01-01T00:00:00"}, {"description": "<em>Loan Exhibition of Paintings by Gustave Courbet</em>. Paul Rosenberg &amp; Co., New York, NY (1956).", "opening_date": "1956-01-01T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877</em>. Philadelphia Museum of Art, Philadelphia, PA; (December 17, 1959-February 14, 1960); Museum of Fine Arts, Boston, MA (February 26, 1960-April 14, 1960).", "opening_date": "1959-12-17T00:00:00"}, {"description": "<em>Courbet in Private French Collections</em>. Galerie Claude Aubry, Paris, France (May 5-June 25, 1966).", "opening_date": "1966-05-05T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877. </em>Villa Medici, Rome, Italy (October 28, 1969-January 6, 1970).", "opening_date": "1969-10-28T00:00:00"}, {"description": "<em>Courbet 1819-1877</em>. Galerie Daber, Paris, France (October 16 to November 15, 1975).", "opening_date": "1975-10-16T00:00:00"}, {"description": "<em>Gustave Courbet 1819-1877</em>. Royal Academy, London, United Kingdom (January 19-March 19, 1977); Grand Palais, Paris, France (October 1, 1977-January 2, 1978).", "opening_date": "1977-01-19T00:00:00"}, {"description": "<em>Courbet und Deutschland.</em> Stadische Galerie,Hamburg, Germany (October 19-December 17, 1978); Stadelsches Kunstinstitut, Frankfurt, Germany (January 17-March 18, 1979).", "opening_date": "1978-10-19T00:00:00"}, {"description": "<em>Courbet Reconsidered</em>. Brooklyn Museum, Brooklyn, NY (November 4, 1988-January 16, 1989); Minneapolis Institute of Arts, Minneapolis, MN (February 18-April 30, 1989).", "opening_date": "1989-02-18T00:00:00"}]}, "provenance": [{"description": "(Drouot, Paris, France, Artist's estate sale,  December 9, 1881, lot 11, stock number 2070, sold to Durand-Ruel)", "citations": [], "footnotes": [], "date": "1881", "sortorder": null}, {"description": "(Durand-Ruel, Paris France, December 10, 1881, sold to Max Flersheim)", "citations": [], "footnotes": null, "date": "1881", "sortorder": 2}, {"description": "(Paul Rosenberg and Company, New York, NY by 1934, sold to the Cleveland Museum of Art, 1962)", "citations": [], "footnotes": null, "date": "by 1934-1962", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Courbet once wrote of Laure Borreau, the sitter in this portrait, \"I am in love with a splendid lady, the driving force behind my triumph.\"", "description": "Gustave Courbet painted four portraits of Madame\rLaure Borreau; this is the last and most highly\rdeveloped. As a Realist, Courbet aimed to represent\rwhat he saw in the visible, tangible world. He\rrepresented Madame Borreau in a black silk dress\rembellished with lace and a matching hat. Gold\rand violet lights of sunset softly illuminate the\rbackground. However, the portrait is not idealized.\rCourbet\u2019s inclusion of her shadowed eyes and full-fleshed\rneck prompted one critic to write, \u201cI daresay\rin nature she may be very pretty, but in Courbet\u2019s\rpicture she is nothing less than offensive.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60466132"], "internet_archive": ["https://archive.org/details/clevelandart-1962.2-mme-l-laure-borreau"]}, "citations": [{"citation": "Hamerton, Philip Gilbert. \"The Salon of 1863.\" <em>The Fine Arts Quarterly Review</em> 1 (1863): 15-262.", "page_number": "Mentioned: P. 244", "url": null}, {"citation": "Mantz, Paul. \"Salon de 1863.\" <em>Gazette des Beaux-Arts</em> 14 (1863): 481-506.", "page_number": "Mentioned: P. 498-499", "url": null}, {"citation": "Burty, Philippe. \"Une Lettre de M. Courbet.\" <em>La Chronique des Arts et de la Curiosite\u0301 </em>June 7, 1863: 253.", "page_number": "Mentioned: P. 253", "url": null}, {"citation": "<em>Exposition des \u0153uvres de Gustave Courbet: a l'E\u0301cole des beaux-arts (mai 1882): Catalogu</em>e. Paris: Impr. E\u0301mile Martinet, 1882.", "page_number": "Mentioned: Supplement p. 26", "url": null}, {"citation": "Estignard, Alexandre. <em>Courbet Sa Vie, Ses Oeuvres.</em> Besan\u00e7on: Delagrange-Louys, 1896.", "page_number": "Mentioned: P. 162", "url": null}, {"citation": "Riat, Georges, and Paul Vitry. <em>Gustave Courbet, peintre</em>. Paris, France: H. Floury, 1906.", "page_number": "Reproduced: p. 214", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet, selon les caricatures et les images</em>. Paris, France: P. Rosenberg, 1920.", "page_number": "Reproduced: p. 119", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet.</em> Paris: Nilsson, 1925.", "page_number": "Mentioned: P. 72", "url": null}, {"citation": "Alexandre, Arsene. \"Portraits et Figures de Femmes.\" <em>La Renaissance </em>11 (July/August 1928).", "page_number": "Mentioned and reproduced: P. 261, no. 45", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet</em>. Paris: E\u0301ditions G. Cre\u0300s, 1929.", "page_number": "Mentioned: P. 95, 98; reproduced: Pl. 35", "url": null}, {"citation": "Courthion, Pierre. <em>Courbet</em>. Paris, France: Librairie Floury, 1931.", "page_number": "Mentioned: p. 31; Reproduced: p. 91, pl. 57", "url": null}, {"citation": "Courthion, Pierre. <em>Courbet.</em> Paris: Librairie Floury, 1931.", "page_number": "Mentioned: P. 34, 91; reproduced: Pl. 57", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet</em>. Paris, France: Braun, 1934.", "page_number": "Reproduced: p.38", "url": null}, {"citation": "Baillods, Jules. <em>Courbet Vivant</em>. Neucha\u0302tel, Switzerland: Delachaux &amp; Niestle\u0301, 1940.", "page_number": "Mentioned: P. 48", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet et son Temps; Lettres et Documents Ine\u0301dits.</em> Paris: E\u0301ditions Universelles, 1948.", "page_number": "Mentioned: P. 86", "url": null}, {"citation": "Mack, Gerstle. <em>Gustave Courbet</em>. New York, NY: Knopf, 1951.", "page_number": "Reproduced: p. 170, pl. 37", "url": null}, {"citation": "<em>Les Amis de Gustave Courbet </em>20 (1957): 11.", "page_number": "Mentioned and reproduced: P. 11", "url": null}, {"citation": "Lee, Sherman E. \"Year in Review 1962.\" <em>The Bulletin of The Cleveland Museum of Art XLVIIII</em>, no.9 (November, 1962):198-227.", "page_number": "Mentioned: p. 229, no. 89", "url": null}, {"citation": "Lurie, Ann Tzeutschler. \"Gustave Courbet, Madame Boreau..\" <em>The Bulletin of The Cleveland Museum of Art XLVIIII</em>, no.4 (April, 1962):66-71.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMadame Boreau by Courbet,\u201d April 2, 1962, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0926"}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. Cleveland, OH: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Saisselin, R\u00e9my Gilbert. \u201cPortrait in History: Some Connections between Art and Literature.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (October 1963): 281\u201388.", "page_number": "Reproduced: P. 287", "url": null}, {"citation": "Borea, E. \"Notiziario: Style, Truth, and the Portrait.\" <em>Arte Antica e Moderna </em>24 (Ottobre-Dicembre 1963): 7-8.", "page_number": "Mentioned and reproduced: P. 7-8, no. 16", "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. 170", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "<em>Courbet dans les Collections Prive\u0301es Franc\u0327aises ... 5 mai-25 juin 1966, [Galerie] Claude Aubry ... Paris. </em>Paris: Galerie C. Aubry, 1966.", "page_number": "Reproduced: no. 13", "url": null}, {"citation": "Aymar, Gordon Christian. <em>The Art of Portrait Painting; Portraits Through the Centuries As Seen Through the Eyes of a Practicing Portrait Painter</em>. Philadelphia, PA: Chilton Book Co, 1967.", "page_number": "Reproduced: p. 78, pl. 35", "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. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Laclotte, Michel, Palma Bucarelli, and He\u0301le\u0300ne Toussaint. <em>Gustave Courbet (1819-1877)</em>. Rome. Italy: De Luca, 1969.", "page_number": null, "url": null}, {"citation": "Bonniot, Roger. <em>Gustave Courbet en Saintonge, 1862-1863</em>. Paris, France: C. Klincksieck, 1973.", "page_number": "Reproduced: fig. 53; mentioned: P. 124, 209, 217-248, 269, 295-299", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p. 34, fig. 47", "url": null}, {"citation": "Daber, Alfred. <em>Courbet, 1819-1877: </em>Paris, France: Galerie Daber, 1975.", "page_number": "Reproduced: no. 6", "url": null}, {"citation": "Toussaint, He\u0301le\u0300ne. <em>Gustave Courbet: 1819-1877 : [exposition organise\u0301e par la Re\u0301union des muse\u0301es nationaux et l'Arts Council of Great Britain], Grand Palais, 30 septembre 1977-2 janvier 1978 : [catalogue</em>. Paris, France: Ministe\u0300re de la culture et de l'environnement, E\u0301ditions des muse\u0301es nationaux, 1977.", "page_number": "Reproduced: no. 68", "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. 210", "url": "https://archive.org/details/CMAHandbook1978/page/n230"}, {"citation": "Fernier, Robert. <em>La vie et l'\u0153uvre de Gustave Courbet: catalogue raisonne\u0301</em>. Lausanne, Switzerland: Bibliothe\u0300que des Arts, 1978.", "page_number": "Reproduced: vol. I, no. 358", "url": null}, {"citation": "Hofmann, Werner, and Klaus Herding. <em>Courbet und Deutschland: [Hamburger Kunsthalle, 19. Oktober-17. Dezember 1978, Sta\u0308dt. Galerie im Sta\u0308delschen Kunstinst. Frankfurt am Main, 17. Januar-18. Ma\u0308rz 1979</em>. Ko\u0308ln, Germany: Du Mont, 1978.", "page_number": "Reproduced: p. 37, fig. e", "url": null}, {"citation": "Heilmeier, Hans. \"Von Ingres bis Picasso.\" <em>Das Kunstblatt</em> (1978): 277-288.", "page_number": "Reproduced: P. 280", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "Abe, Yoshio. Courbet. <em>Ku\u0304rube</em>. To\u0304kyo\u0304, Japan: Ko\u0304dansha, 1981.", "page_number": "Reproduced: p. 116, no. 30", "url": null}, {"citation": "Foucart, Bruno, <em>Courbet</em>. Norwalk, CT: Easton Press, 1983.", "page_number": "Reproduced: p. 48; Mentioned: p. 69", "url": null}, {"citation": "Courthion, Pierre. <em>L'opera completa di Courbet</em>. Milano, Italy: Rizzoli, 1985.", "page_number": "Reproduced: no. 341", "url": null}, {"citation": "Faunce, Sarah, and Linda Nochlin. <em>Courbet Reconsidered</em>. Brooklyn, NY: Brooklyn Museum, 1988.", "page_number": "Reproduced: no. 40", "url": null}, {"citation": "ten-Doesschate Chu,, Petra. <em>Letters of Gustave Courbet</em>. Chicago, IL: University of Chicago Press, 1992.", "page_number": "Mentioned: p. 218-219; Reproduced: p. 221, fig. 35", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: P. 140", "url": null}, {"citation": "Abe, Yoshio . <em>Ku\u0304rube = Gustave Courbet</em>. To\u0304kyo\u0304, Japan: Asahi Shinbunsha, 1993.", "page_number": "Reproduced: p. 91, pl. 37", "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. 45", "url": null}, {"citation": "Andreotti, Margherita. \"The Joseph Winterbotham Collection.\" <em>Art Institute of Chicago Museum Studies</em> 20, no. 2 (1994): 111-92.", "page_number": "Mentioned: P. 112", "url": "https://www.jstor.org/stable/4112960"}, {"citation": "Kostenevich, A. G. <em>Hidden treasures revealed: impressionist masterpieces and other important French paintings preserved by the State Hermitage Museum, St. Petersburg</em>. New York, NY: Ministry of Culture of the Russian Federation, The State Hermitage Museum, St. Petersburg in association with H.N. Abrams, 1995.", "page_number": "Reproduced: p. 33", "url": null}, {"citation": "Fernier, Jean-Jacques. <em>Courbet, l'amour--: Baltasar Lobo, sculptures : Christian Welter, un regard amoureux</em>. Ornans, France: Muse\u0301e Gustave Courbet, 1996.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "ten-Doesschate Chu, Petra, and Jo\u0308rg Zutter. <em>Courbet: artiste et promoteur de son \u0153uvre</em>. Paris, France: Flammarion, 1998.", "page_number": "Reproduced: no. 19; p. 26-27", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 61", "url": null}, {"citation": "Bajou-Charpentreau, Vale\u0301rie, and Gustave Courbet. <em>Courbet</em>. Paris, France: A. Biro, 2003.", "page_number": "Reproduced: p. 268", "url": null}, {"citation": "Riat, Georges. <em>Gustave Courbet</em>. Ho Chi Minh City, Vietnam: Baseline Co, Ltd., 2008.", "page_number": "Reproduced: p. 126, fig. 70", "url": null}, {"citation": "Lobstein, Dominique. \"Le Retour de la Conference et les Salons de 1863.\" In <em>Le Retour de la Confe\u0301rence: Un Tableau Disparu, </em>29-36. [Ornans]: Muse\u0301e Gustave Courbet; Besanc\u0327on: Sekoya, 2015.", "page_number": "Reproduced: P. 32", "url": ""}, {"citation": "Schaefer, Barbara, and Wallraf-Richartz-Museum. <em>Paris 1863-1874: Revolution in Der Kunst: Vom Salon Zum Impressionismus</em>. K\u00f6ln: Wienand, 2024.", "page_number": "Mentioned and reproduced: p. 122-123, no. 3", "url": ""}], "url": "https://clevelandart.org/art/1962.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_web.jpg", "width": "684", "height": "893", "filesize": "345987", "filename": "1962.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_print.jpg", "width": "2604", "height": "3400", "filesize": "5231419", "filename": "1962.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.2/1962.2_full.tif", "width": "4123", "height": "5384", "filesize": "66624912", "filename": "1962.2_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 137259, "creators": [{"id": 1600, "description": "Gustave Courbet (French, 1819\u20131877)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy farmer's family, Courbet began his training in 1831 at the Petit S\u00e9minaire in Ornans where, beginning in 1833, he studied under \"le p\u00e8re Baud,\" who had been a pupil of Gros (q.v.). He was befriended by poet Max Buchon, who would later write the first article on Courbet, claiming that he was the artist for the people. In 1837, hoping that Gustave would become a lawyer, his father sent him to the Coll\u00e8ge Royal in Besan\u00e7on. Despite his father's ambitions, Courbet began to study art at the academy there with Charles-Antoine Flageoulot (1774-1840), a former student of David (q.v.). By 1839 Courbet had moved to Paris to pursue a career in art. He refrained from entering the \u00c9cole des Beaux-Arts, studying instead briefly with Charles de Steuben (1788-1856) and preferring to learn how to paint by copying the works of the Old Masters in the museums. Courbet also wanted to work after life models and enrolled at the Acad\u00e9mie Suisse. He began to submit paintings to the Salon, the majority of which were rejected. In 1846-47 Courbet traveled to the Netherlands where he studied the works of Rembrandt and Hals. The following year ten of his paintings were shown at the Salon, and together with his friends Baudelaire, Champfleury, and Buchon he became labeled a \"realist.\" Courbet's paintings shown at the 1851 Salon-Stonebreakers (1849, formerly Dresden Gem\u00e4ldegalerie, destroyed during World War II), Peasants of Flagey (1850-55, Mus\u00e9e des Beaux-Arts, Besan\u00e7on), and The Burial at Ornans (1849-50, Mus\u00e9e d'Orsay, Paris)-elicited criticism. Because Courbet represented the peasants as he saw them, without ennobling or idealizing them, his works met with disapproval. Moreover, these representations of peasants appeared at a time when the upper classes felt threatened by social unrest and by the instability of the republic. In 1855 Courbet financed an independent Pavillon du R\u00e9alisme near the Universal Exposition, where he showed his Painter's Studio (1854-55, Mus\u00e9e d'Orsay, Paris). He began to travel extensively, including visits to Gent, Brussels, Antwerp, Bruges, Cologne, Mainz, and Strasbourg. He returned to Germany in 1858, and while in Frankfurt, he began to paint the stag hunts he witnessed. The following year he visited the Normandy coast, painting seascapes, some of which became almost abstractions. Courbet turned to still lifes in 1862-63 when visiting the Saintonge area, yet he still continued to create landscapes and portraits. By 1870 he was offered the Legion of Honor but refused it because of his opposition to the imperial government. During the Paris Commune from March to May 1871, Courbet became an active member of the government. As chairman of the Commission for the Protection of the Artistic Monuments of Paris, he suggested the Vend\u00f4me Column be dismantled because it was an imperial symbol. The Commune decided instead to topple the column. When the Commune was defeated, Courbet was held responsible for this act of vandalism and was jailed for six months. In 1873 the government decided to rebuild the column at Courbet's expense. Unable to pay and fearful of being arrested, Courbet moved to Switzerland, where he spent the rest of his life in exile.", "name_in_original_language": null, "birth_year": "1819", "death_year": "1877", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1863, "date_added_to_oa": null, "date_text": "1863", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Madame Laure Borreau (La Dame au Chapeau noir)"], "is_highlight": false, "updated_at": "2026-04-01 19:07:10.957000"}, {"id": 141639, "accession_number": "1965.233", "share_license_status": "CC0", "tombstone": "Twilight in the Wilderness, 1860. Frederic Edwin Church (American, 1826\u20131900). Oil on canvas; unframed: 101.6 x 162.6 cm (40 x 64 in.); framed: 124 x 185 x 13 cm (48 13/16 x 72 13/16 x 5 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1965.233", "current_location": "206 American Landscape", "title": "Twilight in the Wilderness", "creation_date": "1860", "creation_date_earliest": 1860, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 101.6 x 162.6 cm (40 x 64 in.); Framed: 124 x 185 x 13 cm (48 13/16 x 72 13/16 x 5 1/8 in.)", "dimensions": {"framed": {"height": 1.24, "width": 1.85, "depth": 0.13}, "unframed": {"height": 1.016, "width": 1.626}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower right: \"F. E. CHURCH / -60-\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 316990, "title": "Frederic Edwin Church", "description": "<i>Frederic Edwin Church</i>. Smithsonian Institution, Washington, DC (organizer) (co-organizer) (February 2-March 13, 1966); Albany Institute of History and Art, Albany, NY (March 30-April 30, 1966); M. Knoedler & Co., Inc. (June 1-30, 1966).", "opening_date": "1966-03-30T05:00:00"}, {"id": 314043, "title": "Art of the United States: 1670-1966", "description": "<i>Art of the United States: 1670-1966</i>. Whitney Museum of American Art, New York, NY (organizer) (September 28-November 27, 1966).", "opening_date": "1966-09-28T04:00:00"}, {"id": 314948, "title": "Wilderness", "description": "<i>Wilderness</i>. Corcoran Gallery of Art, Washington, DC (organizer) (co-organizer) (October 9-November 14, 1971).", "opening_date": "1971-10-09T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 315054, "title": "American Light: The Luminist Movement, 1850-1875", "description": "<i>American Light: The Luminist Movement, 1850-1875</i>. National Gallery of Art, Washington, DC (organizer) (co-organizer) (February 10-June 15, 1980).", "opening_date": "1980-02-10T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 314070, "title": "A New World: Masterpieces of American Painting, 1760 - 1910", "description": "<i>A New World: Masterpieces of American Painting, 1760 - 1910</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (co-organizer) (September 7-November 13, 1983); Corcoran Gallery of Art, Washington, DC (December 7, 1983-February 12, 1984).", "opening_date": "1983-09-07T04:00:00"}, {"id": 315079, "title": "American Paradise: The World of the Hudson River School", "description": "<i>American Paradise: The World of the Hudson River School</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (October 4, 1987-January 3, 1988).", "opening_date": "1987-10-04T04:00:00"}, {"id": 315091, "title": "Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts (Paintings from the New World: American Paintings from the 18th and the 19th Century)", "description": "<i>Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts (Paintings from the New World: American Paintings from the 18th and the 19th Century)</i>. Staatliche Museen zu Berlin, Nationalgalerie, Berlin, Germany (organizer) (November 17, 1988-February 12, 1989); Orangerie des Schlosses Charlottenburg, Berlin, Germany (November 17, 1988-February 12, 1989); Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (March 3-May 15, 1989).", "opening_date": "1988-11-17T05:00:00"}, {"id": 315126, "title": "Frederic Edwin Church", "description": "<i>Frederic Edwin Church</i>. National Gallery of Art (co-organizer) (October 8, 1989-January 28, 1990).", "opening_date": "1989-10-08T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 221835, "title": "America. The New World in 19th-century Painting\r\nAmerica. Die Neue Welt in Bildern des 19. Jahrhunderts", "description": "<i>America. The New World in 19th-century Painting\r\nAmerica. Die Neue Welt in Bildern des 19. Jahrhunderts</i>. Belvedere, Wien, Austria (organizer) (March 17-June 20, 1999).", "opening_date": "1999-03-17T00:00:00"}, {"id": 221738, "title": "The American Sublime", "description": "<i>The American Sublime</i>. Tate Britain, London (organizer) (February 20-May 19, 2002); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (June 17-August 25, 2002); Minneapolis Institute of Art, Minneapolis, MN (September 22-November 17, 2002).", "opening_date": "2002-02-20T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 205195, "title": "Maine Sublime: Frederic Church\u2019s \u201cTwilight in the Wilderness\u201d", "description": "<i>Maine Sublime: Frederic Church\u2019s \u201cTwilight in the Wilderness\u201d</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2014-January 25, 2015).", "opening_date": "2014-10-04T00:00:00"}], "legacy": [{"description": "Goupil's Gallery, New York, June 1860.", "opening_date": "1860-01-01T04:56:02Z"}, {"description": "New York, Metropolitan Museum of Art and National Academy of Design, The New York Centennial Loan Exhibition of Paintings, Selected from the Private Art Galleries, (1876), no. 125, listed as being part of J. T. Johnston's collection.", "opening_date": "1876-01-01T04:56:02Z"}, {"description": "New York, Metropolitan Museum of Art, Paintings by Frederic E. Church, N. A., (28 May to 15 October1900), illustrated in catalogue as plate 6.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Baltimore, The Municipal Art Society of Baltimore, Art Loan Exhibition, (1902), no. 89, listed as the property of Miss Garrett.", "opening_date": "1902-01-01T00:00:00"}, {"description": "Washington, D. C., National Collection of Fine Arts, Smithsonian Institution, Frederic Edwin Church, (12 February to 13 March 1966), no. 44; E18/ C56 W319. Exhibition traveled to the Albany Institute of History and Art (30 March through 30 April 1966), and, without Twilight in the Wilderness, to M. Knoedler and Company, New York (1 June through 30 June 1966).", "opening_date": "1966-02-12T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Art of the United States: 1670-1966, (28 September to 27 November, 1966), no. 48, brief comments about the color in Twilight in the Wilderness by Lloyd Goodrich, p. 25, catalogue.", "opening_date": "1966-09-28T00:00:00"}, {"description": "Washington, D. C., The National Endowment for the Arts with the Corcoran Gallery of Art, Wilderness, (9 October to 14 November 1971), no. 69.", "opening_date": "1971-10-09T00:00:00"}, {"description": "Buffalo, New York, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976, (6 March to 11 April 1976), no. 10. Exhibition traveled to the Detroit Institute of Arts (5 May through 13 June 1976), The Toledo Museum of Art (4 July through 15 August 1976), and the Cleveland Museum of Art, (8 September through 10 October 1976).", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, American Light: The Luminist Movement, 1850-1875, (10 February through 15 June 1980), no. 204; includes the following remarks: in \"Design and Measurement in Luminist Art\", Lisa Andrus discusses the composition of and quality of light in Twilight in the Wilderness, p.36; Earl A. Powell's \"Luminism and the American Sublime\" describes Church's use of cadmium colors to achieve brilliant light in many of his paintings, including Twilight in the Wilderness; and Twilight's role in the development of the 19th century ideal of the sublime, p. 92; \"Church and Luminism: Light for America's Elect\" by David C. Huntington describes how Church's technique in Twilight in the Wilderness erases all evidence of the artist's touch, p. 170, illus. 167.", "opening_date": "1980-02-10T00:00:00"}, {"description": "Boston, Museum of Fine Arts, A New World: Masterpieces of American Painting, 1760- 1910, (7 September through 13 November 1983), no. 39.", "opening_date": "1983-09-07T00:00:00"}, {"description": "Also traveled to The Corcoran Gallery of Art, Washington, D. C. (7 December 1983- 12 February 1984) and, without Twilight in the Wilderness, to Grand Palais, Paris (16 March- 11 June 1984).", "opening_date": "1984-03-16T00:00:00"}, {"description": "New York, Metropolitan Museum of Art, American Paradise: The World of the Hudson River School, (4 October 1987 through 3 January 1988), pp.45, 251-4.", "opening_date": "1987-10-04T00:00:00"}, {"description": "Berlin, Staatliche Museen Preu\u00dfischer Kulturbesitz, Nationalgalerie, Orangerie des Schlosses Charlottenburg, Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, (22 November 1988 through 5 February 1989), no. 15. Exhibition traveled to Kunsthaus Zurich, (3 March - 15 May 1989).", "opening_date": "1989-03-03T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, Frederic Edwin Church, (8 October 1989 to 28 January 1990), no. 34, catalogue text by Franklin Kelly, pp. 58-59, 61-62, illus. p. 110, cat. 34.", "opening_date": "1989-10-08T00:00:00"}, {"description": "Vienna, Osterreichischen Galerie Belvedere, America: Die Neue Welt in Bildern des 19 Jahrunderts, (17 March through 20 June 1999), no. 45.", "opening_date": "1999-03-17T00:00:00"}, {"description": "London, The Tate Britain, American Sublime: Landscape Painting in the United States, 1820-1880, (21 February - 19 May 2002), no. 25; pp. 129-131, p. 55-6, illus. p. 115, 131; Exhibition traveled to the Pennsylvania Academy of Fine Arts, Philadelphia (17 June -25 August 2002) and Minneapolis Institute of Art (22 September- 17 November 2002).", "opening_date": "2002-02-21T00:00:00"}, {"description": "The Cleveland Museum of Art (06/21/2005 - 09/11/2005); \"CMA Highlights\"", "opening_date": "2005-06-21T00:00:00"}, {"description": "New York, Avery's Gallery, (1866). Also shown at Dusseldorf Gallery, New York, 1866. Both exhibitions held in connection with auction, according to The Round Table, 10 March 1866. (See reference above.)", "opening_date": null}, {"description": "New Haven, Connecticut, Yale College, Second Annual Exhibition of the Yale School of the Fine Arts, Founded as a Department of Yale College by the Late Augustus Russell Street of New Haven, Conn., (1870), no. 114, listed as the property of John T. Johnston.", "opening_date": null}, {"description": "New York, Metropolitan Museum of Art and National Academy of Design, The New York Centennial Loan Exhibition of Paintings, Selected from the Private Art Galleries, (1876), no. 125, listed as being part of J. T. Johnston's collection.", "opening_date": null}, {"description": "New York, Metropolitan Museum of Art, Paintings by Frederic E. Church, N. A., (28 May to 15 October1900), illustrated in catalogue as plate 6.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Baltimore, The Municipal Art Society of Baltimore, Art Loan Exhibition, (1902), no. 89, listed as the property of Miss Garrett.", "opening_date": "1902-01-01T00:00:00"}, {"description": "Washington, D. C., National Collection of Fine Arts, Smithsonian Institution, Frederic Edwin Church, (12 February to 13 March 1966), no. 44; E18/ C56 W319. Exhibition traveled to the Albany Institute of History and Art (30 March through 30 April 1966), and, without Twilight in the Wilderness, to M. Knoedler and Company, New York (1 June through 30 June 1966).", "opening_date": "1966-02-12T00:00:00"}, {"description": "New York, Whitney Museum of American Art, Art of the United States: 1670-1966, (28 September to 27 November, 1966), no. 48, brief comments about the color in Twilight in the Wilderness by Lloyd Goodrich, p. 25, catalogue.", "opening_date": "1966-09-28T00:00:00"}, {"description": "Washington, D. C., The National Endowment for the Arts with the Corcoran Gallery of Art, Wilderness, (9 October to 14 November 1971), no. 69.", "opening_date": "1971-10-09T00:00:00"}, {"description": "Buffalo, New York, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976, (6 March to 11 April 1976), no. 10. Exhibition traveled to the Detroit Institute of Arts (5 May through 13 June 1976), The Toledo Museum of Art (4 July through 15 August 1976), and the Cleveland Museum of Art, (8 September through 10 October 1976).", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, American Light: The Luminist Movement, 1850-1875, (10 February through 15 June 1980), no. 204; includes the following remarks: in \"Design and Measurement in Luminist Art\", Lisa Andrus discusses the composition of and quality of light in Twilight in the Wilderness, p.36; Earl A. Powell's \"Luminism and the American Sublime\" describes Church's use of cadmium colors to achieve brilliant light in many of his paintings, including Twilight in the Wilderness; and Twilight's role in the development of the 19th century ideal of the sublime, p. 92; \"Church and Luminism: Light for America's Elect\" by David C. Huntington describes how Church's technique in Twilight in the Wilderness erases all evidence of the artist's touch, p. 170, illus. 167.", "opening_date": "1980-02-10T00:00:00"}, {"description": "Boston, Museum of Fine Arts, A New World: Masterpieces of American Painting, 1760- 1910, (7 September through 13 November 1983), no. 39.", "opening_date": "1983-09-07T00:00:00"}, {"description": "Also traveled to The Corcoran Gallery of Art, Washington, D. C. (7 December 1983- 12 February 1984) and, without Twilight in the Wilderness, to Grand Palais, Paris (16 March- 11 June 1984).", "opening_date": "1984-03-16T00:00:00"}, {"description": "Berlin, Staatliche Museen Preu\u00dfischer Kulturbesitz, Nationalgalerie, Orangerie des Schlosses Charlottenburg, Bilder Aus des Neuen Welt: Amerikanische Malerei des 18. und 19. Jahrhunderts, (22 November 1988 through 5 February 1989), no. 15. Exhibition traveled to Kunsthaus Zurich, (3 March - 15 May 1989).", "opening_date": "1989-03-03T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, Frederic Edwin Church, (8 October 1989 to 28 January 1990), no. 34, catalogue text by Franklin Kelly, pp. 58-59, 61-62, illus. p. 110, cat. 34.", "opening_date": "1989-10-08T00:00:00"}, {"description": "Vienna, Osterreichischen Galerie Belvedere, America: Die Neue Welt in Bildern des 19 Jahrunderts, (17 March through 20 June 1999), no. 45.", "opening_date": "1999-03-17T00:00:00"}, {"description": "London, The Tate Britain, American Sublime: Landscape Painting in the United States, 1820-1880, (21 February - 19 May 2002), no. 25; pp. 129-131, p. 55-6, illus. p. 115, 131; Exhibition traveled to the Pennsylvania Academy of Fine Arts, Philadelphia (17 June -25 August 2002) and Minneapolis Institute of Art (22 September- 17 November 2002).", "opening_date": "2002-02-21T00:00:00"}]}, "provenance": [{"description": "William T. Walters [1820-1894], Baltimore, MD, consigned to Samuel Putnam Avery for sale at Henry H. Leeds and Co.", "citations": [], "footnotes": ["<div><!--block-->Walters, a prominent collector and namesake of the Walters Art Museum, commissioned the painting from Church in 1860.&nbsp;</div>"], "date": "1860-1864", "sortorder": 1}, {"description": "(Henry H. Leeds and Co., New York, NY, Feb. 12-13, 1864)", "citations": [], "footnotes": ["<div><!--block-->Consigned to Samuel Putnam Avery by Walters, the painting seems to have been bought in by Avery at this sale and then put up for auction again in 1866.&nbsp;</div>"], "date": "1864", "sortorder": 2}, {"description": "(Samuel Putnam Avery [1822-1904], New York, NY)", "citations": [], "footnotes": ["<div><!--block-->After likely buying in the painting at the 1864 auction, Avery, a close associate of Walters, offered it for sale again in 1866.&nbsp;</div>"], "date": "1864-1866", "sortorder": 3}, {"description": "(Leeds and Minor at Old Dusseldorf Gallery, New York, NY, March 9, 1866, no. 174, sold to John Taylor Johnston)", "citations": [], "footnotes": ["<div><!--block-->This auction included \u201cthe entire collection of the foreign oil and water color paintings, consigned to Samuel P. Avery,\" \u201dto which will be added the celebrated picture by F.E. Church, Twilight in the Wilderness.\"&nbsp; As in the 1864 auction, here, too, Walters consigned the painting to Avery for sale.&nbsp;</div>"], "date": "1866", "sortorder": 4}, {"description": "John Taylor Johnston [1820-1893], New York, NY", "citations": [], "footnotes": [], "date": "1866-1876", "sortorder": 5}, {"description": "(Chickering Hall, John Taylor Johnston sale, Dec. 19-22, 1876, sold to John Work Garrett?)", "citations": [], "footnotes": ["<div><!--block-->According to Emily de Forest, Johnston's daughter and Robert de Forest's wife, the painting was purchased at this sale by Mary Garrett.&nbsp; Lockwood de Forest, Robert's brother, however, maintains it was purchased by John Work Garrett and then descended to his daughter, Mary.&nbsp;</div>"], "date": "1876", "sortorder": 6}, {"description": "John Work Garrett [1820-1884], Baltimore, MD, by descent to his daughter, Mary E. Garrett?", "citations": [], "footnotes": [], "date": "1876-probably 1884", "sortorder": 7}, {"description": "Mary E. Garrett [1854-1909], Baltimore, MD, sold to Robert de Forest", "citations": [], "footnotes": ["<div><!--block-->Mary Garrett was a close friend of the de Forests.&nbsp;</div>"], "date": "Probably 1884-at least 1902", "sortorder": 8}, {"description": "Robert de Forest [1848-1931], Parkers Point, CT, by descent to his brother, Lockwood de Forest", "citations": [], "footnotes": ["<div><!--block-->&nbsp;According to Robert's wife, Emily, he purchased the painting from Mary Garrett.&nbsp;</div>"], "date": "After 1902-1931", "sortorder": 9}, {"description": "Lockwood de Forest [1850\u20131932], Santa Barbara, CA, by descent to his son, Alfred Victor de Forest", "citations": [], "footnotes": [], "date": "1931-1932", "sortorder": 10}, {"description": "Alfred Victor de Forest [1888-1945], Marlborough, NH, by descent to his son, Taber de Forest", "citations": [], "footnotes": [], "date": "1932-1945", "sortorder": 11}, {"description": "Taber de Forest [1913\u20131978], Maine, sold to David Wilson McCoy", "citations": [], "footnotes": [], "date": "1945-early 1960s", "sortorder": 12}, {"description": "David Wilson McCoy [1916\u20132011], Lyme, CT, sold to Robert Paul Weimann, Jr., Ansonia, CT", "citations": [], "footnotes": [], "date": "1963", "sortorder": 13}, {"description": "Robert Paul Weimann, Jr. [1925\u20131978], Ansonia, CT, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "c. 1963\u201365", "sortorder": 14}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965-", "sortorder": 15}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An image of this painting has a cameo in the Harrison Ford film <em>Clear and Present Danger</em>.", "description": "In his New York studio, Church painted this spectacular view of a blazing sunset over wilderness near Mount Katahdin in Maine, which he had sketched during a visit nearly two years earlier. Although Church often extolled the grandeur of American landscape in his work, this painting appears to have additional overtones. Created on the eve of the Civil War, the painting's subject can be interpreted as symbolically evoking the coming conflagration. Church's considerable technical skills and clever showmanship contributed to his fame as the premier artist of his generation. Rather than debut this painting in an annual exhibition with works by other artists as was the custom, Church instead exhibited it by itself at a prestigious art gallery. Coaxed by advance publicity and highly favorable press reviews, several hundred spectators flocked to admire it during its seven-week run.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q56879420"], "internet_archive": ["https://archive.org/details/clevelandart-1965.233-twilight-in-the-wild"]}, "citations": [{"citation": "<em>New York Herald</em> (June 8, 1860): 10.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, Oct. 21, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\"Art Exhibitions and Sales,\" <em>The Nation</em> 2 (March 15, 1866): 346.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, Oct. 21, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\"Art Notes,\" <em>The Round Table</em> 3 (March 10, 1866): 151.", "page_number": null, "url": null}, {"citation": "\"Art Exhibitions and Sales,\u201d <em>The Nation</em> 2 (March 15, 1866): 346.", "page_number": null, "url": null}, {"citation": "Eleanor Harvey, email to Victoria Sears Goldman, April 8, 2013, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Auction Sales,\u201d<em> New York Times</em> (March 6, 1866): 6.", "page_number": null, "url": null}, {"citation": "\u201cArt Notes,\u201d <em>The Round Table</em> 3 (March 10, 1866): 151.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, May 5, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Franklin W. Kelly, letter to William S. Talbot, Oct. 21, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sander, Kathleen Waters. <em>Mary Elizabeth Garrett: Society and Philanthropy in the Gilded Age</em>. Baltimore, Md: Johns Hopkins University Press, 2008.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Emily de Forest, letter to Lockwood de Forest, Sept. 10, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lockwood de Forest, letter to Emily de Forest, Sept. 16, 1931, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marion de Forest, letter to James H. Dempsey, Jr., June 6, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William S. Talbot, letter to Kevin Avery, Oct. 27, 1986, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marion de Forest, letter to James H. Dempsey, Jr., June 6, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to Sherman Lee, July 10, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Taber de Forest, letter to William S. Talbot, Jan. 12, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Harold Kirker, letter to William S. Talbot, Sept. 18, 1969, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marion de Forest, letter to James H. Dempsey, Jr., June 6, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Taber de Forest, letter to William S. Talbot, Jan. 12, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Taber de Forest, letter to William S. Talbot, Jan. 12, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Coloquio Internacional de Historia del Arte Zacatecas, Zac. 1994, Gustavo Curiel, Renato Gonza\u0301lez Mello, Juana Gutie\u0301rrez Haces, and Universidad Nacional Auto\u0301noma de Me\u0301xico Instituto de Investigaciones Este\u0301ticas. <em>Arte, Historia E Identidad En Ame\u0301rica : Visiones Comparativas : XVII Coloquio Internacional de Historia Del Arte.</em> Me\u0301xico: UNAM, Instituto de Investigaciones Este\u0301ticas, 1994.", "page_number": "Mantioned p. 255.", "url": ""}, {"citation": "Albany Institute of History and Art, Tammis Kane Groft, and Mary Alice Mackay. <em>Albany Institute of History &amp; Art : 200 Years of Collecting. </em>1st ed. New York, [Lanham, Md.]: Hudson Hills Press in association with Albany Institute of History and Art, 1998.", "page_number": "Mentioned p. 102.", "url": ""}, {"citation": "Stebbins, Theodore E., Jr. <em>Rethinking American Art: Collectors, Critics, and the Changing Canon</em>. (Boston: Godine, 2025).", "page_number": "Mentioned pp. 16 and 73.", "url": ""}, {"citation": "Barringer, Tim, \"Anglo-American Sublime,\" <em>Magazine Antiques</em> 192 (November/December 2025).", "page_number": "Mentioned p. 114, 117; reproduced p. 117.", "url": ""}, {"citation": "Kornhauser, Elizabeth Mankin, T. J. Barringer, Dorothy Mahon, Christopher Riopelle, Shannon Vittoria, Metropolitan Museum of Art (New York, N.Y.), and National Gallery (Great Britain). <em>Thomas Cole\u2019s Journey : Atlantic Crossings</em>. New York: The Metropolitan Museum of Art, 2018.", "page_number": "Mentioned and reproduced p. 239.", "url": ""}, {"citation": "Avery, Kevin J., and Elizabeth Jacks. <em>Sanford R. Gifford in the Catskills. </em>Edited by Kate Menconeri. Catskill, N.Y.: Thomas Cole National Historic Site, 2017.", "page_number": "Mentioned, p. 15; reproduced, p. 14.", "url": ""}, {"citation": "O\u2019Keeffe, Georgia, Tate Modern (Gallery), Kunstforum Wien, and Art Gallery of Ontario. <em>Georgia O\u2019Keeffe.</em> Edited by Tanya Barson. New York: Abrams, 2016.", "page_number": "Mentioned and reproduced, p. 11.", "url": ""}, {"citation": "Mitchell, Mark D., <em>George Inness in Italy.</em> Philadelphia, Pa.: Philadelphia Museum of Art, 2011.", "page_number": "Mentioned, p. 21; reproduced, p. 22.", "url": ""}, {"citation": "Howat, John K., <em>Frederic Church. </em>New Haven: Yale University Press, 2005.", "page_number": "Mentioned, pp. 99-10; reproduced, cover (detail), p. 99.", "url": ""}, {"citation": "Kusserow, Karl, Alan C. Braddock, Miranda Belarde-Lewis, Teddy Cruz, Rachael Ziady DeLue, Mark Dion, Fonna Forman, et al. <em>Nature\u2019s Nation: American Art and Environment.</em> Princeton, NJ: Princeton University Art Museum, 2018.", "page_number": "Mentioned, p. 123.", "url": ""}, {"citation": "<em>Mizue</em> 820 (August 1973).", "page_number": "Reproduced, p. 39.", "url": ""}, {"citation": "\"Must This Mansion Be Destroyed?,\" <em>Life </em>60 (May 13, 1996).", "page_number": "Mentioned and reproduced p. 76.", "url": ""}, {"citation": "<em>Judy Ledgerwood: Twilight in the Wilderness, </em>exh. cat. (New York: Gray New York, 2025).", "page_number": "Mentioned p. 5.", "url": ""}, {"citation": "Johnson, Victoria. <em>Glorious Country, How the Artist Frederic Church Brought the World to America and America to the World.</em> (New York: Scribner, 2026).", "page_number": "Mentioned, pp. 154-57, 164-66, 271, 308; reproduced, color plate.", "url": ""}, {"citation": "\"Mr. Church's Last Picture,\" <em>New York Times</em> (Jun. 7, 1860).", "page_number": null, "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. 185", "url": "https://archive.org/details/CMAHandbook1966/page/n209"}, {"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. 185", "url": "https://archive.org/details/CMAHandbook1969/page/n209"}, {"citation": "Talbot, William S. \u201cAmerican Visions of Wilderness.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (April 1969): 151\u2013166.", "page_number": "Mentioned and reproduced: p. 159-163, figs. 9-11", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "National Endowment for the Arts, and Corcoran Gallery of Art. <em>Wilderness</em>. New York: Printed by Benson Litho; for sale by the Corcoran Gallery of Art, Washington, 1971.", "page_number": "Cat. No. 69", "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. 229", "url": "https://archive.org/details/CMAHandbook1978/page/n249"}, {"citation": "New York, Metropolitan Museum of Art, <em>American Paradise: The World of the Hudson River School,</em> (4 October 1987 through 3 January 1988).", "page_number": "pp. 45, 251-4.", "url": ""}, {"citation": "Carr, Gerald. \"Frederic Edwin Church and Mexico.\" In <em>Arte, Historia e Identidad en America: Visiones Comparativas, </em>edited by Gustavo Curiel. Mexico: Universidad Nacional Autonoma de Mexico, 1994.", "page_number": "Mentioned: p. 255", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 48, p. 48 - 49", "url": ""}, {"citation": "Keck, Michaela. <em>Walking in the Wilderness: The Peripatetic Tradition in Nineteenth-Century American Literature and Painting</em>. Heidelberg: Winter, 2006.", "page_number": "p. 160, fig. 3.28", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 8, p. 11; p. 74 - 75", "url": ""}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM2008-08/page/8"}, {"citation": "Cole, Mark. \"New Spaces in the Cleveland Museum of Art.\" <em>American Art </em>24, no. 2 (Summer 2010)", "page_number": "Mentioned: p. 16; Reproduced: p. 16", "url": null}, {"citation": "Mitchell, Mark DeSaussure, and George Inness. <em>George Inness in Italy</em>. Philadelphia, PA: Philadelphia Museum of Art, 2011.", "page_number": "21. Reproduced: 22, fig. 7", "url": null}, {"citation": "Janson, H. W., Penelope J. E. Davies, and H. W. Janson. <em>Janson's History of Art: The Western Tradition.</em> Upper Saddle River, NJ: Prentice Hall, 2011.", "page_number": "Mentioned and reproduced: P. 834-835, fig. 24.10", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 48; reproduced: P. 42-43", "url": ""}, {"citation": "Raab, Jennifer. <em>Frederic Church: The Art and Science of Detail</em>. New Haven, CT : Yale University Press, 2015.", "page_number": "Mentioned and reproduced: P. 93, fig. 40", "url": null}, {"citation": "Sotheby's (Firm). <em>American Paintings, Works on Paper and Sculpture: The Collection of A. Alfred Taubman, Volume Three.</em> New York: Sotheby's, 2015.", "page_number": "Reproduced: P. 68", "url": null}, {"citation": "Avery, Kevin J. <em>Sanford R. Gifford in the Catskills.</em> Catskill, N.Y.: Thomas Cole National Historic Site, 2017.", "page_number": "Reproduced: p. 14, fig. 12", "url": null}, {"citation": "Fortenberry, Diane, ed.<em> The Art Museum.</em> London; New York: Phaidon Press, 2017.", "page_number": "Reproduced: P. 285, no. 4", "url": null}, {"citation": "Kornhauser, Elizabeth Mankin. \"Cole's Legacy.\" In <em>Thomas Cole's Journey: Atlantic Crossings. </em>Elizabeth Mankin Kornhauserand T. J. Barringer. New York: The Metropolitan Museum of Art, 2018.", "page_number": "Reproduced: p. 239, fig. 141", "url": null}, {"citation": "Christie' New York. <em>Post-War and Contemporary Art; Afternoon Session. May 15, 2018.<br></em>", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Crosman, Christopher B. <em>John Moore: After the Rain, October 24 - December 6, 2019.</em> New York: Hirschl and Adler Modern, 2019.", "page_number": "Reproduced: P. 10", "url": ""}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Reproduced: Frontispiece, P. 102, fig. 43; Mentioned: P. 102", "url": ""}, {"citation": "Neely, Evan Robert. <em>Political Economy, Race, and the Image of Nature in the United States, 1825-1878. </em>New York: Routledge, 2024.", "page_number": "Mentioned and Reproduced: p. 98", "url": ""}, {"citation": "Diaz, Eva. \"Decolonizing Site: Place-scape and Land-sense.\" In <em>Widening the Lens: Photography, Ecology, and the Contemporary Landscape, </em>edited by Dan Leers, 37-48. Pittsburgh: Carnegie Museum of Art, 2024.", "page_number": "Reproduced: p. 37", "url": ""}, {"citation": "Barringer, Tim. \"Anglo-American Sublime.\" <em>The Magazine Antiques</em> 192, n. 6 (November/December 2025): 112-117.", "page_number": "Mentioned: p. 114 ; Mentioned and reproduced: p. 117", "url": ""}], "url": "https://clevelandart.org/art/1965.233", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_web.jpg", "width": "900", "height": "562", "filesize": "254485", "filename": "1965.233_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_print.jpg", "width": "3400", "height": "2123", "filesize": "1604230", "filename": "1965.233_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.233/1965.233_full.tif", "width": "7673", "height": "4791", "filesize": "110309980", "filename": "1965.233_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.233/1965.233_alt0_web.jpg", "width": "900", "height": "656", "filesize": "336550"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.233/1965.233_alt0_print.jpg", "width": "3400", "height": "2478", "filesize": "2517286"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.233/1965.233_alt0_full.tif", "width": "4336", "height": "3160", "filesize": "41147088"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 141639, "creators": [{"id": 2697, "description": "Frederic Edwin Church (American, 1826\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "1860", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:03:28.051000"}, {"id": 149410, "accession_number": "1978.63", "share_license_status": "CC0", "tombstone": "In the Waves (Dans les Vagues), 1889. Paul Gauguin (French, 1848\u20131903). Oil on fabric; framed: 123.8 x 106 x 7 cm (48 3/4 x 41 3/4 x 2 3/4 in.); unframed: 92.5 x 72.4 cm (36 7/16 x 28 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. William Powell Jones, 1978.63", "current_location": "222 Impressionism & Post-Impressionism", "title": "In the Waves (Dans les Vagues)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "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: 123.8 x 106 x 7 cm (48 3/4 x 41 3/4 x 2 3/4 in.); Unframed: 92.5 x 72.4 cm (36 7/16 x 28 1/2 in.)", "dimensions": {"framed": {"height": 1.238, "width": 1.06, "depth": 0.07}, "unframed": {"height": 0.925, "width": 0.724}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower center: P Gauguin. 89-\r\n", "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": 441402, "title": "The Art of Paul Gauguin", "description": "<i>The Art of Paul Gauguin</i>. National Gallery of Art, Washington, D.C. (organizer) (May 1-July 31, 1988); The Art Institute of Chicago, Chicago, IL (September 17-December 11, 1988); Galeries Nationales du Grand Palais, Paris, France, Paris, France (January 9-April 24, 1989).", "opening_date": "1988-05-01T04:00:00"}, {"id": 218060, "title": "Gauguin's 'Nirvana'. Painters at Le Pouldu, 1889-1890", "description": "<i>Gauguin's 'Nirvana'. Painters at Le Pouldu, 1889-1890</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (January 27-April 29, 2001).", "opening_date": "2001-01-27T00:00:00"}, {"id": 220471, "title": "Gauguin and the Origins of Symbolism", "description": "<i>Gauguin and the Origins of Symbolism</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (September 28, 2004-January 9, 2005).", "opening_date": "2004-09-28T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. 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": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"id": 229635, "title": "Gauguin: Maker of Myth", "description": "<i>Gauguin: Maker of Myth</i>. Tate Modern, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 30, 2010-January 18, 2011); National Gallery of Art, Landover, MD (February 21-May 30, 2011).", "opening_date": "2010-09-30T00:00:00"}, {"id": 230536, "title": "Friction of Ideas: Gauguin, Van Gogh, Bernard", "description": "<i>Friction of Ideas: Gauguin, Van Gogh, Bernard</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (organizer) (February 6-June 22, 2014).", "opening_date": "2014-02-06T00:00:00"}, {"id": 216766, "title": "Gauguin: Artist as Alchemist", "description": "<i>Gauguin: Artist as Alchemist</i>. The Art Institute of Chicago, Chicago, IL (organizer) (June 25-September 10, 2017); Galeries Nationales du Grand Palais, 75008 Paris, France (October 9, 2017-January 21, 2018).", "opening_date": "2017-06-25T00:00:00"}], "legacy": [{"description": "Paris, Caf\u00e9 de M. Volpini. Exposition de peintures du Groupe Impressionniste et Synth\u00e9tiste (1889), no. 44, Dans les vagues.", "opening_date": "1889-01-01T05:00:00Z"}, {"description": "Paris, Soci\u00e9t\u00e9 du Salon d'Automne au Grand Palais. (1906), no. 25, L'Ondine (Bretagne), G. Fayet collection.", "opening_date": "1906-01-01T00:00:00"}, {"description": "Paris, Galerie L. Dru. Exposition r\u00e9trospective de P. Gauguin (1923), no. 12, 1889, La femme de la mer.", "opening_date": "1923-01-01T00:00:00"}, {"description": "Basel, Kunsthalle. Paul Gauguin 1848-1903 (1928), no. 59, Die Welle, Leicester Galleries, London.", "opening_date": "1928-01-01T00:00:00"}, {"description": "Berlin, Galerie Thannhauser. Paul Gauguin 1848-1903 (1928), no. 42.", "opening_date": "1928-01-01T00:00:00"}, {"description": "New York, Museum of Modern Art. C\u00e9zanne, Gauguin, Seurat, Van Gogh (1929), no. 42 (repr.).", "opening_date": "1929-01-01T00:00:00"}, {"description": "Cleveland, Kinney and Levan Building. Catalogue of the Twentieth Anniversary Exhibition under the Auspices of the Cleveland School of Art (1936), no. 275.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Wildenstein. Paul Gauguin 1848-1903 (1936), no. 11.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Cambridge, Mass., Fogg Art Museum. Paul Gauguin 1848-1903 (1936), no. 12.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Toledo Museum of Art. C\u00e9zanne-Gauguin (1936), no. 4 (repr.), lent by Mr. and Mrs. Frank H. Ginn.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Wildenstein. A Loan Exhibition of Paul Gauguin (1946), no. 6, lent by Mr. and Mrs. W. Powell Jones; 22 (repr.).", "opening_date": "1946-01-01T00:00:00"}, {"description": "Museum of Fine Arts, Houston. Paul Gauguin, His Place in the Meeting of East and West (1954), no. 14 (Odine [sic] or Woman in the Waves).", "opening_date": "1954-01-01T00:00:00"}, {"description": "New York, Wildenstein. Loan Exhibition: Gauguin (1956), no. 18, 37 (repr.).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Palm Beach, Society of the Four Arts; Coral Gables, Lowe Gallery of the University of Miami. Paul Gauguin 1848-1903 (1956), no. 13 (repr.).", "opening_date": "1956-01-01T00:00:00"}, {"description": "Art Institute of Chicago; New York, Metropolitan Museum of Art. Gauguin (1959), no. 18, 35 (repr.).", "opening_date": "1959-01-01T00:00:00"}, {"description": "New York, Solomon R. Guggenheim Museum. Gauguin and the Decorative Style (1966), 46.", "opening_date": "1966-01-01T00:00:00"}, {"description": "London, Tate Gallery. Gauguin and the Pont-Aven Group (1966), 21, no. 17 (Woman in the Waves), 22, pl. 14c.", "opening_date": "1966-01-01T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario; Amsterdam, Van Gogh Museum. Vincent van Gogh and the Birth of Cloisonism (1981), 44, 65 (repr.), 204-5.", "opening_date": "1981-01-01T00:00:00"}, {"description": "Baltimore, Walters Art Gallery. Gauguin and the School of Pont-Aven (1994-95), 43, add. no. 1 (repr.).", "opening_date": "1994-01-01T00:00:00"}]}, "provenance": [{"description": "On consignment with Boussod & Valadon, Paris, FR.", "citations": [], "footnotes": ["<div><!--block-->Under the title given by Gauguin, Femme nue dans la vague. (see, John Rewald, 1973, 49).</div>"], "date": "1890", "sortorder": null}, {"description": "(Gauguin sale, Paris, FR, February 23, 1891, lot 14, to M. Jeanson)", "citations": [], "footnotes": null, "date": "1891", "sortorder": 2}, {"description": "(Joseph Hessel, Paris, FR, March 1906, sold to Gustave Fayet)", "citations": [], "footnotes": null, "date": "1906", "sortorder": 3}, {"description": "(Gustave Fayet [1865\u20131925], Paris, FR, February 1907, sold to Ambroise Vollard)", "citations": [], "footnotes": null, "date": "1906\u20131907", "sortorder": 4}, {"description": "(Paul \u00c9luard, Paris, FR, who probably bought it at Galerie Dru in 1923)", "citations": [], "footnotes": null, "date": "probably 1923", "sortorder": 5}, {"description": "(Drouot, Paris, FR, December 12, 1927, lot 103, sold to Hessel)", "citations": [], "footnotes": null, "date": "1927", "sortorder": 6}, {"description": "Leicester Galleries, London, UK.", "citations": [], "footnotes": null, "date": "1928", "sortorder": 7}, {"description": "Purchased by Frank H. Ginn, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929", "sortorder": 8}, {"description": "Mr. and Mrs. Powell Jones, Gates Mills, OH, given to the Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "1978", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1978\u2013", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": ["610.68", "1110.78"], "did_you_know": "Gauguin likely painted this work of art during his time in a small coastal village called Pont-Aven where he sought to immerse himself in nature and escape modern civilization.", "description": "Painted at Pont-Aven in northwest France, this depiction of a nude figure throwing herself into the sea suggests a metaphor for a modern European woman forsaking civilization and abandoning herself to her natural, primitive instincts. The simplified lines and exaggerated colors, especially the contrasting green and orange, seem invented rather than observed from life. Exhibiting the painting at the Caf\u00e9 Volpini in Paris in 1889, Gauguin established himself as a leader of the Symbolist movement in art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473553"], "internet_archive": ["https://archive.org/details/clevelandart-1978.63-in-the-waves-dans-le"]}, "citations": [{"citation": "Washington/Chicago/Paris. <em>The Art of Paul Gauguin (1988-89)</em>, 74, 199, no. 80 (repr.) (English ed.); no. 80 (repr.) (French ed.).", "page_number": "", "url": ""}, {"citation": "Hartford, CT: Wadsworth Atheneum. <em>Gauguin's Nirvana. Painters at Le Pouldu 1889-90</em>. color repr. p. 132, cat. no. 3, fig. no. 178, p. 149.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Paul Gauguin: Paris, 1889</em>, ex. cat. no. 43", "page_number": "", "url": ""}, {"citation": "Tate Modern, London. <em>Gauguin: Maker of Myth.</em> ex. cat. 92, p. 161.", "page_number": "", "url": ""}, {"citation": "Henning, Edward B. \u201c\u2018Woman in the Waves\u2019 by Paul Gauguin.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 8 (October 1984): 280\u2013289.", "page_number": "Mentioned and reproduced: p. 280\u201389.", "url": "http://www.jstor.org/stable/25159880"}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: P. 48, pl. III; Mentioned and reproduced: P. 108, no. 16", "url": ""}, {"citation": "Robinson, William H. \"Puvis De Chavannes's \"Summer\" and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Reproduced and Mentioned: p. 13-14", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Robinson, William H. \"Vuillard's <em>Under the Trees</em> from the Nabi Cycle <em>The Public Gardens</em>.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 4 (1992): 111-27.", "page_number": "Reproduced and Mentioned: p. 113", "url": "https://www.jstor.org/stable/25161356"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 274-279, Vol. I, no. 100", "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. 293", "url": ""}, {"citation": "Pinchon, Pierre. \"<em>Tahiti Mysterieux Rivage 1890-1895.\" </em>Dossier de l'art, 252 (September 2017): 28-45.", "page_number": "Reproduced: p. 31", "url": ""}, {"citation": "Groom, Gloria Lynn, ed. <em>Gauguin: Artist as Alchemist.</em> Chicago: The Art Institute of Chicago, 2017.", "page_number": "Reproduced: p. 56 (detail); pp. 190-191, cat. #118; Mention: p. 188", "url": null}, {"citation": "Fe\u0301melat, Armelle. <em>Gauguin, d'art et de liberte\u0301</em>. Neuilly-sur-Seine: Michel Lafon: BeauxArts \u00c9ditions, 2017.", "page_number": "Reproduced: P. 112", "url": null}, {"citation": "Gue\u0301gan, Ste\u0301phane. <em>Gauguin: voyage au bout de la terre.</em> Paris: Che\u0302ne Editions, 2017.", "page_number": "Reproduced: P. 122", "url": null}, {"citation": "Tate Gallery. \"Exhibition Diary: Autumn Highlights.\" <em>Tate Etc. </em>41 (Autumn 2017): 14.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Brettell, Richard R. <em>On Modern Beauty: Three Paintings by Manet, Gauguin, and Cezanne</em>. Los Angeles: The J. Paul Getty Museum, 2019.", "page_number": "Reproduced: P. 45, no. 29", "url": null}, {"citation": "Jamet, Christian. <em>Gauguin: Les Chemins de la Spiritualite\u0301. </em>Paris: Cohen&amp;Cohen, 2020.", "page_number": "Mentioned and reproduced: P. 78-81, ill. 46", "url": ""}, {"citation": "Marangoni, Eleonora. <em>Viceversa: Il Mondo Visto di Spalle</em>. [Monza]: Johan &amp; Levi editore, 2020.", "page_number": "Mentioned and reproduced: P. 73-74, fig. 61", "url": ""}, {"citation": "Cariou, A., Dorthe Vangsgaard Nielsen, Timothy Stroud, Rene\u0301 Lauritsen, and Paul Gauguin. <em>Gauguin and His Friends.</em> [Copenhagen] : Ordrupgaard,2022.", "page_number": "Mentioned and reproduced: p. 83, fig. 32", "url": ""}, {"citation": "Boyle-Turner, Caroline. <em>Paul Gauguin: Une Renaissance a\u0300 Pont-Aven. </em>Cha\u0302teaulin: Locus Solus,2023.", "page_number": "Reproduced: p. 27", "url": ""}], "url": "https://clevelandart.org/art/1978.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_web.jpg", "width": "700", "height": "900", "filesize": "277344", "filename": "1978.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_print.jpg", "width": "2646", "height": "3400", "filesize": "3820562", "filename": "1978.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.63/1978.63_full.tif", "width": "11539", "height": "14827", "filesize": "513298268", "filename": "1978.63_full.tif"}}, "alternate_images": [{"date_created": "2007-10-16T19:27:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.63/1978.63_alt0_web.jpg", "width": "692", "height": "893", "filesize": "513409"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.63/1978.63_alt0_print.jpg", "width": "2633", "height": "3400", "filesize": "7561382"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.63/1978.63_alt0_full.tif", "width": "4119", "height": "5318", "filesize": "65749204"}}, {"date_created": "2017-05-23T13:47:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.63/1978.63_alt1_web.jpg", "width": "900", "height": "654", "filesize": "273245"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.63/1978.63_alt1_print.jpg", "width": "3400", "height": "2472", "filesize": "3680807"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.63/1978.63_alt1_full.tif", "width": "15662", "height": "11386", "filesize": "535014324"}}], "creditline": "Gift of Mr. and Mrs. William Powell Jones", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 149410, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:18.910000"}, {"id": 125249, "accession_number": "1947.209", "share_license_status": "CC0", "tombstone": "The Large Plane Trees (Road Menders at Saint-R\u00e9my), 1889. Vincent van Gogh (Dutch, 1853\u20131890). Oil on fabric; framed: 104.5 x 124.5 x 7.6 cm (41 1/8 x 49 x 3 in.); unframed: 73.4 x 91.8 cm (28 7/8 x 36 1/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1947.209", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Large Plane Trees (Road Menders at Saint-R\u00e9my)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 104.5 x 124.5 x 7.6 cm (41 1/8 x 49 x 3 in.); Unframed: 73.4 x 91.8 cm (28 7/8 x 36 1/8 in.)", "dimensions": {"framed": {"height": 1.045, "width": 1.245, "depth": 0.076}, "unframed": {"height": 0.734, "width": 0.918}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312052, "title": "Work by Vincent Van Gogh", "description": "<i>Work by Vincent Van Gogh</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3-December 12, 1948).", "opening_date": "1948-11-03T04:00:00"}, {"id": 338462, "title": "Van Gogh: Paintings and Drawings", "description": "<i>Van Gogh: Paintings and Drawings</i>. The Metropolitan Museum of Art, New York, NY (October 21, 1949-January 15, 1950); The Art Institute of Chicago, Chicago, IL (February 1-April 15, 1950).", "opening_date": "1949-10-21T05:00:00"}, {"id": 300437, "title": "Four Modes of Composition", "description": "<i>Four Modes of Composition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 27, 1954).", "opening_date": "1954-09-10T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 338466, "title": "Van Gogh in St. Remy and Auvers", "description": "<i>Van Gogh in St. Remy and Auvers</i>. The Metropolitan Museum of Art, New York, NY (organizer) (November 25, 1986-March 22, 1987).", "opening_date": "1986-11-25T05:00:00"}, {"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": 338459, "title": "Vincent van Gogh", "description": "<i>Vincent van Gogh</i>. Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (March 30-July 29, 1990).", "opening_date": "1990-03-30T05:00:00"}, {"id": 441657, "title": "Vincent van Gogh 1990", "description": "<i>Vincent van Gogh 1990</i>. Kr\u00f6ller-M\u00fcller Museum (co-organizer) (March 30-July 29, 1990); Rijksmuseum Vincent van Gogh, Amsterdam, Netherlands (organizer) (co-organizer) (March 30-July 29, 1990).", "opening_date": "1990-03-30T05:00:00"}, {"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": 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": 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); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 211379, "title": "Van Gogh: Up Close", "description": "<i>Van Gogh: Up Close</i>. Philadelphia Museum of Art, Philadelphia, PA (January 26-May 6, 2012); National Gallery of Canada, Ottawa, Ont.,, Canada (organizer) (May 25-September 2, 2012).", "opening_date": "2012-01-26T00:00:00"}, {"id": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Phillips Collection, Washington, DC (organizer) (October 12, 2013-February 2, 2014); The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 448164, "title": "There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art", "description": "<i>There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art</i>. The Cleveland Museum of Art (organizer) (September 17-December 5, 2021).", "opening_date": "2021-09-17T04:00:00"}, {"id": 538102, "title": "Vincent van Gogh: Poets and Lovers", "description": "<i>Vincent van Gogh: Poets and Lovers</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (September 14, 2024-January 19, 2025) https://www.nationalgallery.org.uk/exhibitions/van-gogh-poets-and-lovers.", "opening_date": "2024-09-14T04:00:00"}], "legacy": [{"description": "<em>Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants</em>.Pavillon de la Ville de Paris, Paris, France (1890).", "opening_date": null}, {"description": "<em>Exposition Vincent van Gogh. Boulevard \u00e0 St-R\u00e9my</em>, Provence, France:1889-90. Galerie Bernheim Jeune, Paris, France (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "<em>Quelques oeuvres de Vincent van Gogh</em>. Galerie Druet, Paris, France (1908).", "opening_date": "1908-01-01T00:00:00"}, {"description": "<em>Exhibition of French Painting of the Nineteenth and Twentieth Centuries</em>. Fogg Art Museum, Cambridge, MA (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>C\u00e9zanne, Gauguin, Seurat, Van Gogh.</em> Museum of Modern Art, New York, NY (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Retrospective Exhibition of Landscape Painting</em>. Wadsworth Atheneum, Hartford, CT (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Exhibition of Masters of French 19th Century Painting</em>. New Burlington Galleries,London, United Kingdom (1936).", "opening_date": "1936-01-01T00:00:00"}]}, "provenance": [{"description": "Theo van Gogh [1857-1891], Paris, France", "citations": [], "footnotes": null, "date": "1890", "sortorder": 1}, {"description": "Julien Leclercq [1865-1901] Paris, France (see document b1533 v/1962 in the archive of the Van Gogh Museum", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Schuffenecker Brothers, Paris, France, sold to Gustave Fayet, Igny, France)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Gustave Fayet [1865-1925], Igny, France", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Gilbert E. Fuller, Boston, MA", "citations": [], "footnotes": [], "date": "1929-1931", "sortorder": 5}, {"description": "(Paul Rosenberg, New York, NY, July 18, 1947, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1947-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Van Gogh sometimes created what he called \"repetitions,\" in which he painted the same subject and composition again. This painting has a repetition, currently in the Phillips Collection in Washington, DC. Conservation research has shown that the Cleveland painting is the first version.", "description": "Like <em>Two Poplars in the Alpilles near Saint-R\u00e9my</em> (on view nearby), Vincent van Gogh painted this autumnal landscape while living in a psychiatric hospital near Saint-R\u00e9my in southern France where he was treated for severe depression. Understanding that painting from nature eased his symptoms, Van Gogh\u2019s physician permitted the artist to paint landscapes outside. Van Gogh described this painting in a letter to his brother Theo: \u201cThe last study I did is a view of the village, where they were at work under some enormous plane trees\u2014repairing the pavements. . . . There are heaps of sand, stones, and the gigantic trunks\u2014the leaves yellowing and here and there you can get a glimpse of a house front and small figures.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q26221185"], "internet_archive": ["https://archive.org/details/clevelandart-1947.209-the-large-plane-tree"]}, "citations": [{"citation": "Meyer-Riefstahl, R. \"Vincent Van Gogh-II. Van Gogh's Style in Relation to Nature.\" <em>The Burlington Magazine for Connoisseurs </em>18, no. 93 (December 1910): 155-62.", "page_number": "Reproduced: p. 160, pl. III", "url": null}, {"citation": "<em>Voln\u00e9 Sm\u011bry: M\u011bs\u00ed\u010dn\u00edk Um\u011blecky</em> nos. 1-5 (1911): 108.", "page_number": "Reproduced: p. 108", "url": null}, {"citation": "Coquiot, Gustave. <em>... Vincent van Gogh; avec 24 reproductions hors-texte des \u0153uvres de Vincent van Gogh</em>. Paris, FR: Ollendorff, 1923", "page_number": "Reproduced: opp. p. 216", "url": null}, {"citation": "Grey, Roch. <em>Vincent Van Gogh</em>. Rome: Valori Plastici, 1924.", "page_number": "Reproduced: pl. 21", "url": null}, {"citation": "Fels, Florent. <em>Van Gogh</em>. Paris: Librairie Stock, 1924.", "page_number": "Reproduced: pl. 9", "url": null}, {"citation": "Goulinat, J. G. \"Les Collections Gustave Fayet.\" <em>L'Amour de l'Art</em> 132 (1925): 129-142.", "page_number": "Reproduced: p. 132", "url": null}, {"citation": "Faure, E\u0301lie. <em>Histoire de l'art</em>. Paris, FR: G. Cre\u0300s, 1926.", "page_number": "Reproduced: p. 447, vol. 4", "url": null}, {"citation": "Leroy, Edgar. \"Le S\u00e9jour de Vincent van Gogh \u00e0 l'Asile de Saint-R\u00e9my-de-Provence.\"<em> Aesculape</em> 16, no. 7 (July 1926): 180-186.", "page_number": "Reproduced: p. 181", "url": null}, {"citation": "Doiteau, Victor, and Edgard Leroy. <em>La folie de Vincent van Gogh</em>. Paris, FR: Aesculape, 1928.", "page_number": "Reproduced: opp. p. 80", "url": null}, {"citation": "de LaFaille, J. B. <em>L'oeuvre de Vincent van Gogh, catalogue raisonne\u0301</em>. Paris, FR: et Bruxelles: Les E\u0301ditions G. van Oest, 1928.", "page_number": "Mentioned: no. 657, vol. 1; Reproduced: no. 657, vol. 2", "url": null}, {"citation": "Gogh, Vincent van. <em>Further Letters of Vincent Van Gogh to His Brother, 1886-1889</em>. London, UK: Constable &amp; Co, 1929.", "page_number": "Mentioned: p. 418, letter 618; p.424, letter 621", "url": null}, {"citation": "Wilenski, R. H. <em>French Painting</em>. Boston, MA: Hale, Cushman &amp; Flint, 1931.", "page_number": "Reproduced: p. 297", "url": null}, {"citation": "Art Institute of Chicago. <em>Catalogue of a Century of Progress Exhibition of Prints: The Art Institute of Chicago, June 1 to November 1, 1933.</em> [Chicago]: Art Institute of Chicago, 1933.", "page_number": "Mentioned: p. 54, no. 381", "url": null}, {"citation": "Uhde, Wilhelm. <em>Vincent Van Gogh</em>. Vienna, Austria: Phaidon Press, 1936.", "page_number": "Reproduced: Pl. 89", "url": null}, {"citation": "Scherjon,W. and W. Jos. de Gruyter. <em>Vincent Van Gogh's Great Period, Arles, St. Re\u0301my and Auvers Sur Oise (Complete Catalogue)</em>. Amsterdam (Holland): \"De Spieghel\", Ltd, 1937.", "page_number": "Reproduced: p. 272; no. 77", "url": null}, {"citation": "La Faille, J. Bernard de, Charles Terrasse, Prudence Montagu-Pollock, and Andre\u0301 Gloeckner. <em>Vincent Van Gogh</em>. New York, N.Y.: French and European Publications [etc.], 1939.", "page_number": "Reproduced: no. 667", "url": null}, {"citation": "Nordenfalk, Carl. \"Van Gogh and Sweden.\" <em>Konsthistorisk Tidskrift</em> 15 (December 1946): 89-96.", "page_number": "Mentioned: p. 92", "url": null}, {"citation": "Zervos, Christian. \"Vincent Van Gogh.\" <em>Cahiers d'Art</em> 22 (1947): 159-266.", "page_number": "Reproduced: p. 254", "url": null}, {"citation": "Francis, H.S. \"Les Paveurs, by Vincent van Gogh.\" <em>The Bulletin of the</em> <em>Cleveland Museum of Art XXXV</em>, no 4 (April 1948): 57-63.", "page_number": "Reproduced: p. 61-62", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art </em>XXXV, no. 6 (June 1948): 121", "page_number": "Reproduced: cover", "url": null}, {"citation": "Gogh, Vincent van. <em>Work by Vincent Van Gogh: Catalogue of a Loan Exhibition at the Cleveland Museum of Art, November 3 Through December 12 1948</em>. [Cleveland, Ohio]: Cleveland Museum of Art, 1948.", "page_number": "Mentioned and Reproduced: cat. no. 25", "url": null}, {"citation": "Levine, Jack. \"Homage to Vincent.\" <em>ARTnews</em> 47 (December 1948): 26-30.", "page_number": "Mentioned: p. 26; reproduced: p. 28-29", "url": null}, {"citation": "\"The Year's Best: 1948.\" <em>ARTnews</em> 47 (January 1949): 40-41.", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "<em>ARTnews Annual 1949.</em> New York, N.Y.: Newsweek, Inc, 1949. P. 72-73.", "page_number": "Mentioned and reproduced: p. 72-73", "url": null}, {"citation": "Metropolitan Museum of Art (New York, N.Y.). <em>Van Gogh, Paintings and Drawings; A Special Loan Exhibition, the Metropolitan Museum of Art, the Art Institute of Chicago, 1949-1950</em>. New York: Metropolitan Museum. 1949-50. 1949.", "page_number": "Mentioned and Reproduced: cat. no. 123", "url": null}, {"citation": "Schapiro, Meyer. <em>Vincent Van Gogh</em>. New York, NY: H.N. Abrams, 1950.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Leymarie, Jean. <em>Van Gogh</em>. [Paris]: P. Tisne\u0301, 1951.", "page_number": "Mentioned and reproduced: p. 128, no. 123", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 40", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Hanson, Lawrence, and Elisabeth Hanson. <em>Passionate Pilgrim; The Life of Vincent Van Gogh.</em> New York: Random House, 1955.", "page_number": "Mentioned: p. 264; reproduced: between p. 178-179", "url": null}, {"citation": "Rewald, John. <em>Post-Impressionism: From Van Gogh to Gauguin</em>. New York, NY: Museum of Modern Art, 1956.", "page_number": "Reproduced: p. 357", "url": null}, {"citation": "Huyghe, Rene\u0301. <em>L'Art et l'Homme.</em> Paris: Larousse, 1957.", "page_number": "Reproduced: vol. 3, p. 403", "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. 513", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art. 1958.", "page_number": "Reproduced: no. 53", "url": null}, {"citation": "Milliken, William Mathewson. <em>The Cleveland Museum of Art</em>. New York: H.N. Abrams, 1958.", "page_number": "Mentioned and reproduced: p. 55", "url": null}, {"citation": "Elgar, Frank.<em> Van Gogh, A Study of His Life and Work.</em> New York: Praeger, 1958.", "page_number": "Mentioned and reproduced: no. 188", "url": null}, {"citation": "Henning, Edward B. \"From Turner to Gaston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 484; mentioned: p. 486-487", "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. 178", "url": "https://archive.org/details/CMAHandbook1966/page/n202"}, {"citation": "Bourniquel, Camille. <em>Van Gogh</em>. Paris, FR] Hachette, 1968.", "page_number": "Reproduced: p. 211", "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. 178", "url": "https://archive.org/details/CMAHandbook1969/page/n202"}, {"citation": "Gaunt, William. <em>The Impressionists.</em> London, UK: Thames &amp; Hudson, 1970.", "page_number": "Reproduced: p. 142", "url": null}, {"citation": "Nakayama, Kimio. <em>Gogh</em>. Tokyo, Japan: [Shueisha], 1970.", "page_number": "Reproduced: p. 132; no. 56; vol. 8", "url": null}, {"citation": "De la Faille, J.-B. <em>The Works of Vincent Van Gogh; His Paintings and Drawings.</em> Amsterdam: Meulenhoff International, 1970.", "page_number": "Reproduced: no. 657", "url": null}, {"citation": "Lecaldano, Paolo. <em>L'opera pittorica completa di Van Gogh e i suoi nessi grafici.</em> Milan, IT: Rizzoli,1971.", "page_number": "Reproduced: no. 754; vol. 2", "url": null}, {"citation": "Lubin, Albert J. <em>Stranger on the Earth; A Psychological Biography of Vincent Van Gogh.</em> New York, NY: Holt, Rinehart Winston, 1972.", "page_number": "Reproduced: p. 93; pl. 23", "url": null}, {"citation": "Gatto, Joseph A. <em>Cities</em>. Worcester, MA: Davis Publications, 1977.", "page_number": "Reproduced: p. 78", "url": null}, {"citation": "Gogh, Vincent van, Jean Leymarie, and V. W. van Gogh.<em> Letters of Vincent van Gogh, 1886-1890: A Facsimile Edition.</em> London: Scolar Press, 1977.", "page_number": "Mentioned: v. 2, no. 618, p. 1/4; mentioned: v. 2, no. 621, p. 2/4", "url": null}, {"citation": "Hulsker, Jan. <em>The Complete Van Gogh: Paintings, Drawings, Sketches.</em> New York, NY: H.N. Abrams, 1980.", "page_number": "Reproduced: p. 426; no. 428", "url": null}, {"citation": "Canaday, John. <em>Mainstreams of Modern Art.</em> New York, NY: Holt, Rinehart and Winston, 1981.", "page_number": "Reproduced: p. 357; fog. 418", "url": null}, {"citation": "Schapiro, Meyer. <em>Vincent Van Gogh</em>. Norwalk, CT: Easton Press, 1983.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Barrielle, Jean-Franc\u0327ois. <em>La vie et l'\u0153uvre de Vincent van Gogh.</em> Paris, FR: ACR, 1984.", "page_number": null, "url": null}, {"citation": "Pickvance, Ronald. <em>Van Gogh in Saint-Re\u0301my and Auvers</em>. New York: Metropolitan Museum of Art, 1986.", "page_number": "Mentioned: cat. no. 44, p. 304, 307", "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.106", "url": null}, {"citation": "Robinson, William. \u201cGeorge Hendrik Breitner and the Emergence of Dutch Modernism.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 2 (1994): 27-43.", "page_number": "Mentioned and Reproduced: p. 32", "url": "https://www.jstor.org/stable/25161441"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 306-309, Vol. I, no. 109", "url": ""}, {"citation": "Grossvogel, Jill. <em>Claude-Emile Schuffenecker: Catalogue Raisonne\u0301.</em> San Francisco: Alan Wofsy Fine Arts, 2000.", "page_number": "Mention: p. 45", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 51, p. 51", "url": ""}, {"citation": "Hughes, Robert. <em>The Portable Van Gogh</em>. New York, NY: Universe, 2002.", "page_number": "Reproduced: p. 344", "url": null}, {"citation": "Schapiro, Meyer. <em>Vincent Van Gogh.</em> New York, NY: Harry N. Abrams, Publishers, 2003.", "page_number": "Mentioned: p. 110-111", "url": null}, {"citation": "Stokstad, Marilyn, David Cateforis, and Stephen Addiss. <em>Art History</em>. Upper Saddle River, NJ: Pearson/Prentice Hall, 2005.", "page_number": "Reproduced: fig 28", "url": null}, {"citation": "Cogeval, Guy, and Marie-Paule Vial. <em>Right under the sun: landscape in Provence from classicism to modernism (1750-1920).</em> Montre\u0301al: Montreal Museum of Fine Arts, 2005.", "page_number": "Reproduced: p. 143; no. 186", "url": null}, {"citation": "Corty, Axelle. \u201cLa Face Cach\u00e9e Du Soleil.\u201d <em>Connaissance Des Arts</em>, no. 627 (May 2005): 42\u201355.", "page_number": "Mentioned and reproduced: p. 46-47", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2005-05/page/6"}, {"citation": "\"L'Oeil sur les Expositions.\" <em>Oeil</em> (June 2005): 16-37.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Bailey, Martin. \"Vincent van Cloth.\" The Art Newspaper XVI, no. 183 (September 2007): 3.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "Ligon, Scott. <em>Digital Art Revolution: Creating Fine Art with Photoshop.</em> New York, NY: Watson-Guptill, 2010.", "page_number": "Mentioned: p. 31", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 272-273", "url": null}, {"citation": "Hubert, Jean-Christophe. <em>Sur les traces de Van Gogh.</em> Waterloo, Belgium: Avant-Propos, 2012.", "page_number": "Reproduced: p. 118; fig. 478", "url": null}, {"citation": "Robinson, William H., Eliza Rathbone, Marcia Steele, and H. Travers Newton. \"The Road Menders.\" In <em>Van Gogh Repetitions</em>, 140-153. New Haven, CT: Yale University Press, 2013.", "page_number": "Reproduced: p. 140, 142, cat. no. 26", "url": null}, {"citation": "Rathbone, Eliza E., William H. Robinson, and Marcia Steele. <em>Van Gogh Repetitions</em>. New Haven, CT: Yale University Press, 2013.", "page_number": "Reproduced: 0. 142; Mentioned: p. 140-153", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 292", "url": ""}, {"citation": "Fensom, Sarah E. \"Hitting Repeat\" <em>Art &amp; Antiques</em> 37, issue 3 (March 2014): 54-56.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "Homburg, Cornelia. \"What Van Gogh Did Next.\" <em>The Art Newspaper</em> 23, no. 257 (May 2014): 67, 76.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Blanc, Jan. <em>Van Gogh: ni Dieu ni mai\u0302tre.</em> Paris: Citadelles &amp; Mazenod, 2017.", "page_number": "Reproduced: p. 304-305", "url": null}, {"citation": "Bailey, Martin. <em>Starry Night: Van Gogh at the Asylum</em>. London, England: White Lion Publishing, 2018.", "page_number": "Mentioned and Reproduced: p. 95-96", "url": null}, {"citation": "Uitert, Evert van, Vincent van Gogh, Louis van Tilborgh, and Sjraar van Heugten. <em>Vincent van Gogh</em>. Milan: Arnoldo Mondadori Arte, 1990.", "page_number": "Mentioned and Reproduced: cat. no. 109, p. 31", "url": null}, {"citation": "Mettais, Vale\u0301rie. <em>Van Gogh: The Essential Paintings</em>. Munich: Prestel, 2023.", "page_number": "Mentioned and reproduced: p. 36-37, booklet", "url": ""}, {"citation": "Homburg, Cornelia, Christopher Riopelle, Renske Cohen Tervaert, Julien Domercq, Michael Glover, Cindy Kang, et al. <em>Van Gogh: Poets &amp; Lovers.</em> London: National Gallery Global, 2024.", "page_number": "Mentioned and reproduced: p. 30-31, 220-221, 222, no. 15", "url": ""}], "url": "https://clevelandart.org/art/1947.209", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_web.jpg", "width": "900", "height": "718", "filesize": "341961", "filename": "1947.209_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_print.jpg", "width": "3400", "height": "2713", "filesize": "4467246", "filename": "1947.209_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.209/1947.209_full.tif", "width": "14395", "height": "11486", "filesize": "496057452", "filename": "1947.209_full.tif"}}, "alternate_images": [{"date_created": "2006-04-12T16:28:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt0_web.jpg", "width": "1123", "height": "893", "filesize": "384230"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt0_print.jpg", "width": "3400", "height": "2703", "filesize": "3592134"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt0_full.tif", "width": "8427", "height": "6701", "filesize": "169441568"}}, {"date_created": "2006-04-12T16:28:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt1_web.jpg", "width": "1116", "height": "893", "filesize": "379383"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt1_print.jpg", "width": "3400", "height": "2720", "filesize": "3587917"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt1_full.tif", "width": "8481", "height": "6787", "filesize": "172715220"}}, {"date_created": "2017-08-03T13:49:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt2_web.jpg", "width": "675", "height": "900", "filesize": "460726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "6466828"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt2_full.tif", "width": "12000", "height": "16000", "filesize": "576034188"}}, {"date_created": "2017-08-03T14:00:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt3_web.jpg", "width": "675", "height": "900", "filesize": "464857"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt3_print.jpg", "width": "2550", "height": "3400", "filesize": "6637123"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt3_full.tif", "width": "12000", "height": "16000", "filesize": "576034368"}}, {"date_created": "2009-01-29T14:30:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt4_web.jpg", "width": "1093", "height": "893", "filesize": "280996"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt4_print.jpg", "width": "3400", "height": "2777", "filesize": "2387451"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.209/1947.209_alt4_full.tif", "width": "5674", "height": "4635", "filesize": "78917884"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125249, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Les Paveurs (The Road Menders, Boulevard de St.-R\u00e9my, Arles)", "Road Menders", "The Road Menders at Arles", "The Road Menders at St. Remy"], "is_highlight": true, "updated_at": "2026-03-27 00:09:36.247000"}, {"id": 135299, "accession_number": "1958.31", "share_license_status": "CC0", "tombstone": "Adeline Ravoux, 1890. Vincent van Gogh (Dutch, 1853\u20131890). Oil on fabric; framed: 72.5 x 73.5 x 8.5 cm (28 9/16 x 28 15/16 x 3 3/8 in.); unframed: 50.2 x 50.5 cm (19 3/4 x 19 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.31", "current_location": "222 Impressionism & Post-Impressionism", "title": "Adeline Ravoux", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 72.5 x 73.5 x 8.5 cm (28 9/16 x 28 15/16 x 3 3/8 in.); Unframed: 50.2 x 50.5 cm (19 3/4 x 19 7/8 in.)", "dimensions": {"framed": {"height": 0.725, "width": 0.735, "depth": 0.085}, "unframed": {"height": 0.502, "width": 0.505}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 519763, "title": "The Armory Show, 50th Anniversary Exhibition", "description": "<i>The Armory Show, 50th Anniversary Exhibition</i>. Munson Museum of Art, Utica, NY (organizer) (February 17-April 28, 1963).", "opening_date": "1963-02-17T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 343566, "title": "In Quest of Excellence: Civic Pride, Patronage, Connoisseurship", "description": "<i>In Quest of Excellence: Civic Pride, Patronage, Connoisseurship</i>. P\u00e9rez Art Museum Miami (organizer) (January 12-April 22, 1984).", "opening_date": "1984-01-12T05:00:00"}, {"id": 442139, "title": "\u30b4\u30c3\u30db (Van Gogh)", "description": "<i>\u30b4\u30c3\u30db (Van Gogh)</i>. National Museum of Western Art, Tokyo, Tokyo, Japan (organizer) (October 12-December 8, 1985); Nagoya City Art Museum, Nagoya, Japan (December 21, 1985-February 2, 1986).", "opening_date": "1985-10-12T04:00:00"}, {"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": 174820, "title": "Van Gogh Face to Face: The Portraits", "description": "<i>Van Gogh Face to Face: The Portraits</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (March 12-June 4, 2000); Museum of Fine Arts, Boston, Boston, MA (July 2-September 24, 2000); Philadelphia Museum of Art, Philadelphia, PA (October 22, 2000-January 14, 2001).", "opening_date": "2000-03-12T00:00:00"}, {"id": 205456, "title": "The Soci\u00e9t\u00e9 Anonyme: Modernism for America", "description": "<i>The Soci\u00e9t\u00e9 Anonyme: Modernism for America</i>. UCLA at Armand Hammer Museum of Art and Cultural Center (April 23-August 20, 2006).", "opening_date": "2006-04-23T04:00:00"}, {"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": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 379202, "title": "Through Vincent's Eyes: Van Gogh and His Sources", "description": "<i>Through Vincent's Eyes: Van Gogh and His Sources</i>. Columbus Museum of Art, Columbus, OH (organizer) (November 12, 2021-February 6, 2022) https://www.columbusmuseum.org/through-vincents-eyes-van-gogh-and-his-sources/.", "opening_date": "2021-11-12T05:00:00"}, {"id": 308774, "title": "Van Gogh in America", "description": "<i>Van Gogh in America</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (October 2, 2022-January 22, 2023).", "opening_date": "2022-10-02T04:00:00"}, {"id": 440610, "title": "Van Gogh in Auver-sur-Oise: His Final Months", "description": "<i>Van Gogh in Auver-sur-Oise: His Final Months</i>. Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (organizer) (May 12-September 3, 2023) https://www.vangoghmuseum.nl/nl/bezoek/tentoonstellingen/van-gogh-in-auvers-sur-oise; Mus\u00e9e d'Orsay, Paris, France (October 3, 2023-February 4, 2024).", "opening_date": "2023-05-12T04:00:00"}], "legacy": [{"description": "<em>International Exhibition of Modern Art</em> (Armory Show) New York. Armory of the 69th Regiment, New York, NY; Art Institute of Chicago, Chicago, IL; Copley Hall, Georgetown, MA; Copley Society, Boston, MA (1913).", "opening_date": "1913-01-01T00:00:00"}, {"description": "<em>Opening Exhibition</em>. Galleries of the Soci\u00e9t\u00e9 Anonyme, New York, NY (1920).", "opening_date": "1920-01-01T00:00:00"}, {"description": "<em>An Exhibition of Modern French Art.</em> Baltimore Museum of Art, Baltimore, MD (1925).", "opening_date": "1925-01-01T00:00:00"}, {"description": "<em>First Loan Exhibition: C\u00e9zanne, Gauguin, Seurat, Van Gogh</em>. Museum of Modern Art, New York, NY (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Opening Exhibition</em>. Museum of Fine Arts, Springfield, MA (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Paintings, Watercolors &amp; Drawings by Vincent van Gogh.</em> Museum of Modern Art, New York, NY; Philadelphia Museum of Art, Philadelphia, PA; Museum of Fine Arts, Boston, MA; Cleveland Museum of Art, Cleveland, OH; San Francisco Museum of Fine Arts, San Francisco, CA; Nelson Atkins Museum of Art, Kansas City, MO; Minneapolis Museum of Art, Minneapolis, MN; Art Institute of Chicago, Chicago, IL; Detroit Institute of Art, Detroit, MI; Art Gallery of Ontario, Toronto, Ontario (1935-36).The Hanna Collection of Modern Masterpieces. J.B. Speed Memorial Museum, Louisville, KY (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>The Hanna Collection of Modern Masterpieces.</em> J.B. Speed Memorial Museum, Louisville, KY (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>Pictures for Peace: A Retrospective Exhibition Organized from the Armory Show of 1913.</em> Cincinnati Art Museum, Cincinnati, OH (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>Works by Vincent van Gogh.</em> The Cleveland Museum of Art, Cleveland, OH (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Summer Loan.</em>Metropolitan Museum of Art, New York, NY (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}]}, "provenance": [{"description": "Johanna Van Gogh-Bonger [1862-1925], the wife of Theo van Gogh, Amsterdam, Netherlands.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Artz and de Bois, The Hague, Netherlands)", "citations": [], "footnotes": null, "date": "1912", "sortorder": 2}, {"description": "Katherine S. Dreier [1877-1952], New York, NY", "citations": [], "footnotes": [], "date": "1912-1929", "sortorder": 3}, {"description": "Mrs. Cornelius Sullivan [1877-1939], New York, NY", "citations": [], "footnotes": [], "date": "-1939", "sortorder": 4}, {"description": "(Parke-Bernet Galleries, New York, NY, December 6-7, 1939, sold to Leonard C. Hanna Jr.)", "citations": [], "footnotes": [], "date": "1939", "sortorder": 5}, {"description": "Leonard C. Hanna Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1939-1958", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1642.43"], "did_you_know": "Adeline Ravoux, at age 13, was not pleased with her portrait and did not think the image resembled her. Today, a photograph exists of Adeline in her late seventies and the resemblance is truly remarkable.", "description": "In May 1890, Vincent van Gogh arrived in Auvers, a small town north of Paris, where he rented a room at the inn of Arthur Ravoux. This portrait, completed during the last months of the artist\u2019s life, depicts Ravoux\u2019s 13-year-old daughter, Adeline. Van Gogh wrote that rather than photographic resemblance, he wanted his portraits to convey the \u201cimpassioned aspects\u201d of contemporary life through the \u201cmodern taste for color.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q26221230"], "internet_archive": ["https://archive.org/details/clevelandart-1958.31-adeline-ravoux"]}, "citations": [{"citation": "Louis Anfray, \u201cLes souvenirs d\u2019Adeline Ravoux sur le s\u00e9jour de Vincent van Gogh \u00e0 Auvers-sur-Oise,\u201d <em>Les Cahiers de Van Gogh</em> no. 1 (Geneva: Pierre Cailler, 1956): p. 9.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "<em>Socie\u0301te\u0301 Anonyme. Report 1920-1921.</em> [New York]: The Society, 1921.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Dreier, Katherine S. <em>Western Art and the New Era; An Introduction to Modern Art.</em> New York: Brentano's, 1923.", "page_number": "Mentioned and reproduced: p. 63-64, fig. 35", "url": null}, {"citation": "de LaFaille, J. B. <em>L'oeuvre de Vincent van Gogh, </em>catalogue raisonne\u0301. Paris, FR et Bruxelles, BE: Les E\u0301ditions G. van Oest, 1928.", "page_number": "Reproduced: no. 786, vol. 2", "url": null}, {"citation": "Gogh, Vincent van. <em>Further Letters of Vincent Van Gogh to His Brother, 1886-1889.</em> London: Constable &amp; Co, 1929.", "page_number": "Mentioned: p. 472, no. 644", "url": null}, {"citation": "Scherjon, W., and W. Jos. de Gruyter. <em>Vincent Van Gogh's Great Period, Arles, St. Re\u0301my and Auvers Sur Oise</em> <em>(Complete Catalogue)</em>. Amsterdam NL: \"De Spieghel\", Ltd, 1937.", "page_number": "Reproduced: p. 375, no. 222", "url": null}, {"citation": "La Faille, J. Bernard de , Charles Terrasse, Prudence Montagu-Pollock, and Andre\u0301 Gloeckner. <em>Vincent Van Gogh</em>. New York, N.Y.: French and European Publications [etc.], 1939", "page_number": "Reproduced: p. 776", "url": null}, {"citation": "Venturi, Lionello. \"Notes on the Collection of Mrs. Cornelius J. Sullivan.\" <em>Parnassus</em> 11, no. 8 (1939): 32-33.", "page_number": "Mentioned:p. 33", "url": "https://www.jstor.org/stable/772018"}, {"citation": "\"The Sullivan Collection.\" <em>Magazine of Art </em>32, no. 12 (December 1939): 710-711.", "page_number": "Mentioned: p. 711", "url": null}, {"citation": "Leymarie, Jean. <em>Van Gogh.</em> [Paris]: E\u0301ditions P. Tisne\u0301, 1951.", "page_number": "Mentioned and reproduced: no. 156", "url": null}, {"citation": "Coe, Nancy. T<em>he History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 11", "url": null}, {"citation": "Saarinen, Aline B. <em>The Proud Possessors: The Lives, Times, and Tastes of Some Adventurous American Art Collectors.</em> New York, NY: Random House, 1958.", "page_number": "Reproduced: p. 241", "url": null}, {"citation": "Elgar, Frank. <em>Van Gogh, A Study of His Life and Work</em>. New York: Praeger, 1958.", "page_number": "Reproduced: fig. 210", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Museum, 1958.", "page_number": "Reproduced: no. 16", "url": null}, {"citation": "Frankfurter, Alfred M. \u201cCleveland: Model Museum for a Modern Cosmopolis.\u201d <em>ARTnews</em> 57 (March 1958): 24\u201337.", "page_number": "Reproduced: p. 37, fig. 28", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art LIX,</em> no.9 (September, 1959): 199.", "page_number": "Reproduced: p. 199", "url": null}, {"citation": "\"Bequest of Leonard C. Hannah, Jr.\" <em>The Bulletin of The Cleveland Museum of Art </em>XLVI,no.6 (June, 1959)<em>: </em>122.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Munson-Williams-Proctor Institute. <em>1913 Armory Show; 50th Anniversary Exhibition, </em>Utica, NY:1963.", "page_number": "Reproduced: p. 191, no. 1047", "url": null}, {"citation": "Sachs II, Samuel. \"Reconstructing the Whirlwind of 26th Street.\" <em>ARTnews </em>61 (February 1963): 26.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u201388.", "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. 178", "url": "https://archive.org/details/CMAHandbook1966/page/n202"}, {"citation": "Christie, Manson &amp; Woods. <em>Important Impressionist and Modern Drawings, Paintings and Sculpture. </em>1966.", "page_number": "Mentioned & reproduced: lot no. 49", "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. 178", "url": null}, {"citation": "De la Faille, J.-B. <em>The Works of Vincent Van Gogh; His Paintings and Drawings.</em> Amsterdam: Meulenhoff International, 1970.", "page_number": "Mentioned and reproduced: no. 786", "url": null}, {"citation": "Lecaldano, Paolo. <em>L'opera pittorica completa di Van Gogh e i suoi nessi grafici.</em> Milan, IT: Rizzoli, 1971.", "page_number": "Reproduced: no. 841", "url": null}, {"citation": "Lubin, Albert J.<em> Stranger on the Earth; A Psychological Biography of Vincent Van Gogh</em>. New York, NY: Holt, Rinehart Winston, 1972.", "page_number": "Reproduced: p. 232, pl. 19", "url": null}, {"citation": "Henning, Edward B. \"Pablo Picasso: Bouteille, Verre, et Fourchette.\" <em>The Bulletin of the Cleveland Museum of Art </em>LIX, no. 7 (September 1972): 194-203.", "page_number": "Mentioned and reproduced: p. 199, fig. 12", "url": null}, {"citation": "Henning, Edward. \"Reconstruction: A Painting by Jasper Johns.\" <em>The Bulletin of The Cleveland Museum of Art</em> LX, no. 8 (October, 1973): 235-241.", "page_number": "Reproduced: p. 237", "url": null}, {"citation": "Johnson, Mark. \"Portrait Painting: An Image of a Man.\" <em>Arts and Activities </em>82, no. 1 (September 1977): 32-38.", "page_number": "Reproduced: p. 37, fig. 5", "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. 221", "url": "https://archive.org/details/CMAHandbook1978/page/n241"}, {"citation": "Hulsker, Jan. <em>The Complete Van Gogh: Paintings, Drawings, Sketches.</em> New York, NY: H.N. Abrams, 1980.", "page_number": "Reproduced: no. 2036; Detail: p. 485 no. 16", "url": null}, {"citation": "Nemecaek, Alfred. \"Der Wirt Ravoux und Seine Tochter-Menschen in Auvers.\" <em>Art: Das Kunstmagazin </em>1 (February 1981): 28.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "Henning, Edward. \"Woman in the Waves by Paul Gauguin.\" <em>The Bulletin of The Cleveland Museum of Art </em>LXXI, no.10 (October, 1984): 280-289.", "page_number": "Reproduced: p. 283", "url": null}, {"citation": "Herbert, Robert L., Eleanor S. Apter, and Elise K. Kenney. <em>The Socie\u0301te\u0301 Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonne\u0301</em>. New Haven, CT: Published for the Yale University Art Gallery by Yale University Press, 1984.", "page_number": "Mentioned: p. 748, 776", "url": null}, {"citation": "Van der Marck, Jan. <em>In Quest of Excellence: Civic Pride, Patronage, Connoisseurship</em>. Miami, Fla., U.S.A.: The Center, 1984.", "page_number": "Mentioned: cat no. 124, p. 246, Reproduced: p. 73", "url": null}, {"citation": "Ikegami, Chu\u0304ji. <em>Gohho</em>. To\u0304kyo\u0304, Japan: Shu\u0304eisha, 1985.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "<em>Gohho ten</em>. Tokyo, Japan: To\u0304kyo\u0304 Shinbun, 1985.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Mothe, Alain. <em>Vincent van Gogh a\u0300 Auvers-sur-Oise. </em>Paris, FR: Valhermeil, 1987.", "page_number": "Reproduced: p. 89", "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": "Reproduced: p. 107", "url": null}, {"citation": "Brown, Milton W. <em>The Story of the Armory Show.</em> New York, NY: Abbeville Press, 1988.", "page_number": "Reproduced: p. 199; mentioned: p. 272, no. 1047", "url": null}, {"citation": "Christie, Manson &amp; Woods International Inc. <em>Impressionist and Modern Paintings and Sculpture, Part I.</em> 1988.", "page_number": "Mentioned and reproduced: p. 56-62, lot no. 22", "url": null}, {"citation": "Muko\u0304da, Naoki, and Hideo Takumi. Gohho junrei. To\u0304kyo\u0304: Shincho\u0304sha, 1990.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Madeline, Laurence. \"Auvers: La Symphonie Inachevee.\" In <em>Van Gogh, Auvers-sur-Oise: Mai-Juillet 1890., </em>8-27. [Paris]: Publie\u0301 par Beaux-Arts Magazine, Publications, Nuit et jour, 1990.", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "Heijbroek, Jan Frederik, and Ester Wouthuysen. <em>Kunst, kennis en commercie: de kunsthandelaar J.H. de Bois (1878-1946)</em>. Amsterdam, NL: Contact, 1993.", "page_number": "Mentioned: p. 44, 200", "url": null}, {"citation": "Walther, Ingo F. and Rainer Metzger. <em>Vincent Van Gogh: The Complete Paintings</em>. Ko\u0308ln, DE: Benedikt Taschen, 1993.", "page_number": "Reproduced: p. 667, vol. 2", "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. 88", "url": null}, {"citation": "Gachet, Paul, and Alain Mothe. <em>Les 70 jours de van Gogh a\u0300 Auvers: essai d'e\u0301phe\u0301me\u0301ride dans le de\u0301cor de l'e\u0301poque (20 mai-30 juillet 1890), d'apre\u0300s les lettres, documents, souvenirs et de\u0301ductions, Auvers-sur-Oise, 1959.</em> [Saint-Ouen-l'Aumo\u0302ne]: Editions du Valhermeil, 1994.", "page_number": "Reproduced: p. 154-155, pl. 26", "url": null}, {"citation": "Hulsker, Jan. <em>The New Complete Van Gogh: Paintings, Drawings, Sketches: Revised and Enlarged Edition of the Catalogue Raisonne\u0301 of the Works of Vincent Van Gogh.</em> Philadelphia: John Benjamins Pub. Co, 1996.", "page_number": ":Mentioned and reproduced: p. 466-467", "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: p. 310-313.", "url": null}, {"citation": "Dorn, Roland. <em>Van Gogh Face to Face: The Portraits.</em> New York, NY: Thames &amp; Hudson, 2000.", "page_number": "Reproduced: p. 197", "url": null}, {"citation": "Shackelford, George T. M.. <em>Vincent Van Gogh: The Painter and the Portrait.</em> New York, NY: Universe, 2000.", "page_number": "Reproduced: p. 66, no. 50", "url": null}, {"citation": "Gogh, Vincent van, and Roland Dorn. <em>Van Gogh Face to Face: The Portraits</em>. New York: Thames &amp; Hudson, 2000.", "page_number": "Mentioned and Reproduced: cat. no. 197", "url": null}, {"citation": "Goldin, Marco. <em>Gauguin, Van Gogh: l'avventura del colore nuovo. </em>Conegliano, IT: Linea d'ombra libri, 2005.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Gross, Jennifer R., and Ruth L. Bohan. <em>The Socie\u0301te\u0301 Anonyme: Modernism for America</em>. New Haven, CT: Yale University Press in association with the Yale University Art Gallery, 2006.", "page_number": "Reproduced: p. 174", "url": null}, {"citation": "Veen, Wouter van der, and Peter Knapp. <em>Van Gogh in Auvers: his last days.</em> New York, NY: Monacelli Press, 2010.", "page_number": "Reproduced: p. 163, fig. 83", "url": null}, {"citation": "Franklin, David. <em>Director's Choice: The Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Reproduced: p. 62-63", "url": null}, {"citation": "Berman, Avis. 2013. \u201cForces for the New Collectors and the Armory.\u201d <em>Magazine Antiques</em> 180, no. 1 (January/February 2013: 154-166.", "page_number": "Mentioned: p. 159; reproduced: p. 162, fig. 11", "url": null}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 20", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 22", "url": ""}, {"citation": "Kahng, Eik, ed. <em>Through Vincent's Eyes: Van Gogh and His Sources. </em>Santa Barbara, CA: Santa Barbara Museum of Art; New Haven, CT: in association with Yale University Press, 2021.", "page_number": "Mentioned and reproduced: P. 198-201, no. 19", "url": ""}, {"citation": "Stein, Susan Alyson. \"Van Gogh in New York: Picturing the First Years, 1912-29.\" In <em>Van Gogh in America.</em> Jill Shaw, ed., 56-91. Detroit, Michgan: Detroit Institute of Arts, 2022.", "page_number": "Reproduced: P. 61, pl. 18, no. 65; Mentioned: P. 63", "url": ""}, {"citation": "Bakker, Nienke. \"Timless Portraits: On Melancholy and Youth.\" In <em>Van Gogh in Auvers-Sur-Oise: His Final Months </em>edited by Nienke Bakker, Emmanuel Coquery, Teio Meedendorp, and Louis van Tilborgh, 116-133. London: Thames &amp; Hudson Ltd, 2023.", "page_number": "Mentioned: p. 117, 120; Reproduced: p. 122, no. 120.", "url": ""}, {"citation": "Bonafoux, Pascal. <em>Vincent van Gogh</em>. Roma: Istituto della Enciclopedia Italiana Fondato da Giovanni Treccani, 2023.", "page_number": "Reproduced: p. 366", "url": ""}], "url": "https://clevelandart.org/art/1958.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_web.jpg", "width": "900", "height": "897", "filesize": "451143", "filename": "1958.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_print.jpg", "width": "3400", "height": "3389", "filesize": "6008242", "filename": "1958.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.31/1958.31_full.tif", "width": "11512", "height": "11476", "filesize": "396370084", "filename": "1958.31_full.tif"}}, "alternate_images": [{"date_created": "2005-09-26T18:41:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.31/1958.31_alt0_web.jpg", "width": "888", "height": "893", "filesize": "726316"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.31/1958.31_alt0_print.jpg", "width": "3382", "height": "3400", "filesize": "9069857"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.31/1958.31_alt0_full.tif", "width": "3838", "height": "3858", "filesize": "44456268"}}, {"date_created": "2017-08-03T09:24:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.31/1958.31_alt1_web.jpg", "width": "900", "height": "715", "filesize": "383680"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.31/1958.31_alt1_print.jpg", "width": "3400", "height": "2700", "filesize": "4977409"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.31/1958.31_alt1_full.tif", "width": "15099", "height": "11990", "filesize": "543143224"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135299, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "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": ["Mademoiselle Ravoux"], "is_highlight": false, "updated_at": "2026-03-27 00:08:51.800000"}, {"id": 93014, "accession_number": "1917.1335", "share_license_status": "CC0", "tombstone": "View of Schroon Mountain, Essex County, New York, After a Storm, 1838. Thomas Cole (American, born England,1801\u20131848). Oil on canvas; framed: 132.5 x 193.5 x 13 cm (52 3/16 x 76 3/16 x 5 1/8 in.); unframed: 99.8 x 160.6 cm (39 5/16 x 63 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1917.1335", "current_location": "206 American Landscape", "title": "View of Schroon Mountain, Essex County, New York, After a Storm", "creation_date": "1838", "creation_date_earliest": 1838, "creation_date_latest": 1838, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 132.5 x 193.5 x 13 cm (52 3/16 x 76 3/16 x 5 1/8 in.); Unframed: 99.8 x 160.6 cm (39 5/16 x 63 1/4 in.)", "dimensions": {"framed": {"height": 1.325, "width": 1.935, "depth": 0.13}, "unframed": {"height": 0.998, "width": 1.606}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  T. Cole / Catskill 1838.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 316645, "title": "A Century of American Landscape Painting 1800-1900", "description": "<i>A Century of American Landscape Painting 1800-1900</i>. Whitney Museum of American Art, New York, NY (organizer) (co-organizer) (January 19-February 25, 1938).", "opening_date": "1938-01-19T05:00:00"}, {"id": 316648, "title": "A Souvenir of Romanticism in America; or An Elegant Exposition of Taste and Fashion from 1812-to 1865", "description": "<i>A Souvenir of Romanticism in America; or An Elegant Exposition of Taste and Fashion from 1812-to 1865</i>. The Baltimore Museum of Art, Baltimore, MD (organizer) (co-organizer) (May 10-June 10, 1940).", "opening_date": "1940-05-10T04:00:00"}, {"id": 316653, "title": "Survey of American Painting", "description": "<i>Survey of American Painting</i>. Carnegie Museum of Art, Pittsburgh, PA (co-organizer) (October 24-December 15, 1940).", "opening_date": "1940-10-24T05:00:00"}, {"id": 316663, "title": "The Works of Thomas Cole, 1801-1848", "description": "<i>The Works of Thomas Cole, 1801-1848</i>. Albany Institute of History and Art, Albany, NY (organizer) (co-organizer) (November 1-December 15, 1941).", "opening_date": "1941-11-01T05:00:00"}, {"id": 316674, "title": "The Hudson River School and the Early American Landscape Tradition", "description": "<i>The Hudson River School and the Early American Landscape Tradition</i>. The Art Institute of Chicago, Chicago, IL (organizer) (co-organizer) (February 15-March 25, 1945); Whitney Museum of American Art, New York, NY (April 17-May 18, 1945).", "opening_date": "1945-02-15T04:00:00"}, {"id": 316680, "title": "Thomas Cole 1801-1848 One Hundred Years Later: A Loan Exhibition", "description": "<i>Thomas Cole 1801-1848 One Hundred Years Later: A Loan Exhibition</i>. Wadsworth Atheneum Museum of Art, Hartford, CT (organizer) (co-organizer) (November 12, 1948-January 2, 1949); Whitney Museum of American Art, New York, NY (January 8-30, 1949).", "opening_date": "1948-11-12T05:00:00"}, {"id": 355653, "title": "Exhibition of the Month: The Romantic Spirit", "description": "<i>Exhibition of the Month: The Romantic Spirit</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 29-May 5, 1952).", "opening_date": "1952-03-29T05:00:00"}, {"id": 316690, "title": "Arts of the Young Republic: The Age of William Dunlap", "description": "<i>Arts of the Young Republic: The Age of William Dunlap</i>. Ackland Art Museum, University of North Carolina, Chapel Hill, NC, Chapel Hill, NC (organizer) (co-organizer) (November 2-December 1, 1968).", "opening_date": "1968-11-02T05:00:00"}, {"id": 316697, "title": "Thomas Cole", "description": "<i>Thomas Cole</i>. Memorial Art Gallery of the University of Rochester, NY (organizer) (co-organizer) (February 14-March 23, 1969); Munson Museum of Art, Utica, NY (April 5-May 4, 1969); Albany Institute of History and Art, Albany, NY (May 9-June 20, 1969); Whitney Museum of American Art, New York, NY (June 30-September 1, 1969).", "opening_date": "1969-02-14T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 314070, "title": "A New World: Masterpieces of American Painting, 1760 - 1910", "description": "<i>A New World: Masterpieces of American Painting, 1760 - 1910</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (co-organizer) (September 7-November 13, 1983); Corcoran Gallery of Art, Washington, DC (December 7, 1983-February 12, 1984).", "opening_date": "1983-09-07T04:00:00"}, {"id": 315079, "title": "American Paradise: The World of the Hudson River School", "description": "<i>American Paradise: The World of the Hudson River School</i>. The Metropolitan Museum of Art, New York, NY (organizer) (co-organizer) (October 4, 1987-January 3, 1988).", "opening_date": "1987-10-04T04:00:00"}, {"id": 316981, "title": "A Nation's Legacy: 150 Years of American Art from Ohio Collections", "description": "<i>A Nation's Legacy: 150 Years of American Art from Ohio Collections</i>. Columbus Museum of Art, Columbus, OH (organizer) (co-organizer) (January 19-March 15, 1992).", "opening_date": "1992-01-19T05:00:00"}, {"id": 316985, "title": "Landscape Into History", "description": "<i>Landscape Into History</i>. National Museum of American Art, Washington, DC (organizer) (co-organizer) (March 18-August 7, 1994); Wadsworth Atheneum Museum of Art, Hartford, CT (September 11-December 4, 1994); The Brooklyn Museum, Brooklyn, NY (January 8-March 25, 1995).", "opening_date": "1994-03-18T05:00:00"}], "legacy": [{"description": "<em>Thirteenth Annual Exhibition of the National Academy of Desig</em>n. National Academy of Design, New York, NY (April 23, 1838-?).", "opening_date": "1838-04-23T04:56:02Z"}, {"description": "<em>Dunlap Benefit Exhibition</em>. Stuyvesant Institute, New York, NY (November 19-December 1838).", "opening_date": "1838-11-19T04:56:02Z"}, {"description": "<em>January Exhibition of the Apollo Association for the Promotion of the Fine Arts in the United States. </em>Apollo Gallery, New York, NY (1839).", "opening_date": "1839-01-01T04:56:02Z"}, {"description": "<em>Exhibition of the Paintings of the Late Thomas Cole, At the Gallery of the American Art-Unio</em>n. Gallery of the American Art-Union. New York, NY (March 27 1848-?).", "opening_date": "1848-03-27T04:56:02Z"}, {"description": "<em>Maryland Historical Society, Second Annual Exhibition</em>. The Picture Gallery, Baltimore, MD (1849). Lent by J.S. Chapman.", "opening_date": "1849-01-01T04:56:02Z"}, {"description": "<em>The Inaugural Exhibition. </em>Cleveland Museum of Art, Cleveland, OH (June 6-September 20, 1916). Lent by the Holland Galleries.", "opening_date": "1916-06-06T00:00:00"}]}, "provenance": [{"description": "Dr. George Ackerly [d. 1842], New York, NY, to his daughter, Emma Ackerly1", "citations": [], "footnotes": ["<div><!--block-->1Ackerly was Cole's brother-in-law.</div><div><!--block--><br></div>"], "date": "1838", "sortorder": 2}, {"description": "Emma Ackerly", "citations": [], "footnotes": ["<div><!--block-->1 Although the painting is listed as for sale in the 1839 Apollo Association exhibition catalogue, it may not have sold, because in the 1848 Thomas Cole exhibition at the Gallery of the American Art Union, the owner is given as \u201cMrs. J. J. [sic] Chapman,\u201d the married name of Emma Ackerly.</div>", ""], "date": "By `839 - `847", "sortorder": 3}, {"description": "Jonathan G. and Emma Ackerly Chapman, sold to Nicholas Matthews1", "citations": [], "footnotes": ["<div><!--block-->1Chapman and Emma Ackerly married on April 20, 1847.11</div>"], "date": "1847-", "sortorder": 4}, {"description": "Nicholas M. Matthews [1858-1930], Baltimore, MD", "citations": [], "footnotes": null, "date": "Until 1914", "sortorder": 6}, {"description": "(American Art Association, Matthews collection sale, Feb. 17, 1914, no. 61, possibly sold to T. Austin)", "citations": [], "footnotes": null, "date": "1914", "sortorder": 7}, {"description": "Possibly T. Austin", "citations": [], "footnotes": ["<div><!--block-->According to <em>American Art Annual</em> (1914, vol. 11), the painting was purchased by T. Austin at the 1914 American Art Association sale of Matthews' collection. The painting then appears again in 1916 in the second Matthews collection sale, this time at Anderson Galleries, with no mention of any ownership by Austin.&nbsp; It is possible that it failed to sell in 1914, and was simply put up for sale again in 1916. That both the 1914 and 1916 sales situate the painting in the collection of Matthews calls into question the supposed purchase by Austin, as does the fact that the 1916 sale notes that the painting was purchased by Matthews \"from Mrs. J.G. Chapman, granddaughter of Mr. Cole,\" who appears prior to Matthews in the provenance.</div>", ""], "date": "1914-1916", "sortorder": 8}, {"description": "(Anderson Galleries, New York, NY, Matthews collection sale, Jan. 17, 1916, no. 55, sold to Holland Galleries)", "citations": [], "footnotes": ["<div><!--block-->1In the sale catalogue the painting is titled \"Catskill Mountains.</div>", ""], "date": "1916", "sortorder": 9}, {"description": "(Holland Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->1Several copies of the catalogue of the 1916 Matthews collection sale have handwritten notations indicating that Holland Galleries was the buyer.&nbsp; Additionally, shortly prior to CMA's acquisition of the painting, Holland Galleries lent it to the museum's inaugural exhibition in 1916.</div>"], "date": "1916-1917", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1917-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1335.1917"], "did_you_know": "Nicknamed \"Schroon Mountain\" by the artist, the peak's official name is Hoffman Mountain.", "description": "Championing the American wilderness, Cole declared, \"We are still in Eden,\" in his <em>Essay on American Scenery, </em>published two years before he painted this view of the Adirondacks. The artist sketched the scene in early summer, but when he created the painting in his studio, he rendered it in a dramatic blaze of fall colors. Such a choice likely had nationalistic overtones; he once proclaimed that autumn was \"one season where the American forest surpasses all the world in gorgeousness.\" <br><br>Cole included two Indigenous men in the painting\u2019s right foreground foliage. At this time, the Adirondacks remained home to many Native Americans long after most had been forcibly removed from land east of the Mississippi River. While continuing to live, hunt, and fish in the area, these Algonquian and Iroquoian peoples were compelled to significantly adapt their existence amid increasing White settlement and its attendant lumber, mining, and tourist industries.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107556948", "https://www.wikidata.org/wiki/Q19900684"], "internet_archive": ["https://archive.org/details/clevelandart-1917.1335-view-of-schroon-moun"]}, "citations": [{"citation": "American Art Association. <em>Illustrated Catalogue of the Valuable Paintings by the Great and Little Masters of the Old and Modern Schools Formed by Mr. Nicholas M. Matthews of Baltimore</em>. New York: The Association, 1914.", "page_number": null, "url": null}, {"citation": "American Federation of Arts. <em>American Art Annual</em>. New York: MacMillan Co, 1898.", "page_number": null, "url": null}, {"citation": "<em>American Art Annual</em> 11 (1914): 481.", "page_number": null, "url": null}, {"citation": "Anderson Galleries, Inc. <em>Paintings by Old and Modern Masters</em>. 1916.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Inaugural Exhibition June 6-September 20, 1916</em>. Cleveland: The Cleveland Museum of Art, 1916.", "page_number": null, "url": null}, {"citation": "Kornhauser, Elizabeth Mankin, T. J. Barringer, Dorothy Mahon, Christopher Riopelle, Shannon Vittoria, Metropolitan Museum of Art (New York, N.Y.), and National Gallery (Great Britain). <em>Thomas Cole\u2019s Journey : Atlantic Crossings.</em> New York: The Metropolitan Museum of Art, 2018.", "page_number": "Mentioned, p. 191-93; reproduced, frontispiece, p, 191.", "url": ""}, {"citation": "Menconi &amp; Schoelkopf Fine Art, and Jonathan Spies. <em>Menconi + Schoelkopf. </em>New York, NY: Menconi + Schoelkopf, 2019.", "page_number": "Mentioned, pp. 6-7.", "url": ""}, {"citation": "Cooper, Reid W. F., Luke Nicholson, and Jean-Fran\u00e7ois B\u00e9lisle. <em>Shifting Borders. </em>Newcastle, UK: Cambridge Scholars Pub., 2007.", "page_number": "Mentioned, p. 32; reproduced, p. 33.", "url": ""}, {"citation": "David Franklin, and C. Griffith Mann. <em>Treasures of the Cleveland Museum of Art. </em>Cleveland, OH, London: Cleveland Museum of Art ; in association with Scala Publishers, 2012.", "page_number": "Mentioned, p. 230; reproduced, p. 231.", "url": ""}, {"citation": "Kusserow, Karl, Alan C. Braddock, Miranda Belarde-Lewis, Teddy Cruz, Rachael Ziady DeLue, Mark Dion, Fonna Forman, et al.<em> Nature\u2019s Nation: American Art and Environment.</em> Princeton, NJ: Princeton University Art Museum, 2018.", "page_number": "Mentioned, p. 109.", "url": ""}, {"citation": "Hoffman, Charles Fenno. <em>New-York Mirror, </em>June 1838.", "page_number": "Mentioned: p. 367, 390", "url": null}, {"citation": "American Art-Union. <em>Exhibition of the Paintings of the Late Thomas Cole: At the Gallery of the American Art-Union</em>. New York, NY: Snowden &amp; Prall, 1848.", "page_number": "Reproduced: no. 75", "url": null}, {"citation": "<em>Catalogue of Paintings, Engravings, &amp;c. &amp;c. at Picture Gallery of the Maryland Historical Society: Second Annual Exhibition, 1849</em>. Baltimore, MD: Printed by J.D. Toy, 1849.", "page_number": "Reproduced: no. 199", "url": null}, {"citation": "\"The Matthews Sale.\" <em>American Art News. </em>12:20 (February 21, 1914).", "page_number": "Mentioned: p. 8", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Inaugural Exhibition, June 6-September 20, 1916</em>. Cleveland, OH: Cleveland Museum of Art, 1916.", "page_number": "Reproduced: p. 125", "url": null}, {"citation": "\"Matthews Pictures Sold.\" <em>American Art News.</em> 14:16 (January 22, 1916).", "page_number": "Mentioned: p. 3, no. 55", "url": null}, {"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art. </em>4:4 (April-May 1917).", "page_number": "Mentioned: p. 64-67", "url": "http://www.jstor.org/stable/25136092"}, {"citation": "Downes, William Howe. \"American Painters of Mountains.\" <em>The American Magazine of Art.</em> 25:4 (October, 1932).", "page_number": "Reproduced: p. 194", "url": null}, {"citation": "Francis, Henry S. \"Thomas Cole: Painter of the Catskill Mountains.\" <em>The Bulletin of The Cleveland Museum of Art.</em> 24:7 (July, 1937).", "page_number": "Reproduced: front cover; Mentioned: p. 113-116", "url": "http://www.jstor.org/stable/25137862"}, {"citation": "Kellner, Sydney. \"The Beginnings of Landscape Painting in America.\" <em>Art in America and Elsewhere: An Illustrated Quarterly Magazine.</em> 25 (October, 1938). p. 158-168.", "page_number": "Reproduced", "url": null}, {"citation": "Carnegie Institute, and Lloyd Goodrich. <em>A Century of American Landscape Painting, 1800 to 1900</em>. Pittsburgh, PA: Carnegie Institute, Department of Fine Arts 1939.", "page_number": "Mentioned: p. 33, cat. no. 59", "url": null}, {"citation": "Nathan, Walter L. \"Thomas Cole and the Romantic Landscape.\" <em>Romanticism in America: Papers Contributed to a Symposium Held at The Baltimore Museum of Art.</em> Edited by George Boas, p. 24-63. Baltimore: Johns Hopkins Press, 1940.", "page_number": "Mentioned: p. 45", "url": null}, {"citation": "Watson, Jane. \"News and Comment.\" <em>Magazine of Art.</em> 33 (May, 1940).", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Lane, James W. \"This Year the Carnegie National: Pittsburgh's Brilliant Survey of 160 Years of U.S. Painting.\" <em>The Art News.</em> 39:4 (26 October 1940). p. 7-18.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Ault, George. \"Thomas Cole Exhibition at Albany Institute.\" <em>Ulster County News</em> (Kingston, NY), November 27, 1941.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Lesley, Parker. \"Thomas Cole and the Romantic Sensibility.\" <em>The Art Quarterly.</em> 5:3 (Summer, 1942). p. 199-221.", "page_number": "Mentioned: p. 199-221", "url": null}, {"citation": "Frankenstein, Alfred. \"Thomas Cole: The Story of a New Local Purchase.\" <em>San Francisco Chronicle, </em>January, 1947.", "page_number": "Mentioned: p. 21", "url": null}, {"citation": "Francis, Henry. \"Two Pictures of the Hudson River School.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 3 (March 1947): 48.", "page_number": "Mentioned: p. 48", "url": "https://www.jstor.org/stable/25141350"}, {"citation": "Devree, Howard. \"Baroque to Modern: A Wide Range of Styles in the New Shows.\" <em>The New York Times</em>, January 16, 1949.", "page_number": "Reproduced: p. X9", "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. 533", "url": "https://archive.org/details/CMAHandbook1958/page/n98"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1966/page/n208"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}, {"citation": "Talbot, William S. \u201cAmerican Visions of Wilderness.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (April 1969): 151\u2013166.", "page_number": "Mentioned and reproduced: p. 154, fig. 3", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Mentioned: p. 70-77; Reproduced: p. 76, fig. 60", "url": null}, {"citation": "Celeste, Adam, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in The Cleveland Museum of Art. </em>Cleveland, OH: The Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 7-10; Reproduced: p. 7", "url": null}, {"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:1 (January, 1973). pp. 1-36.", "page_number": "Mentioned: p. 24, no. 39", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \"American Landscape Paintings in The Cleveland Museum of Art.\" <em>Antiques</em>. 104:5 (November, 1973). pp. 906-917.", "page_number": "Reproduced: p. 906, fig. 1", "url": null}, {"citation": "Barnett, Lincoln. <em>The Ancient Adirondacks.</em> New York: Time-Life Books, 1974.", "page_number": "Reproduced", "url": null}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976</em>. Toledo, OH: Toledo Museum of Art, 1976.", "page_number": "Mentioned: p. [16]; Reproduced", "url": null}, {"citation": "Field, Marta. <em>\"</em>Kindred Spirits: George Arms and American Studies Since 1944.\" <em>New America. </em>3:2 (Summer/Fall, 1977).", "page_number": "Reproduced: p. 44", "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes.\" <em>Arts and Activities. </em>82:4 (December, 1977). pp. 8-33.", "page_number": "Reproduced: p. 28, fig. 1", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 228", "url": null}, {"citation": "Millhouse, Barbara Babcock. <em>American Wilderness: The Hudson River School of Painting</em>. Garden City, NY: Doubleday, 1978.", "page_number": "Reproduced: p. 46; Mentioned: pp. 41-47", "url": null}, {"citation": "Zakon, Ronnie L. \"The Romantic Vision.\" <em>The Romantic Vision: 19th Century American Landscape Painting in the Walker Art Center Permanent Collection. </em>Minneapolis, MN: Walker Art Center 1978. pp. 6-21.", "page_number": "Reproduced: p. 8, fig. 3", "url": null}, {"citation": "Powell, Earl A., III. \"Thomas Cole and the American Landscape Tradition: The Picturesque.\" <em>Arts Magazine.</em> 52 (March, 1978). pp. 110-117.", "page_number": "Reproduced: p. 113", "url": null}, {"citation": "Meservey, Anne Farmer. \"The Role of Art in American Life: Critics' Views of Native Art and Literature, 1830-1865.\" <em>The American Art Journal. </em>10:1 (May, 1978). pp. 72-89.", "page_number": "Reproduced: p. 84, fig. 10", "url": null}, {"citation": "Craven, Wayne. \"Thomas Cole and Italy.\" <em>The Magazine Antiques</em>. 114:5 (November, 1978). pp. 1014-1027.", "page_number": "Mentioned: p. 1014-1027", "url": null}, {"citation": "Moore, Janet Gaylord.<em> The Eastern Gate: An Invitation to the Arts of China and Japan</em>. Cleveland: Collins, 1979.", "page_number": "Mentioned: p. 19-26; Reproduced: p. 23", "url": null}, {"citation": "Cikovsky, Nicolai, Jr. \"'The Ravages of the Axe': The Meaning of the Tree Stump in Nineteenth-Century American Art.\" <em>The Art Bulletin.</em> 61:4 (December, 1979). pp. 611-626.", "page_number": "Mentioned:  p. 624; Reproduced: p. 624, fig. 22", "url": "www.jstor.org/stable/3049941"}, {"citation": "Wilmerding, John, and Lisa Fellows Andrus. <em>American Light: The Luminist Movement, 1850-1875: Paintings, Drawings, Photographs</em>. Washington, D.C.: National Gallery of Art, 1980.", "page_number": "Mentioned: p. 162-170, 181-183; Reproduced: illus. p. 164, fig. 200", "url": null}, {"citation": "Hobbs, Robert Carleton. <em>Robert Smithson: Sculpture</em>. Ithaca, NY: Cornell University Press, 1981.", "page_number": "Mentioned: p. 27-30; Reproduced: p. 28", "url": null}, {"citation": "Baigell, Matthew. <em>Thomas Cole</em>. New York: Watson-Guptill Publications, 1981.", "page_number": "Mentioned: p. 34-35, 58-59, 68-69, 76-77; Reproduced: p. 59, plate 20", "url": null}, {"citation": "Silver, Adele Z. <em>Guide to the Galleries: The Cleveland Museum of Art.</em> 2nd ed., revised. Cleveland, OH: Cleveland Museum of Art, 1981.", "page_number": "Mentioned: p. 80-82; Reproduced: p. 82, fig. 75", "url": null}, {"citation": "Czestochowski, Joseph S. <em>The American Landscape Tradition: A Study and Gallery of Paintings</em>. New York, NY: E.P. Dutton, 1982.", "page_number": "Mentioned: p. 7-11, 13-17, 49, 68-69, 154-168; Reproduced: pp. 68-69, fig. no. 53", "url": null}, {"citation": "Morse, Samuel Finley Breese. <em>Lectures on the Affinity of Painting with the Other Fine Arts</em>, edited by Nicolai Cikovsky. Columbia, MO: University of Missouri Press, 1983.", "page_number": "Mentioned: p. 19-33; Reproduced: fig. 13", "url": null}, {"citation": "Talbot, William S. \"Visions of Landscape: East and West.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 70:3 (March, 1983). pp. 112-135.", "page_number": "Mentioned: p. 115-117; Reproduced: p. 115, fig. 4", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Creese, Walter L. <em>The Crowning of the American Landscape: Eight Great Spaces and Their Buildings</em>. Princeton, N.J.: Princeton University Press, 1985.", "page_number": "Mentioned: p. 71-76; Reproduced: p. 76, fig. 20", "url": null}, {"citation": "Kelly, Franklin. <em>Frederic Edwin Church and the North American Landscape, 1845-60</em>. Ph.D. dissertation, University of Delaware, 1985.", "page_number": "Mentioned: p. 9", "url": null}, {"citation": "Avery, Kevin J., Oswaldo Rodriguez Roque, John K. Howat, Doreen Bolger Burke, and Catherine Hoover Voorsanger. <em>American Paradise: The World of the Hudson River School</em>. New York, NY : Metropolitan Museum of Art : H.N. Abrams, 1987.", "page_number": "Mentioned: p. 134-136", "url": null}, {"citation": "Rodrigues Roque, Oswaldo. \"Realism and Idealism in Hudson River School Painting.\" <em>Antiques</em> 132:5 (November, 1987). pp. 1096-1109.", "page_number": "Mentioned: p. 1100", "url": null}, {"citation": "Parry, Ellwood C, III. <em>The Art of Thomas Cole: Ambition and Imagination</em>. Newark, NJ: University of Delaware Press, 1988.", "page_number": "Mentioned: p. 188-225, 389-391; Reproduced: p. 202, fig. 165", "url": null}, {"citation": "Roque, Oswaldo Rodriguez. \"The Exaltation of American Landscape Painting.\" <em>Nature Rightly Observed: Hudson River School Landscape Paintings from The Metropolitan Museum of Art. </em>Shizuoka-shi: Metoroporitan Bijutsukan Meisaku Nihon Jikk\u014d Iinkaii, 1988.", "page_number": "Mentioned: p. 18, 36-55, 182, 209-210; Reproduced: p. 18, fig. 11", "url": null}, {"citation": "Cikovsky, Nicolai, Jr. \"Thomas Cole (1801-1848) Schroon Lake.\" <em>American Paintings from the Manoogian Collection</em>. Washington, D.C.: National Gallery of Art, 1989.", "page_number": "Mentioned: p. 16-17", "url": null}, {"citation": "Vance, William L. <em>America's Rome.</em> New Haven, CT: Yale University Press, 1989.", "page_number": "Mentioned: p. 90-105; Reproduced: p. 104, fig. 35", "url": null}, {"citation": "Minks, Louise. <em>The Hudson River School</em>. New York: Crescent Books, 1989.", "page_number": "Mentioned: p. 6-18, 20; Reproduced: p. 25", "url": null}, {"citation": "Powell, Earl A. <em>Thomas Cole</em>. New York: H.N. Abrams, 1990.", "page_number": "Mentioned: p. 20-47, 72-83, 139; Reproduced: p. 72", "url": null}, {"citation": "Wilkins, David G., and Bernard Schultz. <em>Art Past/Art Present</em>. New York: Abrams, 1990.", "page_number": "Mentioned: p. 388-389; Reproduced: p. 388, fig. 421", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 126", "url": null}, {"citation": "Parry, Ellwood C., III. \"Les Montagnes dans L'Imaginaire de Thomas Cole.\" <em>La montagne et ses images du peintre d'Askre\u0301silas a\u0300 Thomas Cole. </em>Paris: E\u0301ditions du CTHS, 1991.", "page_number": "Mentioned: p. 383-415; Reproduced: p. 411, fig. 7", "url": null}, {"citation": "Cle\u0301ment, Jean-Paul. <em>Chateaubriand et le sentiment de la nature</em>. Cha\u0302tenay-Malabry: La Valle\u0301e aux loups, Maison de Chateaubriand, 1991.", "page_number": "Mentioned: p. 13-21; Reproduced: p. 16", "url": null}, {"citation": "Robertson, Bruce. \"Frederic A. Whiting: Founding the Museum with Art and Craft.\" <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 32-59; Reproduced: p. 47", "url": null}, {"citation": "Maciejunes, Nannette V., and Norma J. Roberts. <em>A Nation's Legacy: 150 Years of American Art from Ohio Collections</em>. Columbus, OH: Columbus Museum of Art, 1992.", "page_number": "Reproduced: p. 30, 174; Mentioned: p. 22", "url": null}, {"citation": "Truettner, William H., Alan Wallach, and Christine Stansell. <em>Thomas Cole: Landscape into History</em>. New Haven, CT: Yale University Press, 1994.", "page_number": "Reproduced: p. 69, fig. 84; Mentioned: p. 171", "url": null}, {"citation": "Marchetti, Francesca Castria, ed. <em>American Painting. </em>New York: Watson-Guptill Publications, 2002.", "page_number": "Mentioned: p. 44", "url": null}, {"citation": "Grabenhorst, T.N. \"A River Runs Through It: Master Artists of the Hudson.\" <em>The Compass: The Magazine of the Sea. </em>2 (2004).", "page_number": "Mentioned: p. 30-35; Reproduced: p. 34", "url": null}, {"citation": "Grabenhorst, T.N. \"A River Runs Through It: Master Artists of the Hudson,\" <em>The Compass: A Magazine of the Sea, no. 2 (</em>2004):30-35.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 62 - 65", "url": ""}, {"citation": "Cole, Mark. \"New Spaces in the Cleveland Museum of Art.\" <em>American Art </em>24 no. 2 (Summer 2010)", "page_number": "Reproduced: p. 16", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 46", "url": ""}, {"citation": "Shepard, Paul, Jr. \"Paintings of the New England Landscape: A Scientist Looks at Their Geomorphology.\" <em>College Art Journal. </em>17:1 (Fall, 1957). pp. 30-43.", "page_number": "Reproduced: p. 36, fig. 5", "url": null}, {"citation": "Eliot, Alexander. <em>Three Hundred Years of American Painting</em>. New York: Time Inc, 1957.", "page_number": "Mentioned: pp. 70-74; Reproduced: p. 70", "url": null}, {"citation": "Goodrich, Lloyd. \"What is American in American Art?\" <em>Art in America.</em> 46 (Fall, 1958). pp. 19-33.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "\"Special Exhibitions.\" <em>The Bulletin of The Cleveland Museum of Art.</em> 45:1 (January 1962). pp. 3-12.", "page_number": "Reproduced", "url": "http://www.jstor.org/stable/25142482"}, {"citation": "McCoubrey, John W. <em>American Tradition in Painting</em>. New York: G. Braziller, 1963.", "page_number": "Reproduced: plate 22; Mentioned: pp. 22-31, 113-126", "url": null}, {"citation": "<em>American Literature.</em> eds. Andrew J. Porter and Henry L. Terrie, Jr. New York: Ginn and Company, 1964.", "page_number": "Reproduced: p. 204", "url": null}, {"citation": "<em>The Beauty of America in Great American Art: With Selections from the Writings of Renowned American Authors</em>. Waukesha, WI: Country Beautiful Foundation; New York: In association with W. Morrow, 1965.", "page_number": "Reproduced: pp. 38-39; Mentioned: pp. 37-39", "url": null}, {"citation": "Huntington, David Carew. <em>The Landscapes of Frederic Edwin Church: Vision of an American Era</em>. New York: G. Braziller, 1966.", "page_number": "Mentioned: p. 24-34, 200; Reproduced: fig. 4", "url": null}, {"citation": "Merritt, Howard S. \"'A Wild Scene' Genesis of a Painting.\" <em>The Baltimore Museum of Art Annual II: Studies on Thomas Cole, An American Romanticist. </em>Baltimore, MD: The Baltimore Museum of Art, 1967.", "page_number": "Mentioned: p. 7-40; Reproduced: p. 23, fig. 7", "url": null}, {"citation": "\"I Don't Know Art, But I Know What I Like.\" <em>The Ohio Bell Voice, </em>January, 1967.", "page_number": "Mentioned: p. 12-15; Reproduced: p. 13", "url": null}, {"citation": "Moore, Janet Gaylord. <em>The Many Ways of Seeing: An Introduction to the Pleasures of Art</em>. Cleveland, OH: World Pub. Co, 1968.", "page_number": "Mentioned: p. 117-120; Reproduced: p. 118", "url": null}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 56:4 (April, 1969). p. 151-166.", "page_number": "Mentioned: p. 154-156; Reproduced: p. 154, fig. 3", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Living Wilderness.</em> 33:108 (Winter, 1969). pp. 14-25.", "page_number": "Reproduced: p. 17, fig. 3", "url": null}, {"citation": "Prown, Jules David. <em>American Painting: From Its Beginnings to the Armory Show, vol. 1. </em>Geneva: Skira, distributed by World Publishing Company, 1969.", "page_number": "Mentioned: p. 64-75; Reproduced: p. 67", "url": null}], "url": "https://clevelandart.org/art/1917.1335", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_web.jpg", "width": "1263", "height": "775", "filesize": "716717", "filename": "1917.1335_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_print.jpg", "width": "3400", "height": "2086", "filesize": "5582485", "filename": "1917.1335_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.1335/1917.1335_full.tif", "width": "6280", "height": "3853", "filesize": "72628688", "filename": "1917.1335_full.tif"}}, "alternate_images": [{"date_created": "2008-05-16T18:02:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1335/1917.1335_alt0_web.jpg", "width": "1263", "height": "596", "filesize": "484023"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1335/1917.1335_alt0_print.jpg", "width": "3400", "height": "1604", "filesize": "3490124"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1335/1917.1335_alt0_full.tif", "width": "6525", "height": "3078", "filesize": "60286068"}}, {"date_created": "2008-08-13T15:16:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1335/1917.1335_alt1_web.jpg", "width": "1263", "height": "878", "filesize": "963680"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1335/1917.1335_alt1_print.jpg", "width": "3400", "height": "2363", "filesize": "6856830"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.1335/1917.1335_alt1_full.tif", "width": "4598", "height": "3196", "filesize": "44127904"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 93014, "creators": [{"id": 2659, "description": "Thomas Cole (American, born England,1801\u20131848)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1917-02-14T00:00:00", "sortable_date": 1838, "date_added_to_oa": null, "date_text": "1838", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Schroon Mountain, The Adirondacks"], "is_highlight": false, "updated_at": "2026-03-27 00:03:26.434000"}, {"id": 135382, "accession_number": "1958.39", "share_license_status": "CC0", "tombstone": "The Red Kerchief, c. 1868\u201373. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); unframed: 99 x 79.8 cm (39 x 31 7/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.39", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Red Kerchief", "creation_date": "c. 1868\u201373", "creation_date_earliest": 1868, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 128.3 x 105.7 x 14.6 cm (50 1/2 x 41 5/8 x 5 3/4 in.); Unframed: 99 x 79.8 cm (39 x 31 7/16 in.)", "dimensions": {"framed": {"height": 1.283, "width": 1.057, "depth": 0.146}, "unframed": {"height": 0.99, "width": 0.798}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Not signed\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 343629, "title": "Claude Monet - Seasons and Moments", "description": "<i>Claude Monet - Seasons and Moments</i>. The Museum of Modern Art (March 7-May 15, 1960); Los Angeles County Museum of Art (June 14-August 7, 1960).", "opening_date": "1960-03-07T05:00:00"}, {"id": 338832, "title": "Paintings by Monet", "description": "<i>Paintings by Monet</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 15-May 11, 1975).", "opening_date": "1975-03-15T04:00:00"}, {"id": 343615, "title": "Hommage a Claude Monet", "description": "<i>Hommage a Claude Monet</i>. Mus\u00e9e du Louvre, Paris, France (February 9-May 5, 1980).", "opening_date": "1980-02-09T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 343621, "title": "Claude Monet: 1840-1926", "description": "<i>Claude Monet: 1840-1926</i>. The Art Institute of Chicago, Chicago, IL (organizer) (July 14-November 26, 1995).", "opening_date": "1995-07-04T04:00:00"}, {"id": 213923, "title": "Impressionists in Winter: Effets de Neige", "description": "<i>Impressionists in Winter: Effets de Neige</i>. The Phillips Collection, Washington, DC (organizer) (September 19, 1998-January 3, 1999); Fine Arts Museum of San Francisco, Yerba Buena Gardens, CA (January 30-May 2, 1999); The Brooklyn Museum, Brooklyn, NY (May 27-August 29, 1999).", "opening_date": "1998-09-19T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Baltimore Museum of Art (organizer) (October 10, 1999-January 30, 2000); Museum of Fine Arts, Houston (March 25-May 7, 2000); The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 227545, "title": "Monet's Garden", "description": "<i>Monet's Garden</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 29, 2004-March 13, 2005).", "opening_date": "2004-10-29T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 216795, "title": "Becoming Edvard Munch: Influence, Anxiety, and Myth", "description": "<i>Becoming Edvard Munch: Influence, Anxiety, and Myth</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 14-April 26, 2009).", "opening_date": "2009-02-14T00:00:00"}, {"id": 220678, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 20, 2010-January 24, 2011).", "opening_date": "2010-09-20T00:00:00"}, {"id": 213320, "title": "Lend-Back - Painting the Modern Garden", "description": "<i>Lend-Back - Painting the Modern Garden</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (August 27, 2015-January 3, 2016).", "opening_date": "2015-08-27T00:00:00"}, {"id": 213583, "title": "Monet: The Early Years", "description": "<i>Monet: The Early Years</i>. Kimbell Art Museum, Fort Worth, TX (organizer) (October 16, 2016-January 29, 2017); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (February 25-May 29, 2017).", "opening_date": "2016-10-16T00:00:00"}, {"id": 304929, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Albertina, Wien, Austria (organizer) (September 21, 2018-January 6, 2019) https://www.albertina.at/en/exhibitions/monet/.", "opening_date": "2018-09-21T04:00:00"}], "legacy": [{"description": "<em>Claude Monet: Exposition r\u00e9trospective.</em> Mus\u00e9e de l'Orangerie, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Claude Monet de 1865 \u00e0 1888.</em> Durand-Ruel, Paris, France (1935).", "opening_date": "1935-01-01T00:00:00"}, {"description": "<em>Five Centuries of History Mirrored in Five Centuries of French Art.</em> World's Fair (Pavillon de la France), New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Paintings by Claude Monet.</em> Wildenstein &amp; Co., New York, NY (1945).", "opening_date": "1945-01-01T00:00:00"}]}, "provenance": [{"description": "Michel Monet [1878-1966] Giverny, France, bequeathed from the artist's estate to his son, 1931", "citations": [], "footnotes": [], "date": "1931-1939", "sortorder": 1}, {"description": "Edouard Molyneux [1891-1974] Paris, France, 1939", "citations": [], "footnotes": [], "date": "1939-1948", "sortorder": 2}, {"description": "(Carroll Carstairs Gallery, New York, NY, September 16, 1948, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "1948", "sortorder": 3}, {"description": "Leonard C. Hanna, Jr. [1889-1958], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1948-1958", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Madame Monet\u2019s red cape draws the viewer\u2019s attention beyond the glass of the French doors capturing her glance, a brief moment frozen in time. This painting was very special to Monet and he kept it with him for his entire life.", "description": "This painting depicts Monet's first wife, Camille, outside on a snowy day passing by the French doors of their home at Argenteuil. Her face is rendered in a radically bold Impressionist technique of mere daubs of paint quickly applied, just as the snow and trees are defined by broad, broken strokes of pure white and green.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q50772913"], "internet_archive": ["https://archive.org/details/clevelandart-1958.39-the-red-kerchief"]}, "citations": [{"citation": "Becker, Christoph. <em>Monet's Garden</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2004.", "page_number": "Reproduced: p. 25, fig. 9", "url": null}, {"citation": "Geffroy, Gustave. <em>Claude Monet, sa vie, son \u0153uvre</em>. Paris, FR: G. Cre\u0300s et cie, 1922.", "page_number": "Reproduced: opp. p. 140", "url": null}, {"citation": "Trevise, Duc de. \"Le Pelerinage de Giverny.\" <em>Revue de l'Art Ancien et Moderne </em>51 (January-May 1927: 42-50.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Fels, Florent. \"Claude Monet or the Fading Luminary.\" <em>Formes; An International Art Review </em>15 (May 1931<em>)</em>: 74b-75.", "page_number": "Reproduced: p. 74c", "url": null}, {"citation": "Malingue, Maurice. <em>Claude Monet.</em> Monaco: Les Documents d'art, 1943.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism</em>. New York, NY: Museum of Modern Art, 1946.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Reuterswa\u0308rd, Oscar. <em>Monet: En konstna\u0308rshistorik.</em> Stockholm: Bonniers, 1948.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "<em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 ... = Catalogue of colour reproductions of painting from 1860 to ... = Cata\u0301logo de reproducciones en color de la pintura de 1860 a</em>. Paris, France: Unesco, 1949.", "page_number": "Reproduced: p. 234", "url": null}, {"citation": "Besson, George. <em>Claude Monet (1840-1926)</em>. Paris: Braun, 1949.", "page_number": "Reproduced: pl. 28", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 75", "url": null}, {"citation": "Cleveland Museum of Art.<em> In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 23", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art XLVI </em>no.6<em>.</em> (June, 1959): 123.", "page_number": "Reproduced: p. 123", "url": null}, {"citation": "Museum of Modern Art (New York, N.Y.), and William Chapin Seitz. <em>Claude Monet: Seasons and Moments</em>. New York. Museum of Modern Art. Catalogues. 1959-1963. 1960.", "page_number": "Mentioned: cat. no. 13", "url": null}, {"citation": "Gimpel, Rene\u0301. <em>Journal d'un Collectionneur, Marchand de Tableaux</em>. [Paris]: Calmann-Le\u0301vy, 1963.", "page_number": "Reproduced: opp. p 78", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "Arnason, H. H. \"Motherwell: The Window and the Wall.\" <em>ARTnews</em> 68 (Summer 1969): 48-50.", "page_number": "Reproduced: p. 50; mentioned: p. 48", "url": null}, {"citation": "Isaacson, Joel. <em>Monet: Le Dejeuner Sur L'herbe</em>. London, United Kingdom: Allen Lane the Penguin Press, 1972.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Bortolatto, Luigina Rossi. <em>L'opera Completa Di Claude Monet, 1870-1889</em>. Milano: Rizzoli, 1972.", "page_number": "Reproduced: no. 77", "url": null}, {"citation": "Tsuji, Kunio, Yoshiaki Inui, and Shu\u0304ji Takashina. <em>Mone to insho\u0304ha = Monet et l'impressionnisme.</em> To\u0304kyo\u0304: Chu\u0304o\u0304 Ko\u0304ronsha, 1972.", "page_number": "Reproduced: no. 33", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p.31 fig. 40", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism.</em> New York, NY: Museum of Modern Art, 1973.", "page_number": "Reproduced: p. 251", "url": null}, {"citation": "Nordenfalk, Carl Adam Johan. \"Outdoors-Indoors: A 2000-Year-Old Space Problem in Western Art.\" In <em>Proceedings of the American Philosophical Society</em> 117, no. 4 (1973): 253-54, fig. 31.", "page_number": "Reproduced: p. 253-254, fig. 31", "url": null}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: biographie et catalogue raisonne\u0301</em>. Lausanne, Switzerland: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced: p. 257", "url": null}, {"citation": "Monet, Claude, and Susan Wise. <em>Paintings by Monet: [Exhibition] March 15 Through May 11, 1975, the Art Institute of Chicago</em>. Chicago: Art Institute of Chicago, 1975.", "page_number": "Mentioned and Reproduced: cat. no. 26, p 24", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon; New York, NY, Dutton, 1977.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "House, John. \"The New Monet Catalogue.\" <em>The Burlington Magazine</em> 120, no. 907 (1978): 678-39.", "page_number": "Mentioned: p. 680", "url": null}, {"citation": "\"Hommage a Monet.\" <em>Le Petit Journal des Grandes Expositions</em> 88 (1980): fig. 25.", "page_number": "Reproduced: fig. 25", "url": null}, {"citation": "Monet, Claude, He\u0301le\u0300ne Adhe\u0301mar, Anne Distel, and Sylvie Patin. <em>Hommage a\u0300 Claude Monet (1840-1926): 1980, anne\u0301e du patrimoine, Grand Palais, 8 fe\u0301vrier - 5 mai 1980</em>. Paris: E\u0301ditions de la Re\u0301union des muse\u0301e nationaux, Ministe\u0300re de la culture et de la communication, 1980.", "page_number": "Mentioned and Reproduced: cat. no. 25", "url": null}, {"citation": "\"Grand Palais, Paris; Exposition.\" <em>L'\u0152il </em>297 (April, 1980): 74.", "page_number": "Reproduced: p. 74", "url": null}, {"citation": "House, John. <em>Monet</em>. Oxford, United Kingdom: Phaidon, NY, 1981.", "page_number": "Reproduced: no. 8", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art LXX, </em>no. 2. (February, 1983):90.", "page_number": "Reproduced: p. 90, fig. 16", "url": null}, {"citation": "Keller, Horst. <em>Claude Monet</em>. Mu\u0308nchen, Germany: Bruckmann, 1985.", "page_number": "Reproduced: plate 44", "url": null}, {"citation": "Kijima, Shunsuke, Kimio Nakayama, Yoshiaki To\u0304no, Makoto O\u0304oka, and Katsunori Miyauchi. <em>Mone = Monet.</em> To\u0304kyo\u0304, Japan: Shu\u0304eisha, 1985.", "page_number": "Reproduced: p. 6", "url": null}, {"citation": "Stuckey. Charles F. <em>Monet: A Retrospective</em>. New York, NY: 1985.", "page_number": "Reproduced: p. 75, plate 27", "url": null}, {"citation": "Taillandier, Yvon. <em>Monet.</em> New York, NY: Crown, 1987.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science</em>, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and Reproduced: p. 95, cat. no. 2", "url": null}, {"citation": "Sagner-Du\u0308chting, <em>Karin. Claude Monet 1840-1926: ein Fest fu\u0308r die Augen.</em> Ko\u0308ln, Germany: Benedikt Taschen Verlag, 1990.", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Reproduced: p. 7-8", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Taylor, John Russell, <em>Claude Monet: Impressions of France : from Le Havre to Giverny.</em> London, United Kingdom: Collins &amp; Brown, 1995.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Tucker, Paul Hayes. <em>Claude Monet: Life and Art.</em> New Haven, CT: Yale University Press, 1995.", "page_number": "Mentioned: p. 66-68, Reproduced: pl. 75", "url": null}, {"citation": "Stuckey, Charles F., Claude Monet, and Sophia Shaw. <em>Claude Monet: 1840-1926</em>. New York: Thames and Hudson, 1995.", "page_number": "Mentioned and Reproduced cat. no. 24, p. 244", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, Iowa: Kendall/Hunt, 1996.", "page_number": "Reproduced: p. 165, fig. 7.3", "url": null}, {"citation": "Wildenstein, Daniel, <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: p. 90, vol. 1; p. 257, vol. 2", "url": null}, {"citation": "Weiss, Susanne. <em>Claude Monet: ein distanzierter Blick auf Stadt und Land</em> : <em>Werke 1859-1889</em>. Berlin, Germany: Reimer, 1997.", "page_number": "Reproduced: p. 55, fig. 15", "url": null}, {"citation": "Moffett, Charles S. <em>Impressionists in Winter: Effets De Neige</em>. Washington, D.C.: Phillips Collection in collaboration with Philip Wilson Publishers, 1998.", "page_number": "Reproduced: cat. no. 6", "url": null}, {"citation": "Sallis, John. <em>Shades--of Painting at the Limit</em>. Bloomington, IN: Indiana University Press, 1998.", "page_number": "Reproduced: p. 52, fig. 4", "url": null}, {"citation": "Pittman, Dianne W. <em>Bazille: Purity, Pose, and Painting in the 1860s</em>. University Park, PA: Pennsylvania State University, 1998.", "page_number": "Reproduced: p. 207, p. 209, fig. 131", "url": null}, {"citation": "D Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 155", "url": null}, {"citation": "Museum of Fine Arts, Boston. Mone, Runowa\u0304ru to insho\u0304ha no fu\u0304kei: kaikan kinen dai ikkai kikakuten = <em>Monet, Renoir, and the impressionist landscape.</em> [Japan]: Nagoya Bosuton Bijutsukan, 1999.", "page_number": "Reproduced: p. 28, fig. 28", "url": null}, {"citation": "Johnston, Sona, Susan Bollendorf, and John House. <em>Faces of Impressionism: Portraits from American Collections</em>. Baltimore, Md: Baltimore Museum of Art in association with Rizzoli International, 1999.", "page_number": "Reproduced: p. 126-127", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet, or, The Triumph of Impressionism.</em> Ko\u0308ln, Germany: Taschen, 1999.", "page_number": "Reproduced: p. 90, cat. no. 257", "url": null}, {"citation": "Johnston, Sona.<em> Faces of Impressionism: Portraits from American Collections</em>. New York, NY : Rizzoli, 1999.", "page_number": "Reproduced: p. 127, cat. no. 44", "url": null}, {"citation": "Knight, Lynne. <em>Snow Effects: Poems on Impressionists in Winter</em>. Concord, CA: Small Poetry Press, 2000.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models.</em> London, United Kingdom: Fitzroy Dearborn, 2001.", "page_number": "Reproduced: p. 167", "url": null}, {"citation": "<em>Norio Shimada, and Keiko Sakagami. Kuro\u0304do Mone meigashu\u0304: hikari to kaze no kiseki</em>. To\u0304kyo\u0304, Japan: Nihon Bijutsu Kyo\u0304iku Senta\u0304, 2001.", "page_number": "Reproduced: p. 123", "url": null}, {"citation": "Clancy, John I. <em>Impressionism: Historical Overview and Bibliography.</em> New York, NY: Nova Science Publishers, 2003.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: p.7", "url": "https://archive.org/details/CMAMM2005-09/page/6/"}, {"citation": "Borzello, Frances. <em>At Home: The Domestic Interior in Art.</em> London, United Kingdom: Thames &amp; Hudson, 2006.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Lambert, Ste\u0301phane.<em> L'adieu au paysage: les nymphe\u0301as de Claude Monet</em>. Paris, France: Diffe\u0301rence, 2008.", "page_number": "Reproduced: fig. 12", "url": null}, {"citation": "Baillio, Joseph. <em>Claude Monet, 1840-1926</em>:<em> Paris, Galeries Nationales, Grand Palais, September 22, 2010-January 24, 2011</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2010.", "page_number": "Reproduced: p. 103, Mentioned: p. 254-255", "url": null}, {"citation": "Braschi, Cecilia. \"1840-1926. Monet, une Vie Dediee a la Peinture.\" <em>Dossier de l'Art </em>177 (September 2010): 2-23.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Marchesseau, Daniel. <em>Monet au Muse\u0301e Marmottan et dans les collections suisses ; Estampes japonaises, Fondation Claude Monet, Giverny. </em>Martigny, Switzerland: Fondation Pierre Gianadda, 2011.", "page_number": "Reproduced: p. 201, fig. 24", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, London, United Kingdom, Scala Publishers Ltd., 2012.", "page_number": "Reproduced: p. 262-3", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 289", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 20", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Patin, Sylvie. <em>Monet's Private Picture Gallery at Giverny: Paintings by Monet and His Friends.</em> Montreuil, France: Gourcuff Gradenigo; Giverny: \u00c9ditions Claude Monet Giverny: Fondation Claude Monet, 2016.", "page_number": "Reproduced: P. 12, 14, 16-17, 23", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 22", "url": ""}, {"citation": "Cachorro Fernandez, Emilio. \"Habitaciones con Vistas. Pulsion Escopica A Traves de la Ventana\". Archivo espan\u0303ol de arte 88, issue 350 (April-June 2015): 157-172.", "page_number": "Reproduced: p. 170, fig. 6", "url": null}, {"citation": "Shackelford, George T. M., et. al. <em>Monet: The Early Years.</em> Fort Worth, TX: Kimball Art Museum, 2016.", "page_number": "Mention: p. 107; 202 Reproduced: cover; p. 106, cat. 12", "url": null}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: P. 93, fig. 78", "url": null}, {"citation": "Widaur, Heinz. \"From Pleinairism to Impressionism.\" In <em>Claude Monet: A Floating World.</em> Heinz Widauer and Dieter Buchhart, eds., 55-79. Vienna: The Albertina Museum, 2018.", "page_number": "Mentioned and reproduced: p. 76-79, cat. 24", "url": null}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Shackelford, George T. M. <em>Monet: the Late Years.</em> Fort Worth, Texas: Kimbell Art Museum; San Francisco: Fine Arts Museums of San Francisco, New Haven; London: Distributed by Yale University Press, 2019.", "page_number": "Reproduced: P. 15, 29", "url": null}, {"citation": "Rubin, James Henry. Monet. 2020, 54.", "page_number": "Mentioned and reproduced; pp. 53-54, fig. 37.", "url": ""}, {"citation": "Dombrowski, Andre\u0301. <em>Monet's Minutes: Impressionism and the Industrialization of Time. </em>New Haven; London: Yale University Press, 2023.", "page_number": "Mentioned and reproduced: p. 21-22, fig. 11", "url": ""}, {"citation": "Dombrowski, Andre. \"Reflexions sur le Manieres de 'Saisir' et de 'Fixer' une Impression en 1874.\" <em>Revue de L'Art </em>223 (January 2024): 32-41.", "page_number": "Mentioned and reproduced: p. 37-38, fig. 3, Cover", "url": ""}, {"citation": "Siegel, Harmon. <em>Painting with Monet</em>. Princeton, New Jersey: Princeton University Press, 2024.", "page_number": "Mentioned and reproduced: p. 207-209, figs. 7.5, 7.6, and 7.7", "url": ""}, {"citation": "Wullschla\u0308ger, Jackie. <em>Monet: The Restless Vision. </em>New York: Alfred A. Knopf, 2024.", "page_number": "Reproduced: p. 106, plate 12; Mentioned: p. 149", "url": ""}], "url": "https://clevelandart.org/art/1958.39", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_web.jpg", "width": "723", "height": "900", "filesize": "242663", "filename": "1958.39_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_print.jpg", "width": "2732", "height": "3400", "filesize": "3767988", "filename": "1958.39_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.39/1958.39_full.tif", "width": "11652", "height": "14500", "filesize": "506893484", "filename": "1958.39_full.tif"}}, "alternate_images": [{"date_created": "2006-04-10T19:40:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.39/1958.39_alt0_web.jpg", "width": "717", "height": "893", "filesize": "459830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.39/1958.39_alt0_print.jpg", "width": "2731", "height": "3400", "filesize": "6598773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.39/1958.39_alt0_full.tif", "width": "4016", "height": "5000", "filesize": "60271236"}}, {"date_created": "2006-04-11T15:09:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.39/1958.39_alt1_web.jpg", "width": "720", "height": "893", "filesize": "471772"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.39/1958.39_alt1_print.jpg", "width": "2742", "height": "3400", "filesize": "6551534"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.39/1958.39_alt1_full.tif", "width": "4033", "height": "5000", "filesize": "60526808"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135382, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "c. 1868\u201373", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["La Capeline Rouge-Madame Monet"], "is_highlight": true, "updated_at": "2026-04-02 12:45:16.522000"}, {"id": 125104, "accession_number": "1946.83", "share_license_status": "CC0", "tombstone": "Frieze of Dancers, c. 1895. Edgar Degas (French, 1834\u20131917). Oil on fabric; framed: 103 x 233.5 x 7 cm (40 9/16 x 91 15/16 x 2 3/4 in.); unframed: 70 x 200.5 cm (27 9/16 x 78 15/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1946.83", "current_location": "222 Impressionism & Post-Impressionism", "title": "Frieze of Dancers", "creation_date": "c. 1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "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: 103 x 233.5 x 7 cm (40 9/16 x 91 15/16 x 2 3/4 in.); Unframed: 70 x 200.5 cm (27 9/16 x 78 15/16 in.)", "dimensions": {"framed": {"height": 1.03, "width": 2.335, "depth": 0.07}, "unframed": {"height": 0.7, "width": 2.005}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: Degas\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355543, "title": "Exhibition of the Month: Art is Long", "description": "<i>Exhibition of the Month: Art is Long</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 14-June 7, 1948).", "opening_date": "1948-04-14T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 360867, "title": "Masterpieces Recalled: Benefit for League for Emotionally Disturbed Children", "description": "<i>Masterpieces Recalled: Benefit for League for Emotionally Disturbed Children</i>. Rosenberg & Co., New York, NY (organizer) (February 6-March 2, 1957).", "opening_date": "1957-02-06T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 518812, "title": "\"Masterpieces\" Memorial Exhibition of Adele R. Levy", "description": "<i>\"Masterpieces\" Memorial Exhibition of Adele R. Levy</i>. Wildenstein & Co., New York, NY (April 6-May 7, 1961).", "opening_date": "1961-04-06T05:00:00"}, {"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": 398992, "title": "Degas: Beyond Impressionism", "description": "<i>Degas: Beyond Impressionism</i>. The Art Institute of Chicago (September 28, 1996-January 12, 1997).", "opening_date": "1996-05-22T04:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 174875, "title": "Edgar Degas: A Strange New Beauty", "description": "<i>Edgar Degas: A Strange New Beauty</i>. The Museum of Modern Art, New York, NY (organizer) (March 22-July 24, 2016).", "opening_date": "2016-03-22T00:00:00"}, {"id": 292699, "title": "Artlens Exhibition 2017", "description": "<i>Artlens Exhibition 2017</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24, 2017-May 29, 2019).", "opening_date": "2017-06-24T04:00:00"}], "legacy": [{"description": "<em>Degas</em>. Orangerie des Tuileries, Paris, France (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Honderd Jaar Fransche Kunst.</em> Stedelijk Museum, Amsterdam, Netherlands (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "Art Institute of Chicago, Chicago, IL (October 1941-October 1942).", "opening_date": "1941-10-01T00:00:00"}, {"description": "<em>Works by Edgar Degas</em>. The Cleveland Museum of Art, Cleveland, OH (February 5 to March 9, 1947).", "opening_date": "1947-02-05T00:00:00"}]}, "provenance": [{"description": "(Durand-Ruel, Paris, France, acquired from the artist and sold to Paul Cassier the same day)", "citations": [], "footnotes": [], "date": "September 19,1904", "sortorder": 1}, {"description": "(Paul Cassirer, Berlin Germany, sold to Max Liebermann)", "citations": [], "footnotes": [], "date": "November 21, 1904", "sortorder": 2}, {"description": "Max Liebermann [1847-1935], Berlin, Germany, deposited to the Kunsthaus Z\u00fcrich", "citations": [], "footnotes": [], "date": "1904-May 9, 1933", "sortorder": 3}, {"description": "Kunsthaus Z\u00fcrich, Switzerland", "citations": [], "footnotes": null, "date": "1933-1935", "sortorder": 4}, {"description": "Kathe Riezler, Max Leibermann's daughter, [1885-1952] Berlin, Germany and New York, NY, by inheritance (on loan to the Art Institute of Chicago, October 1941-October 1942).", "citations": [], "footnotes": null, "date": "1935-1946", "sortorder": 5}, {"description": "(Paul Rosenberg & Co., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1946", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1946-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The ballet is a subject Degas returned to again and again over the course of his career. Rather than public performances, he often depicted dancers behind the curtain, practicing, waiting, or, as in this painting, lacing up their shoes.", "description": "This painting may depict a single dancer seen from four different viewpoints. The young woman is placed in an undefined setting, surrounded by mere wisps of color, applied so spontaneously that the paint ran and dripped. Degas even added the circles in the foreground with his thumb. Such audacity, while acceptable in a small sketch, must have shocked the artist's contemporaries when presented on a six-foot canvas. Equally radical is the idea of combining multiple views of a single figure. Degas's unusual presentation may have been inspired by the photographs of Eadweard Muybridge (1830-1904)", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515361"], "internet_archive": ["https://archive.org/details/clevelandart-1946.83-frieze-of-dancers"]}, "citations": [{"citation": "Meier-Graefe, Julius. <em>Degas: ein Beitrag zur Entwicklungsgeschichte der modernen Malerei</em>. Mu\u0308nchen: R. Piper, 1920.", "page_number": "Reproduced: pl. 62", "url": null}, {"citation": "Frances, Henry S. \"Degas' Frieze of Dancers entitled Danseuses ajustant leurs chaussons.\" <em>Bulletin of The Cleveland Museum of Art XXXIII</em>, no. 6 (June, 1946) 87-94.", "page_number": "Reproduced: p. 89-91", "url": null}, {"citation": "Milliken, William M. \"Report for the Year 1946.\" <em>Bulletin of The Cleveland Museum of Art XXXIVI</em>, no. 6 (June, 1947) 127-139.", "page_number": "Mentioned: p. 128", "url": null}, {"citation": "Browse, Lillian. <em>Degas Dancers</em>. London: Faber and Faber, 1949.", "page_number": "Reproduced: no. 115, p. 376", "url": null}, {"citation": "Venturi, Lionello. <em>Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec</em>. New York, NY: Scribner, 1950.", "page_number": "Mentioned: p. 41-42; Reproduced: fig. 36", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Owned Paintings Will Go to France,\u201d April 20, 1955, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4556"}, {"citation": "Cabanne, Pierre. <em>Edgar Degas</em>. Paris: Editions Pierre Tisne\u0301, 1957.", "page_number": "Reproduced: pl. 124", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 506", "url": "https://archive.org/details/CMAHandbook1958/page/n93"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "Russoli, Franco and Fiorella Minervino. <em>L'opera completa di Degas</em>. Milan: Rizzoli, 1970.", "page_number": "Reproduced: no. 1093, Mentioned: p. 1893-1898", "url": null}, {"citation": "Hu\u0308ttinger, Eduard. <em>Degas</em>. New York, NY: Crown Publishers, 1988.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 214", "url": "https://archive.org/details/CMAHandbook1978/page/n234"}, {"citation": "Ikegami, Chu\u0304ji Ikegami. <em>Doga</em>. Tokyo: K\u014ddansha, 1980.", "page_number": "Reproduced: pl. 49; Mentioned: p. 121", "url": null}, {"citation": "Roberts, Keith and Helen Langdon. <em>Degas</em>. Oxford, United Kingdom: Phaidon, 1982.", "page_number": "Reproduced: fig. 37", "url": null}, {"citation": "Vaizey, Marina. <em>The Artist As Photographer</em>. London: Sidgwick &amp; Jackson, 1982.", "page_number": "Reproduced: fig. 29", "url": null}, {"citation": "Shackelford, George T. M. <em>Degas, the Dancers</em>. Washington, DC: National Gallery of Art, 1984.", "page_number": "Reproduced: p. 105-106", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Sutton, Denys. <em>Edgar Degas, Life and Work</em>. New York, NY: Rizzoli, 1986.", "page_number": "Mentioned: p. 183; Reproduced: p. 192", "url": null}, {"citation": "Kendall, Richard. <em>Degas by Himself: Drawings, Prints, Paintings, Writings</em>. London: Macdonald Orbis, 1987.", "page_number": "Reproduced: p. 266-267", "url": null}, {"citation": "Thomson, Richard. <em>The Private Degas</em>. New York, NY: Thames and Hudson, 1987", "page_number": "Reproduced: p. 86-87", "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. 99, no. 6", "url": ""}, {"citation": "Loyrette, Henri. <em>Degas</em>. Paris: Fayard, 1991.", "page_number": null, "url": null}, {"citation": "Eberle, Matthias. <em>Max Liebermann, 1847-1935: Werkverzeichnis der Gema\u0308lde und O\u0308lstudien.</em> Mu\u0308nchen: Hirmer, 1995.", "page_number": "Reproduced: p. 542", "url": null}, {"citation": "Natter, Tobias G.and Julius H. Schoeps. <em>Max Liebermann und die franzo\u0308sischen Impressionisten</em>. Du\u0308sseldorf: DuMont, 1997.", "page_number": "Reproduced: p. 24, 203-294; Mentioned, p. 224, 239, 240, 252", "url": null}, {"citation": "Bilski, Emily D. <em>Berlin Metropolis: Jews and the New Culture, 1890-1918</em>. Berkeley: University of California Press, 1999.", "page_number": "Reproduced: fig. 21, p. 35", "url": null}, {"citation": "Louise d'Argencourt, Roger Diederen, Alisa Luxenberg, Patrick Noon, William H. Robinson, Ann Tzeutschler Lurie. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art 1999.", "page_number": "I:218-221.", "url": null}, {"citation": "Rubin, Susan Goldman. <em>Degas and the Dance: The Painter and the Petits Rats, Perfecting Their Art</em>. New York, NY: Harry Abrams, 2002.", "page_number": "Reproduced: p. 2-3", "url": null}, {"citation": "Burgess, Margaret, \"The Colorful Mr. Hanna\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 09, November 2005", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2005-09/page/4"}, {"citation": "Rosenblum, Naomi. <em>A World History of Photography</em>. New York, NY: Abbeville Press Publishers, 2007.", "page_number": "Reproduced: p. 255, fig. 301", "url": null}, {"citation": "Echte, Bernhard, and Petra Cordioli. <em>Kunstsalon Bruno &amp; Paul Cassirer: die Ausstellungen 1898-1901</em>. Wa\u0308denswil, Switzerland: Nimbus, Kunst und Bu\u0308cher, 2011.", "page_number": "Mentioned: vol 5, p. 564-565", "url": null}, {"citation": "Kostenevich, A. G. <em>Impressionism: Sensation &amp; Inspiration: Highlights from the Hermitage</em>. Amsterdam, Netherlands: Museumshop Hermitage Amsterdam, 2012.", "page_number": "Reproduced: p. 88", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London: Scala Books, 2012.", "page_number": "Reproduced: p. 278-279", "url": null}, {"citation": "Thomson, Richard. <em>Art of the Actual: Naturalism and Style in Early Third Republic France, 1880-1900</em>. New Haven: Yale University Press, 2012.", "page_number": "Mentioned and reproduced: p. 243-245, fig. 178", "url": ""}, {"citation": "Faass, Martin, and Annegret Janda. <em>Verlorene Scha\u0308tze: die Kunstsammlung von Max Liebermann</em>. Berlin: Liebermann-Villa am Wannsee: Nicolai, 2013.", "page_number": "Mentioned: p. 23; Reproduced: p. 131, fig. 41", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 293", "url": ""}, {"citation": "DeVonyar, Jill. \"Frieze of Dancers.\" In <em>Degas: A Strange New Beauty. </em>Jodi Hauptman, 202-226. New York: The Museum of Modern Art, 2016.", "page_number": "Reproduced: p. 202-203, fig. 153", "url": null}, {"citation": "Bonafoux, Pascal. <em>Les 100 tableaux qui racontent Degas</em>. Vanves: Ch\u00eane, 2017.", "page_number": "Reproduced: p. 170-171", "url": null}, {"citation": "Barbe-Gall, Franc\u0327oise, and Edgar Degas. Pourquoi Degas est Degas. Paris: E\u0301ditions Le Deuxie\u0300me Horizon, 2019.", "page_number": "Mentioned and reproduced: pp. 84-85", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of Art.\" <em>CAN Journal </em>(Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "Degas, Edgar, Adriano Pedrosa, Fernando Oliva, and Sofia Borges. Degas: Dance, Politics and Society. 2021, 196-197.", "page_number": "Reproduced: pp. 196-197, fig. 136.", "url": ""}, {"citation": "Kisiel, Marine. <em>La Peinture Impressionniste et la De\u0301coration</em>. Paris: Le Passage, 2021.", "page_number": "Mentioned: P. 228; Reproduced: P. 230-231, ill. 214", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 36, 38", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Salsbury, Britany. \u201cReconsidering Degas: Common themes in depicting women's labor.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 4 (2023): 8-9.", "page_number": "Reproduced and Mentioned: P. 8", "url": "https://archive.org/details/CMAMM2023-04/page/8/mode/2up"}], "url": "https://clevelandart.org/art/1946.83", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.83/1946.83_web.jpg", "width": "900", "height": "314", "filesize": "96599", "filename": "1946.83_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.83/1946.83_print.jpg", "width": 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"https://openaccess-cdn.clevelandart.org/alternate/1946.83/1946.83_alt10_print.jpg", "width": "3400", "height": "2952", "filesize": "3431331"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.83/1946.83_alt10_full.tif", "width": "13133", "height": "11404", "filesize": "449335368"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125104, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-02-07T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:16.718000"}, {"id": 140408, "accession_number": "1964.351", "share_license_status": "CC0", "tombstone": "Peregrine Falcons (Duck Hawks), c. 1827. John James Audubon (American, born Haiti, 1785\u20131851). Oil on canvas; framed: 74.9 x 101 x 10.2 cm (29 1/2 x 39 3/4 x 4 in.); unframed: 64.5 x 91.5 cm (25 3/8 x 36 in.). The Cleveland Museum of Art, Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection, 1964.351", "current_location": "205 Federal American", "title": "Peregrine Falcons (Duck Hawks)", "creation_date": "c. 1827", "creation_date_earliest": 1822, "creation_date_latest": 1832, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 74.9 x 101 x 10.2 cm (29 1/2 x 39 3/4 x 4 in.); Unframed: 64.5 x 91.5 cm (25 3/8 x 36 in.)", "dimensions": {"framed": {"height": 0.749, "width": 1.01, "depth": 0.102}, "unframed": {"height": 0.645, "width": 0.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 444613, "title": "Work of John James Audubon", "description": "<i>Work of John James Audubon</i>. Cleveland Museum of Natural History, Cleveland, OH (organizer) (April 30-June 30, 1974).", "opening_date": "1974-04-30T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304413, "title": "Science within Art", "description": "<i>Science within Art</i>. The Cleveland Museum of Art (organizer) (February 13-April 20, 1980); Beck Center for the Arts, Lakewood, OH (June 1-July 1, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 304550, "title": "A Cleveland Bestiary", "description": "<i>A Cleveland Bestiary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15-December 16, 1981).", "opening_date": "1981-10-15T04:00:00"}, {"id": 228212, "title": "John James Audubon:  American Artist and Naturalist", "description": "<i>John James Audubon:  American Artist and Naturalist</i>. Cleveland Museum of Natural History (organizer) (February 10-April 29, 2007).", "opening_date": "2007-02-10T00:00:00"}], "legacy": [{"description": "Liverpool, England, Liverpool Royal Academy, Audubon Exhibition (1827), possibly no. 188 as Two Hawks Seizing on Ducks.", "opening_date": null}, {"description": "Cleveland, Natural Science Museum (1964); indefinite loan.", "opening_date": "1964-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Natural History, John James Audubon (30 April-31 June 1974); case D.", "opening_date": "1974-04-30T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Paintings 1776-1976 (6 March-11 April 1976); traveled to Detroit, Detroit Institute of Arts (5 May-13 June 1976); to Toledo, Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976); illu. cat. no. 7 as Duck Hawks.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Science Within Art (13 February-20 April 1980), illus. cat. no. 13, p. 28, pp. 28-29 as Duck Hawks.", "opening_date": "1980-02-13T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, A Cleveland Bestiary (14 October-15 December 1981) illus. cat. no. 36, p. 42; listed p. 62, no, 36 as Duck Hawks.", "opening_date": "1981-10-14T00:00:00"}, {"description": "New York, Grey Art Gallery and Study Center, John James Audubon &amp; His Sons (26 April - 5 June 1982) illus. cat. no. 31, p. 69 as Duck Hawks by John James Audubon (they attribute it to the artist himself, not his sons).", "opening_date": "1982-04-26T00:00:00"}, {"description": "Cleveland Musuem of Natural History, Cleveland, OH (February 10, 2007 - April 29, 2007): \"John James Audubon: American Artist and Naturalist\"", "opening_date": "2007-02-10T00:00:00"}]}, "provenance": [{"description": "John James Audubon [1785-1851], New York, NY, by descent to his wife, Lucy Bakewell Audubon", "citations": [], "footnotes": null, "date": "c. 1827-", "sortorder": 1}, {"description": "Lucy Bakewell Audubon [1787-1874], New York, NY, by descent to her son, John Woodhouse Audubon", "citations": [], "footnotes": null, "date": "?", "sortorder": 2}, {"description": "John Woodhouse Audubon [1812-1862], New York, NY, by descent to his daughter, Lucy A. Williams", "citations": [], "footnotes": null, "date": "?", "sortorder": 3}, {"description": "Lucy Audubon Williams [1838-1909], Greenburgh, Westerchester, NY, probably by descent to her grandson, Charles F. Edwards", "citations": [], "footnotes": null, "date": "?", "sortorder": 4}, {"description": "Charles F. Edwards [1878-1954], Chicago, IL and Alameda, CA, by descent to his sister, Margaret McCormick", "citations": [], "footnotes": null, "date": "?", "sortorder": 5}, {"description": "Mrs. H.V. (Margaret) McCormick, Long Island, NY and Staten Island, NY, sold to Kennedy Galleries", "citations": [], "footnotes": [], "date": "?", "sortorder": 6}, {"description": "(Kennedy Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "by 1964", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Clocked at speeds more than 240 mph, peregrine falcons are the world's fastest animals.", "description": "A vigorous portrayal of two peregrine falcons with their fresh duck prey, John James Audubon's painting relates to his groundbreaking <em>Birds of America</em> publication that sought to depict every species of native North American bird posed in action with elements of their habitats. Based on his artistic and scientific successes, Audubon became the premier naturalist in the United States. After his death, he continued to be associated with bird and nature conservation, and several organizations devoted to such causes were named in his honor. However, in recent years, as Audubon's slaveholding and looting of Indigenous graves has become more widely acknowledged, an increasing number of these groups are changing their names.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469243"], "internet_archive": ["https://archive.org/details/clevelandart-1964.351-peregrine-falcons-du"]}, "citations": [{"citation": "Invoice from Kennedy Galleries, Oct. 20, 1964, Director Files, Sherman Lee, Box 36, File 10: Kennedy Galleries, Ingalls Library, the Cleveland Museum of Art, Cleveland, OH", "page_number": null, "url": null}, {"citation": "Henry Sayles Francis, letter to Sherman Lee, Oct. 2, 1964, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Talbot, letter to Richard J. Koke, Feb. 16, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Talbot, letter to Richard J. Koke, Feb. 16, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Talbot, letter to Richard J. Koke, Feb. 16, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Martha G. Thomas, letter to Charles E. Winters, Sept. 29, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland, OH; Cleveland Museum of Art, 1981.", "page_number": "Reproduced: p. 42; Mentioned: p. 41, p. 62", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 56 - 57", "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. 45", "url": ""}], "url": "https://clevelandart.org/art/1964.351", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_web.jpg", "width": "1263", "height": "892", "filesize": "892020", "filename": "1964.351_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_print.jpg", "width": "3400", "height": "2400", "filesize": "6321024", "filename": "1964.351_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.351/1964.351_full.tif", "width": "5000", "height": "3529", "filesize": "52961248", "filename": "1964.351_full.tif"}}, "alternate_images": [], "creditline": "Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 140408, "creators": [{"id": 2694, "description": "John James Audubon (American, born Haiti, 1785\u20131851)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1785", "death_year": "1851", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1822, "date_added_to_oa": null, "date_text": "c. 1827", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:23.274000"}, {"id": 135214, "accession_number": "1958.23", "share_license_status": "CC0", "tombstone": "The Troubadour, 1868\u201373. Honor\u00e9 Daumier (French, 1808\u20131879). Oil on fabric; framed: 99.5 x 73 x 8 cm (39 3/16 x 28 3/4 x 3 1/8 in.); unframed: 83.6 x 56.8 cm (32 15/16 x 22 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.23", "current_location": "220 19th Century European", "title": "The Troubadour", "creation_date": "1868\u201373", "creation_date_earliest": 1868, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 99.5 x 73 x 8 cm (39 3/16 x 28 3/4 x 3 1/8 in.); Unframed: 83.6 x 56.8 cm (32 15/16 x 22 3/8 in.)", "dimensions": {"framed": {"height": 0.995, "width": 0.73, "depth": 0.08}, "unframed": {"height": 0.836, "width": 0.568}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: h.D. [reinforced]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 518665, "title": "Paintings and Drawings of Daumier", "description": "<i>Paintings and Drawings of Daumier</i>. Tate Britain, London (June 14-July 30, 1961).", "opening_date": "1961-06-14T04:00:00"}, {"id": 361184, "title": "Honor\u00e9 Daumier, 1808-1879", "description": "<i>Honor\u00e9 Daumier, 1808-1879</i>. National Gallery of Art, Landover, MD (organizer) (September 23-November 25, 1979).", "opening_date": "1979-09-23T04:00:00"}, {"id": 211412, "title": "Honor\u00e9 Daumier", "description": "<i>Honor\u00e9 Daumier</i>. National Gallery of Canada (organizer) (June 3-September 6, 1999); Galeries Nationales du Grand Palais, Paris, France (October 5, 1999-January 3, 2000); The Phillips Collection (February 19-May 14, 2000).", "opening_date": "1999-06-03T00:00:00"}], "legacy": [{"description": "<em>Exposition Daumier</em>. Palais de l'\u00c9cole des Beaux-Arts, Paris, France (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "<em>Honor\u00e9 Daumier Ausstellung, Gem\u00e4lde, Aquarelle Zeichnungen</em>, Galerie Matthiesen. Berlin, Germany (1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Corot-Daumier. </em>Museum of Modern Art., New York, NY (1930).", "opening_date": "1930-01-01T00:00:00"}]}, "provenance": [{"description": "Count Armand Doria [1824-1896] Orrouy, France", "citations": [], "footnotes": [], "date": "Until 1896", "sortorder": 1}, {"description": "(Armand Doria sale, Galerie Georges Petit, Paris, May 4-5, 1899 (no. 132), sold to Ambroise Vollard)", "citations": [], "footnotes": ["<div><!--block--><em>The Troubadour, </em>here titled \u201cPage jouant de la mandoline,\u201d was sold to dealer Ambroise Vollard together with no. 133, \u201cFemme portant un enfant,\u201d for ff 3,350. &nbsp;</div>"], "date": "1899", "sortorder": 2}, {"description": "(Ambroise Vollard, Paris, sold to Paul Cassirer)", "citations": [], "footnotes": ["<div><!--block-->Vollard\u2019s stock book lists \u201cLe Chanteur,\u201d with a provenance of \u201cDoria,\u201d under stock no. 3,465; a label on the painting\u2019s stretcher with this number confirms that \u201cLe Chanteur\u201d and the CMA picture are one and the same. &nbsp; The Vollard register from May 1899 lists \u201c2 Daumier pendants guitariste et m\u00e8re et enfant\u201d \u2013 lots 132 and 133 in the Doria sale from that month.&nbsp; In 1908 Vollard seems to have consigned the Daumier to H.O. Miethke, a Vienna dealer who often acted as an intermediary in Vollard\u2019s foreign trade activities.&nbsp; The Daumier is No. 42 in <em>Honore\u0301 Daumier, 1808-1879,</em> an exhibition held at Galerie Miethke in November-December 1980.&nbsp; The painting apparently failed to sell and was returned to Vollard: the Cassirer Archive, held by the Walter Feilchenfeldt Gallery, records the sale of \"Le Guitarist\"by Vollard to Cassirer on October 28, 1912. &nbsp;</div>"], "date": "1899-by 1912", "sortorder": 3}, {"description": "(Paul Cassirer, Berlin)", "citations": [], "footnotes": ["<div><!--block-->It is not known to whom and when Cassirer sold the painting; however, it was likely by 1915, as the 1910-1915 Cassirer sales book was destroyed during the war, and later sales books make no mention of the Daumier. &nbsp;</div>"], "date": "1912 - probably by 1915", "sortorder": 4}, {"description": "Eduard Fuchs [1870-1940], Berlin-Zehlendorf, by descent to his wife, Margaret Fuchs", "citations": [], "footnotes": ["<div><!--block-->A photograph, dated 1928, shows <em>The Troubadour</em> prominently displayed on a wall in the \u201cDaumier-Zimmers\u201d in Fuchs\u2019 Berlin villa.&nbsp; In 1930, Fuchs, a collector, writer, and historian with a passion for Daumier, published <em>Der Maler Daumier,</em> a catalogue of the artist\u2019s work.&nbsp; In it he notes that <em>The Troubadour</em> (there titled <em>Der Page</em>) was currently in his collection; he also lent the painting to an exhibition at the Museum of Modern Art that year.&nbsp; In February of 1933, Fuchs and his wife Margaret fled to Paris; on October 25 of that same year his collection was confiscated by the Gestapo.&nbsp; <em>The Troubadour, </em>however, along with several other Daumier paintings, appears to have avoided confiscation: it may have been among nine unspecified Daumier paintings for which Fuchs transferred ownership to his friend Felix Weil as security for a loan.&nbsp; These paintings were sent to Rotterdam, thus securing their safety.&nbsp; Furthermore, no references to <em>The Troubadour </em>in databases or lists of Nazi-looted art have been located, nor is the painting listed in any of the five Nazi-era sales of the Fuchs collection (Lepke, June 16-17. 1937; Lepke, Oct. 15-16, 1937; Lepke, Nov. 4-5, 1937; Lepke, June 22-24, 1938; Boerner, May 23-24, 1938).&nbsp; These auctions took place after the director of the Berlin Nationalgalerie, Eberhard Hanfstaengl, was able to convince the Gestapo that the confiscation of the Fuchs collection, just before the 1936 Olympics, would harm the cultural reputation of Germany.&nbsp; Thus, the collection was granted provisional release in 1935.&nbsp; Fuchs\u2019 daughter was nevertheless forced to sell off her father\u2019s collection in order to settle the tax liabilities he faced after the return of the collection.</div>"], "date": "By 1928-1940", "sortorder": 5}, {"description": "Margaret Fuchs, Paris and New York, consigned to Justin K. Thannhauser", "citations": [], "footnotes": [], "date": "1940-1953", "sortorder": 6}, {"description": "(Justin K. Thannhauser, New York, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": ["<div><!--block-->The Thannhauser Archives in Cologne show that Thannhauser had the painting on consignment from Margaret Fuchs in the 1950s.&nbsp;</div>"], "date": "1953", "sortorder": 7}, {"description": "Leonard C. Hanna Jr., [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1953-1958", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Daumier was called the \u201cMichelangelo of caricature\u201d and especially renowned for his cartoons and drawings satirizing 19th-century French politics and society.", "description": "The troubadour, a medieval traveling poet and entertainer, was a popular subject in 19th-century French art. Associated with chivalry and courtly love, the theme reflects a broader, romantic fascination with France's medieval past. Although Daumier was particularly inspired by the troubadour paintings of French Rococo artist Jean-Antoine Watteau of the 1700s, he rendered the subject here in a powerful style of simplified, muscular form that appealed to modern artists of his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483497"], "internet_archive": ["https://archive.org/details/clevelandart-1958.23-the-troubadour"]}, "citations": [{"citation": "Galerie Georges Petit. <em>Tableaux modernes</em>. May 4-5, 1899.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "Daumier, Honore\u0301. <em>Daumier, Paintings and Drawings: An Exhibition Organized by the Arts Council of Great Britain at the Tate Gallery, June 14th to July 30th, 1961</em>. London: Arts Council of Great Britain, 1961. <ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux modernes</em>. May 4-5, 1899.", "page_number": null, "url": null}, {"citation": "The Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "\u201cAmbroise Vollard Research Files,\u201d Record Group 43, Series 43A5.8, Box 54, John Rewald Papers, C\u00e9zanne Materials, Gallery Archives, National Gallery of Art, Washington, DC.", "page_number": null, "url": null}, {"citation": "Petra Cordioli, email to Victoria Sears Goldman, Jan. 12, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Miethke, H.O. Galerie. <em>Honore\u0301 Daumier, 1808-1879, Galerie Miethke, Wien, November - Dezember 1908</em>. 1908.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Petra Cordioli, email to Victoria Sears Goldman, Jan. 12, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "Museum of Modern Art (New York, N.Y.), and Alfred H. Barr. <em>Eighth Loan Exhibition: Corot, Daumier ; October 16-November 23, 1930</em>. New York: [Plandome Press], 1930.", "page_number": null, "url": null}, {"citation": "Fuchs, Eduard. <em>Der maler Daumier</em>. Mu\u0308nchen: A. Langen, 1930. &lt;http://purl.access.gpo.gov/GPO/LPS15367&gt;.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Weitz, Ulrich.  \u201cDer Sammler Eduard Fuchs: \u2018Das Wesen der Revolution ist das Wesen der Daumierschen Kunst.\u2019\u201d <em>\u201cDaumier ist ungeheuer!\u201d Gem\u00e4lde, Handzeichnungen, Grafiken, Bronzen.  </em>Berlin: Nicolai, 2013.", "page_number": null, "url": null}, {"citation": "Dr. Bernhard Kosel, email to Victoria Sears Goldman, Dec. 26, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Dr. Bernhard Kosel, email to Victoria Sears Goldman, Jan. 12, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William Robinson, email to Christine Edmonson and June de Phillips, March 3, 2009, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier; Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings</em>. [Greenwich, Conn.]: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "William Robinson, email to Christine Edmonson and June de Phillips, March 3, 2009, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\u201cThe Daumier Register,\u201d DR number 7186 \u201cLe Troubadour,\u201d <a href=\"http://www.daumier-register.org/werkview.php?key=7186\">http://www.daumier-register.org/werkview.php?key=7186</a>, accessed 12/10/15.", "page_number": null, "url": null}, {"citation": "Klossowski, Erich. <em>Honore\u0301 Daumier</em>. Mu\u0308nchen, Germany: R. Piper, 1923.", "page_number": "Reproduced: no. 75, fig. 52", "url": null}, {"citation": "Fuchs, Eduard. \"Honore Daumier.\" <em>Cahiers d'Art </em>3 (1928): 185-197.", "page_number": "Reproduced: P. 196", "url": null}, {"citation": "Fuchs, Eduard. <em>Der maler Daumier</em>. Mu\u0308nchen, Germany: A. Langen, 1930.", "page_number": "Reproduced: no. 117", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 72, vol. 2", "url": null}, {"citation": "Maison, K. E. \"Further Daumier Studies-II: Preparatory Drawings for Paintings.\" <em>The Burlington Magazine</em> 98, no. 639 (June 1956): 199-205.", "page_number": "Reproduced: P. 200", "url": "http://www.jstor.org/stable/871814."}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 7", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly</em> 21 (Spring 1958): 82-109.", "page_number": "Reproduced: P. 104", "url": null}, {"citation": "Francis, Henry S. \"Report for the Year 1958: Painting Department.\" <em>The Bulletin of The Cleveland Museum of Art XLVI</em>, no. 6 (June, 1959): 121-122.", "page_number": "Mentioned: p. 122", "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. 170", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "Rey, Robert. <em>Honore\u0301 Daumier</em>. New York, NY: H.N. Abrams, 1966.", "page_number": "Reproduced: p. 140", "url": null}, {"citation": "Maison, K. E. <em>Honore\u0301 Daumier: Catalogue Raisonne\u0301 of the Paintings, Watercolours, and Drawings, </em>Greenwich, CT:New York Graphic Society, 1968.", "page_number": "Reproduced: no. 186, pl. 137, vol. 1", "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. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Mandel, Gabriele. <em>L'opera pittorica completa di Daumier</em>. Milano, Italy: Rizzoli, 1971.", "page_number": "Reproduced: no. 269, plate 56", "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. 210", "url": "https://archive.org/details/CMAHandbook1978/page/n230"}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 88", "url": null}, {"citation": "Borowitz, Helen O. \"Three Guitars: Reflections of Italian Comedy in Watteau, Daumier, and Picasso.\" <em>The Bulletin of The Cleveland Museum of</em> <em>Art LXXI</em>, no.4 (April, 1984):116-129.", "page_number": "Reproduced: p. 120, fig. 7", "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. 53", "url": null}, {"citation": "Laughton, Bruce. <em>Honore\u0301 Daumier</em>. New Haven, CT: Yale University Press, 1996", "page_number": null, "url": null}, {"citation": "Laughton, Bruce. <em>Honore\u0301 Daumier</em>. New Haven, CT:Yale University Press, 1996.", "page_number": "Mentioned: p. 146-147", "url": null}, {"citation": "Loyette, Henri. <em>Daumier, 1808-1879: Muse\u0301e des Beaux-Arts du Canada, Ottawa, 11 juin-6 septembre 1999 ; Galeries nationales du Grand Palais, Paris, 5 octobre 1999-3 janvier 2000 ; The Phillips Collection, Washington, 19 fe\u0301vrier-14 mai 2000</em>. Paris, Fr\u0301ance: Reunion des musees nationaux, 1999.", "page_number": "Reproduced: p. 74-75; cat. no. 37", "url": null}, {"citation": "Fohr, Robert. <em>Daumier: sculpteur et peintre</em>. Paris, France: Adam Biro, 1999.", "page_number": "Reproduced: p. 128-129", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Seligman, Isabel. <em>Lines of Thought: Drawing from Michelangelo to Now.</em> [London]: Thames &amp; Hudson Ltd.: In collaboration with the British Museum, 2016.", "page_number": "Reproduced: p. 109, fig. 39", "url": null}], "url": "https://clevelandart.org/art/1958.23", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_web.jpg", "width": "595", "height": "893", "filesize": "412396", "filename": "1958.23_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_print.jpg", "width": "2264", "height": "3400", "filesize": "5874925", "filename": "1958.23_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.23/1958.23_full.tif", "width": "3996", "height": "6000", "filesize": "71961232", "filename": "1958.23_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 135214, "creators": [{"id": 1638, "description": "Honor\u00e9 Daumier (French, 1808\u20131879)", "extent": null, "qualifier": null, "role": "artist", "biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868\u201373", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:24.929000"}, {"id": 134072, "accession_number": "1956.578", "share_license_status": "CC0", "tombstone": "Sunny Autumn Day, 1892. George Inness (American, 1825\u20131894). Oil on canvas; framed: 111.4 x 137.5 x 12.1 cm (43 7/8 x 54 1/8 x 4 3/4 in.); unframed: 81 x 106 cm (31 7/8 x 41 3/4 in.); former: 101 x 127 x 7.6 cm (39 3/4 x 50 x 3 in.). The Cleveland Museum of Art, Anonymous Gift, 1956.578", "current_location": "208 American Gilded Age and Realism", "title": "Sunny Autumn Day", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 111.4 x 137.5 x 12.1 cm (43 7/8 x 54 1/8 x 4 3/4 in.); Unframed: 81 x 106 cm (31 7/8 x 41 3/4 in.); Former: 101 x 127 x 7.6 cm (39 3/4 x 50 x 3 in.)", "dimensions": {"framed": {"height": 1.114, "width": 1.375, "depth": 0.121}, "unframed": {"height": 0.81, "width": 1.06}, "former": {"height": 1.01, "width": 1.27, "depth": 0.076}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"G. Inness 1892:", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 315769, "title": "200 Years of American Painting", "description": "<i>200 Years of American Painting</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (co-organizer) (April 1-May 31, 1964).", "opening_date": "1964-04-01T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 442438, "title": "George Inness Landscapes: His Signature Years, 1884-1894", "description": "<i>George Inness Landscapes: His Signature Years, 1884-1894</i>. Oakland Museum of California, Oakland, CA (organizer) (November 28, 1978-January 28, 1979); Santa Barbara Museum of Art, Santa Barbara, CA (February 10-April 15, 1979).", "opening_date": "1978-11-28T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 218501, "title": "Paris 1900:  The \"American School\" at the Universal Exposition", "description": "<i>Paris 1900:  The \"American School\" at the Universal Exposition</i>. Montclair Art Museum, Montclair, NJ (organizer) (September 18, 1999-January 16, 2000); Pennsylvania Academy of Fine Arts, Museum of American Art, Philadelphia, PA (February 11-April 16, 2000); Columbus Museum of Art, Columbus, OH (May 18-August 13, 2000); Elvehjem Museum of Art, Madison, WI (September 16-December 3, 2000); Mus\u00e9e Carnavalet, Paris, France (February 20-April 29, 2001).", "opening_date": "1999-09-18T00:00:00"}], "legacy": [{"description": "Chicago, World's Columbian Exposition, (1893); cat. no. 598, lent by Thomas B. Clarke, N.Y.", "opening_date": null}, {"description": "New York, Union League Club, Inness and Homer Exhibition (1898), cat. no. 2, lent by Thomas B. Clarke.", "opening_date": null}, {"description": "New York, American Art Galleries, Clarke Sale (14-17 February 1899), cat. no. 184.", "opening_date": null}, {"description": "Paris, Exposition Universelle Internationale de Paris of 1900 (15 April-12 November 1900), \"The Annotated Catalogue of American Paintings, Paris Exposition of 1900\" taken from Appendix B in Paris 1900: The \"American School\" at the Universal Exposition; A18/M771c.", "opening_date": "1900-04-15T00:00:00"}, {"description": "St. Louis, St. Louis Universal Exposition (1904); did find Official: Illustrations of Selected Works in the Various National Sections of the Department of Art with Complete List of Awards by the International Jury.", "opening_date": "1904-01-01T00:00:00"}, {"description": "Chicago, Moulton and Ricketts Galleries, Loan Exhibit: Inness, Wyant, Blakelock (March, 1913), illus. plate VI, cat. not numbered or paginated.", "opening_date": "1913-03-01T00:00:00"}, {"description": "Buffalo, The Buffalo Fine Arts Academy, Albright Art Gallery, The Eighth Annual Exhibition of Selected Paintings by American Artists (10 May-31 August 1913), cat. no. 61, illus. p. 58, listed p. 23.", "opening_date": "1913-05-10T00:00:00"}, {"description": "New York, Macbeth Gallery, (January-April 1925), cat. no. 23, lent by Mrs. Chauncey J. Blair.", "opening_date": "1925-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Inaugural Exhibition (6 June-20 September 1916), cat. no. 21, listed p. 128, not illus.", "opening_date": "1916-06-06T00:00:00"}, {"description": "St. Louis, City Art Museum of St. Louis, 200 Years of American Painting (1 April-31 May 1964), cat. not numbered, illus. p. 28.", "opening_date": "1964-04-01T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March-11 April 1976); traveled to Detroit, Detroit Institute of Arts (5 may-3 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976), illus. cat. no. 25.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Oakland, The Oakland Museum, George Inness Landscapes: His Signature Years 1884-1894 (28 November 1978-28 January 1979), cat. not numbered, but listed and illus. p. 59.", "opening_date": "1978-11-28T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Visions of Landscape: East and West (17 February-21 March 1982)", "opening_date": "1982-02-17T00:00:00"}, {"description": "Montclair, NJ, The Montclair Art Museum, Paris 1900: The \"American School\" at the Universal Exposition (18 September 1999-16 January 2000); Philadelphia, Pennsylvania Academy of Fine Arts (11 February-16 April 2000); Columbus, Columbus Art Museum (18 May-13 August 2000); Madison, WI, Elvehjem Museum of Art, University of Wisconsin-Madison (16 September-3 December 2000); Paris, Mus\u00e9e Carnavalet (2 February-15 May 2001); cat. no. 81, illus. p. 75.", "opening_date": "2000-02-11T00:00:00"}]}, "provenance": [{"description": "Thomas B. Clarke, New York, NY [1884-1931], purchased from artist1", "citations": [], "footnotes": ["<div><!--block-->1According to the introduction to the 1899 sale catalogue, Clarke and Inness were acquaintances.&nbsp; Macbeth Gallery's Art Notes also notes that \"it was purchased directly from Inness the year it was painted.\"</div>"], "date": "By October 1892-1899", "sortorder": 1}, {"description": "(American Art Galleries, American Art Association, New York, Feb. 14-18, 1899, no. 184, sold to Mr. and Mrs. Chauncey J. Blair)", "citations": [], "footnotes": [], "date": "1899", "sortorder": 2}, {"description": "Chauncey J. [1843\u20131916] and Mary Mitchell Blair [1856-1940], Chicago1", "citations": [], "footnotes": ["<div><!--block-->1Macbeth Gallery's Art Notes: \"At the disposal of his [Thomas B. Clarke] collection in 1899, it was bought by the late Chauncey Blair of Chicago.\"</div>"], "date": "1899-", "sortorder": 3}, {"description": "Walter Clark Runyon [1857-1929] and Berenice Agnew Runyon [b. 1873], Scarsdale, NY1", "citations": [], "footnotes": ["<div><!--block-->1Runyon lent the painting to the Macbeth Gallery Centennial Exhibition in 1925, and the gallery's <em>Art Notes</em> from April of that year states that \"the collector who loaned it to our exhibition\" purchased the painting from the estate of the late Chauncey Blair.</div>"], "date": "-1925", "sortorder": 4}, {"description": "(Macbeth Gallery, New York, and George E. Gage Gallery, Cleveland, sold to Elizabeth Bingham Blossom)1", "citations": [], "footnotes": ["<div><!--block-->1The March 28, 1925 issue of <em>American Art News</em> notes that the painting was included in Macbeth's Centennial Exhibition in January of 1925 (cat. no. 23).&nbsp; The price (unannounced) paid for the painting established new record for the artist's work. Mr. and Mrs. Walter Clark Runyon lent the painting to the exhibition.</div>"], "date": "1925", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1956-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inness died while viewing a sunset, proclaiming, \"Oh, how beautiful!\u201d and falling to the ground.", "description": "Highly prolific, Inness created more than 1,000 works during a career lasting 50 years. Dated just two years before his death, <em>Sunny Autumn Day</em> epitomizes his late style in which the physical landscape is transformed into something akin to a spiritual apparition. Featuring blurred forms and atmospheric effects from translucent colors, this scene reflects Inness\u2019s mystical view of the natural world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20054728"], "internet_archive": ["https://archive.org/details/clevelandart-1956.578-sunny-autumn-day"]}, "citations": [{"citation": "\"Inness masterpiece sold for record price to Cleveland collector,\" <em>American Art News</em> XXIII (March 28, 1925).", "page_number": null, "url": null}, {"citation": "\"Inness masterpiece sold for record price to Cleveland collector,\" <em>American Art News</em> XXIII (March 28, 1925).", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, and Inness, George, 1825-1894. <em>George Inness, 1825-1894; Centennial Exhibition, January 20-February 9 1925, the Macbeth Gallery</em>. Macbeth Gallery, 1925. &lt;http://libmma.contentdm.oclc.org/u?/p15324coll1,2101&gt;", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes </em>(April 1925): 1425.", "page_number": null, "url": null}, {"citation": "Quick, Michael. George Inness: A Catalogue Raisonne\u0301. New Brunswick: Rutgers University Press, 2007. No. 1066.", "page_number": null, "url": null}, {"citation": "Macbeth Gallery Stock Disposition Cards - Sold Paintings microfilm, The Archives of American Art, New York.", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes</em> (April 1925): 1425.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes</em> (April 1925): 1425.", "page_number": null, "url": null}, {"citation": "American Art Association. <em>Private Art Collection of Thomas B. Clarke, Part I - Paintings</em>. 1899.", "page_number": null, "url": null}, {"citation": "Clarke, Thomas Benedict, and Thomas E. Kirby. <em>Catalogue of the Private Art Collection of Thomas B. Clarke, New York: To Be Sold at Absolute Public Sale on the Evenings of February 14, 15, 16 and 17 at Chickering Hall ... and on the Afternoons of February 15, 16, 17 and 18 at the American Art Galleries</em>. New York: American Art Association, 1899.", "page_number": null, "url": null}, {"citation": "Macbeth Gallery, <em>Art Notes</em> (April 1925): 1425.", "page_number": null, "url": null}, {"citation": "American Art Association. <em>Private Art Collection of Thomas B. Clarke, Part I - Paintings</em>. 1899.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Inness, George, Gail Stavitsky, William H. Gerdts, and Montclair Art Museum. George Inness, Presence of the Unseen : A Centennial Commemoration. Montclair, N.J.: Montclair Art Museum, 1994.", "page_number": "Mentioned p. 23; reproduced p. 25.", "url": ""}, {"citation": "DeLue, Rachael Ziady. \u201cGeorge Inness : Landscape, Representation, and the Struggle of Vision,\u201d Ph.D. dissertation, Johns Hopkins University, 2000.", "page_number": "Mentioned, p. 280; reproduced, fig. 5.31.", "url": ""}, {"citation": "<em>Report: The Commissioner-General for the United States to the International Universal Exposition, Paris, 1900.</em> Vol. 2 (Washington, DC: Government Printing Office, 1901).", "page_number": "Mentioned, p. 552; reproduced, plate B-2, between pp. 494-95.", "url": ""}, {"citation": "Daingerfield, Elliott. <em>Fifty Paintings by George Inness</em>. New York, NY: Priv. Print, 1913.", "page_number": "Reproduced: pl.37", "url": null}, {"citation": "Ireland, Leroy. <em>The Works of George Inness: An Illustrated Catalogue Raisonne\u0301</em>. Austin, TX: University of Texas Press, 1965.", "page_number": "Mentioned: p. 372-373; Reproduced: no. 1440", "url": null}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 14-15; Reproduced: p. 15", "url": null}, {"citation": "\"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art,\" <em>The Bulletin of The Cleveland Museum of Art</em> no. 1(January, 1973): 29", "page_number": "Reproduced: p. 29, no. 106", "url": null}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976. </em>Toledo, OH: Toledo Museum of Art, 1976.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "Cikovsky, Nicolai. <em>The Life and Work of George Inness</em>. New York, NY: Garland Pub, 1977.", "page_number": "Mentioned: p. 309-316, 327-335; Reproduced: no. 120", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 114", "url": null}, {"citation": "Carr, Carolyn Kinder and Robert W Rydell. <em>Revisiting the White City : American Art at the 1893 World's Fair</em>. Washington, DC: National Museum of American Art and National Portrait Gallery, Smithsonian Institution, Washington, DC: University Press of New England, 1993.", "page_number": "Reproduced: p. 269", "url": null}, {"citation": "DeLue, Rachael Ziady. <em>George Inness and the Science of Landscape</em>. Chicago, IL: University of Chicago Press, 2004.", "page_number": "Reproduced: pl. 18", "url": null}, {"citation": "Quick, Michael. <em>George Inness: A Catalogue Raisonne\u0301</em>. New Brunswick, NJ: Rutgers University Press, 2007.", "page_number": "Reproduced: p. 371, fig. 1066", "url": null}], "url": "https://clevelandart.org/art/1956.578", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_web.jpg", "width": "1179", "height": "893", "filesize": "817166", "filename": "1956.578_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_print.jpg", "width": "3400", "height": "2576", "filesize": "6459446", "filename": "1956.578_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.578/1956.578_full.tif", "width": "4950", "height": "3750", "filesize": "55714008", "filename": "1956.578_full.tif"}}, "alternate_images": [{"date_created": "2008-06-23T19:34:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.578/1956.578_alt0_web.jpg", "width": "1095", "height": "893", "filesize": "811492"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.578/1956.578_alt0_print.jpg", "width": "3400", "height": "2774", "filesize": "7024915"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.578/1956.578_alt0_full.tif", "width": "3888", "height": "3172", "filesize": "37042036"}}], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 134072, "creators": [{"id": 2493, "description": "George Inness (American, 1825\u20131894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1825", "death_year": "1894", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-10-24T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:55.547000"}, {"id": 155783, "accession_number": "1991.110", "share_license_status": "CC0", "tombstone": "The Power of Music, 1847. William Sidney Mount (American, 1807\u20131868). Oil on canvas; framed: 67 x 78 x 7.5 cm (26 3/8 x 30 11/16 x 2 15/16 in.); unframed: 43.4 x 53.5 cm (17 1/16 x 21 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1991.110", "current_location": "207 American Realism", "title": "The Power of Music", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 67 x 78 x 7.5 cm (26 3/8 x 30 11/16 x 2 15/16 in.); Unframed: 43.4 x 53.5 cm (17 1/16 x 21 1/16 in.)", "dimensions": {"framed": {"height": 0.67, "width": 0.78, "depth": 0.075}, "unframed": {"height": 0.434, "width": 0.535}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Wm S. MOUNT. / 1847", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 218308, "title": "William Sidney Mount:  American Genre Painter", "description": "<i>William Sidney Mount:  American Genre Painter</i>. New-York Historical Society (August 14-October 25, 1998); Frick Art Museum, Pittsburgh, PA (November 20, 1998-January 10, 1999); Amon Carter Museum (February 5-April 4, 1999).", "opening_date": "1998-08-14T00:00:00"}, {"id": 206205, "title": "American Stories: Paintings of Everyday Life 1765-1915", "description": "<i>American Stories: Paintings of Everyday Life 1765-1915</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 5, 2009-January 24, 2010); Los Angeles County Museum of Art, Los Angeles, CA (February 28-May 23, 2010).", "opening_date": "2009-10-05T00:00:00"}], "legacy": [{"description": "<em>The Force of Music.</em> National Academy, Annual Exhibition, New York, NY (1847).", "opening_date": null}, {"description": "<em>The Washington Exhibition in Aid of the New York Gallery of the Fine Arts</em>. Art Union Gallery, New York, NY (1853).", "opening_date": null}, {"description": "<em>Exhibition of the Industry of All Nations in the Picture Gallery of the Crystal Palace</em>. Crystal Palace, New York, NY (1853).", "opening_date": null}, {"description": "<em>Metropolitan Fair</em>. U.S. Sanitary Commission. New York, NY (1864).", "opening_date": null}, {"description": "<em>World's Columbian Exposition: Retrospective Exhibit of American Painting</em>. The Art Palace, Chicago, IL (1893).", "opening_date": null}, {"description": "<em>Centennial Exhibition 1825 - 1925</em>. National Academy of Design, New York, NY (April 1-April 24, 1925); Corcoran Gallery, Washington DC (October 17, 1925 - November 15, 1925); Grand Central Art Galleries, Inc., New York, NY (December 1, 1925-January 3, 1926).", "opening_date": "1925-04-01T00:00:00"}, {"description": "<em>American Genre: The Social</em> <em>Scene in Painting and Prints</em>. Whitney Museum of American Art, New York, NY (March - April 1935).", "opening_date": "1935-03-01T00:00:00"}, {"description": "<em>Life in America.</em> Metropolitan Museum of Art, New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Exhibition of Drawings and Paintings by William Sidney Mount 1807 - 1868</em>. Brooklyn Museum of Art, Brooklyn, NY (January - March 1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Paintings, Sketches, Manuscripts, Memorabilia</em> (of the Mount Family). Suffolk Museum at Stony Brook, Long Island, NY (1947).", "opening_date": "1947-01-01T00:00:00"}, {"description": "<em> American Classics of the Nineteenth Century.</em> Carnegie Institute of Art, Pittsburgh, PA (October - December 1957).", "opening_date": "1957-10-01T00:00:00"}, {"description": "<em>A Hundred Years Ago</em>. American Federation of the Arts, New York, NY (November 1958 - November 1959).", "opening_date": "1958-11-01T00:00:00"}, {"description": "<em>The Portrayal of the Negro in American Painting</em>. Bowdoin College Museum of Art, Brunswick, ME (1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Twice as Natural: 19th Century American Genre</em>. Finch College Art Museum, New York, NY (1974)..", "opening_date": "1974-01-01T00:00:00"}, {"description": "<em>Selected Acquisitions</em>. Cleveland Museum of Art, Cleveland, OH (January 28 - April 26 1992).", "opening_date": "1992-04-26T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1991-", "sortorder": 1}, {"description": "(James H. Maroney, Jr., Leicester, VT, and Christie's, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1990-1991", "sortorder": 2}, {"description": "The Century Association, New York, NY", "citations": [], "footnotes": ["<div><!--block-->The Board of Management meeting minutes from January 8, 1881 confirm that the Century Association purchased the painting in 1880 for $500.&nbsp; Because there are no extant financial records or sales receipts from that time period in the Century Association's archives, the identity of the seller is not recorded.&nbsp; However, it can reasonably be assumed that it was Gideon Lee, Jr., as he was a member of the club and no additional names have been associated with this provenance.&nbsp;</div>"], "date": "1880-1990", "sortorder": 3}, {"description": "Gideon Lee, Jr. [1824-1894], Carmel, NY?", "citations": [], "footnotes": [], "date": "1870-1880", "sortorder": 4}, {"description": "Mrs. Gideon Lee [d. 1870], Geneva, NY, probably by descent to her stepson, Gideon Lee, Jr.", "citations": [], "footnotes": ["<div><!--block-->After Charles Leupp's death in 1859, the painting was returned to Mrs. Lee.</div>"], "date": "1859-1870", "sortorder": 5}, {"description": "Charles M. Leupp [1807-1859], New York, NY", "citations": [], "footnotes": ["<div><!--block-->The circumstances surrounding Leupp's acquisition of this painting, as well as its return to Mrs. Lee, his mother-in-law, after his death are unclear.&nbsp; Leupp,a founder of The Century Association, greatly admired the painting; Mount recalled that in the spring of 1847 Leupp \"stood a long time looking at it until I began to think I had made a failure and observed to him, \u2018If you think this picture will not suit Mrs. Lee, I will paint her another with pleasure.\u2019 \u2018Why man,\u2019 he said, \u2018I only wish the picture belonged to me.\u2019\u201d&nbsp; By at least 1856, the painting did go to Leupp; in that year <em>The Crayon</em> listed it as part of his collection.&nbsp;</div>"], "date": "-1859", "sortorder": 6}, {"description": "Laura (Mrs. Gideon) Lee [1800-1870], Geneva, NY, to her son-in-law, Charles M. Leupp", "citations": [], "footnotes": ["<div><!--block-->Although the painting was ostensibly commissioned by Laura Lee, wife of Gideon Lee, a former mayor of New York City, Leupp, her son-in-law, seems to have controlled the commission.</div>"], "date": "1847-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mount was an accomplished fiddle player and even patented a new design for the instrument.", "description": "Set in rural Long Island before the Civil War, Mount's complex painting presents an African American laborer listening intently to a fiddle tune enjoyed by white men. While a love of music unites the figures in a bond of shared humanity, the two races occupy different spaces--one inside, one outside, both separated by a barn door--effectively symbolizing the pronounced divisions in America at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q16708949"], "internet_archive": ["https://archive.org/details/clevelandart-1991.110-the-power-of-music"]}, "citations": [{"citation": "Board of Management Minutes, Jan. 8, 1881, Century Association Archives, New York, NY.", "page_number": null, "url": null}, {"citation": "Bruce Robertson, \u201c\u2019The Power of Music\u2019: A Painting by William Sidney Mount,\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 79.2 (Feb. 1992): 38-62.", "page_number": null, "url": null}, {"citation": "Bruce Robertson, \u201c\u2019The Power of Music\u2019: A Painting by William Sidney Mount,\u201d T<em>he Bulletin of the Cleveland Museum of Art</em> 79.2 (Feb. 1992): 38-62.", "page_number": null, "url": null}, {"citation": "Fagg, John. <em>Re-Envisioning the Everyday: American Genre Scenes, 1905-1945.</em> 2023.", "page_number": "Mentioned, p. 145-46; reproduced p. 146.", "url": ""}, {"citation": "Stebbins, Theodore E., Jr. <em>Rethinking American Art: Collectors, Critics, and the Changing Canon</em>. (Boston: Godine, 2025).", "page_number": "Mentioned pp. 83-84.", "url": ""}, {"citation": "\"Clubs and Societies.\" <em>The American Art Review</em>. Vol.2. First Division. Boston: Dana Estes and Charles E. Lauriat, 1881.", "page_number": "Mentioned: p.40", "url": "https://www.jstor.org/stable/20559754"}, {"citation": "The Department of Fine Arts, Chicago.<em> World's Columbian Exposition: Revised Catalogue</em>. Exh. Cat. Chicago, IL: W.B. Conkey Co.,1893.", "page_number": "Mentioned: p.32", "url": null}, {"citation": "Weitenkampf, Frank. \"American Life in American Art.\" <em>The Century Illustrated Monthly Magazine</em> 79 (November 1920-April 1921). New York, NY: Scribner &amp; Co.; The Century Co, 1920.", "page_number": "Mentioned: p.159; Reproduced: p.158", "url": ""}, {"citation": "\"Mount Homestead Famous Landmark.\"<em> New York Times</em>, December 25, 1923.", "page_number": "Mentioned: p.22", "url": ""}, {"citation": "Mather, Frank Jewett, Charles Rufus Morey, and W. J. Henderson. <em>The American Spirit in Art</em>. New Haven, CT: Yale University Press, 1927", "page_number": "Reproduced: p. 40, no. 64", "url": null}, {"citation": "Isham, Samuel, Royal Cortissoz, and Henry Meier. <em>The History of American Painting</em>. New York, NY: Macmillan Co, 1927.", "page_number": "Reproduced: p.206", "url": ""}, {"citation": "Burroughs, Alan. <em>Limners and Likenesses; Three Centuries of American Painting</em>. Cambridge, MA: Harvard University Press, 1936.", "page_number": "Mentioned: p. 192", "url": null}, {"citation": "American Federation of Arts.<em> Magazine of Art Index</em> 32, nos.1-2 (January-December 1939). Washington, D.C.: American Federation of Arts, 1939.", "page_number": "Reproduced: p.330", "url": ""}, {"citation": "The Metropolitan Museum of Art. <em>Life in America: A Special Loan Exhibition of Paintings Held During the Period of the New York World's Fair.</em> Exh. Cat. New York, NY: The Metropolitan Museum of Art, 1939.", "page_number": "Mentioned: pp.79-80, no.110 (as \"Music Hath Charms\"); Reproduced: p.80", "url": "libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/138674"}, {"citation": "Locke, Alain. <em>The Negro in Art; A Pictorial Record of the Negro Artist and of the Negro Theme in Art</em>. Washington, D.C.: Associates in Negro Folk Education, 1940.", "page_number": "Reproduced: p.162 (as \"Music Hath Charms\")", "url": null}, {"citation": "Brooklyn Museum. <em>Catalogue of an Exhibition of Drawings and Paintings by William Sidney Mount 1807-1868</em>. Exh. Cat. New York, NY: Brooklyn Museum, 1942.", "page_number": "Mentioned: p.23", "url": null}, {"citation": "Cowdrey, Mary Bartlett, and Hermann Warner Williams. <em>William Sidney Mount, 1807-1868, an American Painter</em>. New York, NY: Pub. for the Metropolitan Museum of Art by Columbia University Press, 1944.", "page_number": "Mentioned: pp.21-22; Reproduced: fig.40", "url": null}, {"citation": "\"Met Spurs Interest in Mount.\" <em>New York World-Telegram</em>, February 3, 1945.", "page_number": "Reproduced", "url": ""}, {"citation": "\"William Sidney Mount: Painter Made Long Island His Italy.\"<em> Life Magazine</em>, July 25, 1945.", "page_number": "Reproduced: p.66", "url": ""}, {"citation": "Goodrich, Lloyd. \"The Study of Nineteenth-Century Art.\" <em>Art in America</em> 33, no.4 (October 1945).", "page_number": "Reproduced: p.223", "url": ""}, {"citation": "Suffolk Museum. <em>The Mount Brothers. A Loan Exhibition of Paintings, Sketches, Manuscripts, Memorabilia, Henry Smith Mount, A.N.A., 1802-1841, Shepard Alonzo Mount, N.A., 1804-1868, William Sidney Mount, N.A., 1807-1868.</em> August 23 to September 28, 1947, the Suffolk Museum at Stony Brook, Long Island, New York. [Stony Brook], Long Island, NY: The Museum, 1947.", "page_number": "Mentioned: p.45", "url": ""}, {"citation": "Larkin, Oliver W. <em>The University Prints, Student Series H: American Art [Painting and Sculpture]</em>. Winchester, MA: University Prints, 1956.", "page_number": "Reproduced: p. H 259", "url": null}, {"citation": "Carnegie Institute. <em>American Classics of the Nineteenth Century</em>. Exh. Cat. The Carnegie Institute, Pittsburgh, PA: The Carnegie Institute, 1957.", "page_number": "Mentioned: p.16 (unpaginated)", "url": null}, {"citation": "Larkin, Oliver W. <em>Art and Life in America</em>. New York, NY: Holt, Rinehart and Winston, 1960.", "page_number": "Mentioned and reproduced: p.217", "url": null}, {"citation": "Pierson Jr., William H., and Martha Davidson, eds.<em> Arts of the United States: A Pictorial Survey</em>. New York, NY: McGraw-Hill Book Company, Inc., 1960.", "page_number": "Reproduced: p.318", "url": ""}, {"citation": "Flexner, James Thomas. <em>That Wilder Image: The Painting of America's Native School from Thomas Cole to Winslow Homer</em>. Boston, MA: Little, Brown, 1962.", "page_number": "Mentioned: p.32; Reproduced: p.33", "url": null}, {"citation": "Richardson, E. P. <em>A Short History of Painting in America; The Story of 450 Years</em>. New York, NY: Crowell, 1963.", "page_number": "Mentioned: p.134 (as \"Music Hath Charms\")", "url": null}, {"citation": "Bowdoin College.<em> The Portrayal of the Negro in American Painting.</em> Exh. Cat. Brunswick, MA: Bowdoin College Museum of Art, 1964.", "page_number": "Mentioned: p.37", "url": null}, {"citation": "Green, Samuel M. <em>American Art, a Historical Survey</em>. New York, NY: Ronald Press, 1966.", "page_number": "Mentioned: pp.270-271", "url": null}, {"citation": "McLanathan, Richard B. K. <em>The American Tradition in the Arts</em>. New York, NY: Harcourt, Brace &amp; World, 1968.", "page_number": "Mentioned: pp.311-312; Reproduced: p.311", "url": ""}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. New York, NY: Praeger, 1969.", "page_number": "Reproduced: p. 106; Mentioned: p. 107-108", "url": null}, {"citation": "Prown, Jules David, and Barbara Rose. <em>American Painting: From Its Beginnings to the Armory Show</em>. Geneva, Switzerland: Skira, 1969.", "page_number": "Mentioned: pp.82-83", "url": null}, {"citation": "Lynes, Russell. <em>The Art-Makers of Nineteenth-Century America</em>. New York, NY: Atheneum, 1970.", "page_number": "Mentioned: p.240 (as \"Music Hath Charms\")", "url": null}, {"citation": "Flexner, James Thomas. \"Fitz Hugh Lane is the hero, <em>American Painting of the Nineteenth Century</em>: Review.\" <em>New York Times</em>, Jan 25, 1970.", "page_number": "Mentioned: p.244", "url": ""}, {"citation": "Davidson, Marshall B. <em>The American Heritage History of the Writers' America</em>. New York, NY: American Heritage Pub. Co, 1973", "page_number": "Reproduced: p. 115", "url": null}, {"citation": "Davidson, Marshall B. <em>The American Heritage History of the Artists' America</em>. New York, NY: American Heritage Publishing Co., 1973.", "page_number": "Reproduced: p. 115", "url": ""}, {"citation": "Finch College, and Robert H. Luck.<em> Twice As Natural: 19th Century American Genre Painting.</em> Exh. Cat. New York, NY: Finch College Museum of Art, 1973.", "page_number": "Mentioned: p.17", "url": null}, {"citation": "Hills, Patricia. <em>The Painters' America: Rural and Urban Life, 1810-1910</em>. New York, New York: Praeger, 1974.", "page_number": "Mentioned: p.26; Reproduced: p.28", "url": null}, {"citation": "Parry, Ellwood. <em>The Image of the Indian and the Black Man in American Art, 1590-1900</em>. New York, NY: G. Braziller, 1974.", "page_number": "Mentioned: p.86", "url": null}, {"citation": "Frankenstein, Alfred V. and Alan Buechner. <em>William Sidney Mount</em>. New York, NY: Harry N. Adams, 1975.", "page_number": "Mentioned: pp.30,49,118,152,153,157,(as \"force of music\"),160,236, 249, 379, 471; Reproduced: p.159, no.56", "url": null}, {"citation": "Adams, Karen M. \"The Black Image in the Paintings of William Sidney Mount.\" <em>The American Art Journal</em> 7, No.2 (November 1975): 42-59.", "page_number": "Mentioned: p.49; Reproduced: p.50", "url": "https://www.jstor.org/stable/1593998"}, {"citation": "Taylor, Joshua C. <em>America As Art</em>. Washington D.C: Published for the National Collection of Fine Arts by the Smithsonian Institution Press, 1976.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "Brown, Milton W. <em>American Art to 1900: Painting, Sculpture, Architecture</em>. New York, NY: H.N. Abrams, 1977.", "page_number": "Mentioned: p.345 (as \"Music Hath Charms\"); Reproduced: p.346 (as \"Music Hath Charms\")", "url": null}, {"citation": "Callow, James T. \"American art in the collection of Charles M. Leupp.\" <em>Antiques</em> 118 (November 1980).", "page_number": "Mentioned: p.1003; Reproduced: frontispiece and p.1002", "url": null}, {"citation": "Chirico, Robert. F. \"Some Reflections on Sound and Silence in the Visual Arts.\" <em>Arts Magazine</em> 56, no.8 (April 1982):101-105.", "page_number": "Mentioned: pp.102-103, 105; Reproduced: p.102", "url": ""}, {"citation": "Cassedy, David C., Gail Shrott, and Janice Gray Armstrong. <em>William Sidney Mount, Annotated Bibliography and Listings of Archival Holdings of the Museums at Stony Brook</em>. Stony Brook, NY: The Museums, 1983", "page_number": "Mentioned: p.28, 65-67; Reproduced: p.67", "url": null}, {"citation": "Martha V. Pike. \"Catching the Tune: Music and William Sidney Mount.\" In <em>Catching the Tune: Music and William Sidney Mount</em>, edited by Janice Gray Armstrong. Stony Brook, NY: The Museums at Stony Brook, 1984.", "page_number": "Mentioned: pp.11-12; Reproduced: p.14", "url": null}, {"citation": "Smith, Jessie Carney. <em>Images of Blacks in American Culture: A Reference Guide to Information Sources</em>. New York, NY: Greenwood Press, 1988.", "page_number": "Mentioned: p. 23", "url": null}, {"citation": "McElroy, Guy C., Henry Louis Gates, and Christopher C. French. <em>Facing History: The Black Image in American Art, 1710-1940</em>. San Francisco, CA: Bedford Arts, 1990.", "page_number": "Mentioned: p.19", "url": null}, {"citation": "Boime, Albert. <em>The Art of Exclusion: Representing Blacks in the Nineteenth Century</em>. Washington D.C.: Smithsonian Institution Press, 1990.", "page_number": "Mentioned: pp.92-93; Reproduced: p.91", "url": null}, {"citation": "Glueck, Grace. \"The Century Club's Hard Decision to Raise Cash by Selling a Painting.\"<em> The New York Times</em>, October 20, 1990.", "page_number": "Mentioned and reproduced: p.11", "url": ""}, {"citation": "Berry, Wendell. <em>Outstanding in the Field: A Catalogue of American Paintings for the Nineties, Hard Times Call for Hard Choices, Plus Some Food for Thought ... an Essay Entitled The Pleasures of Eating, by Wendell Berry</em>. Leicester, VT: James Maroney, Inc, 1991.", "page_number": "Mentioned: p.11-13; Reproduced: p.11", "url": null}, {"citation": "Johns, Elizabeth. <em>American Genre Painting: The Politics of Everyday Life</em>. New Haven, CT: Yale University Press, 1991.", "page_number": "Mentioned: p.119-123; Reproduced: pl.14", "url": null}, {"citation": "The Century Association. 1991. <em>The Century Yearbook. </em>New York: The Century Association.", "page_number": null, "url": null}, {"citation": "Vogel, Carol. \"The Art Market: Painting sold for Century's renovation.\" <em>The New York Times</em>, November 29, 1991.", "page_number": "Mentioned and reproduced: p.C30", "url": ""}, {"citation": "Cullinan, Helen. \"Art museum pays $4 million for 'Music.'\" <em>The Plain Dealer</em>, November 30, 1991.", "page_number": "Mentioned and reproduced (unpaginated)", "url": ""}, {"citation": "Robertson, Bruce. \"The Power of Music: A Painting by William Sydney Mount.\" <em>The Bulletin of The Cleveland Museum of Art </em>79, no. 2 (February 1992): 38-62.", "page_number": "Mentioned: pp.38-62; Reproduced: p.38", "url": "https://www.jstor.org/stable/25161349"}, {"citation": "Turner, Evan H. \"Selected 1991 Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 2 (1992): 63-83.", "page_number": "Mentioned: p. 64-65, 76", "url": "https://www.jstor.org/stable/25161350"}, {"citation": "Bruce Robertson, \u201c\u2019The Power of Music\u2019: A Painting by William Sidney Mount,\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 79.2 (Feb. 1992): 38-62.", "page_number": "Mentioned: pp.38-62; Reproduced: front cover and p.38", "url": "https://www.jstor.org/stable/i25161347"}, {"citation": "The Cleveland Museum of Art. \"Exhibitions: Selected Acquisitions.\" <em>News &amp; Calendar</em> (Feb.1992).", "page_number": "Mentioned and reproduced: p.3 (unpaginated mailer)", "url": ""}, {"citation": "<em>Gazette des beaux-arts</em> 119, no.134 (March 1992).", "page_number": "Reproduced: p.73", "url": ""}, {"citation": "Patterson, Jerry E. \"The Grand Acquisitors.\" <em>Town &amp; Country</em> (August 1992).", "page_number": "Mentioned: p.109", "url": ""}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: The Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 162", "url": null}, {"citation": "Moffatt, Frederick C. \"Barnburning and Hunkerism: William Sidney Mount's <em>Power of Music</em>.\" <em>Winterthur Portfolio</em> 29, no.1 (Spring 1994).", "page_number": "Mentioned: pp.19-42; Reproduced: pp.21, 33", "url": "journals.uchicago.edu/doi/pdf/10.1086/496642"}, {"citation": "Fred L. Emerson Gallery, and Whitney Museum of American Art at Philip Morris. <em>The Art of Music: American Paintings &amp; Musical Instruments, 1770-1910: An Exhibition</em>. Clinton, N.Y.: The Gallery, Hamilton College, 1984.", "page_number": "Mentioned: p.46; Reproduced: p.47", "url": ""}, {"citation": "Gay, Peter. <em>The Naked Heart</em>. The Bourgeois Experience: Victoria to Freud. Vol. IV. New York: NY: W.W. Norton &amp; Company, 1995.", "page_number": "Mentioned: pp.11-12; Reproduced (unpaginated)", "url": ""}, {"citation": "Christman, Margaret C. S., Alan Fern, and Robert V. Remini.<em> 1846: Portrait of the Nation</em>. Washington, D.C.: Smithsonian Institution Press, 1996.", "page_number": "Mentioned: p.159; Reproduced: p.163", "url": ""}, {"citation": "Kelly, Franklin, and Robert Wilson Torchia. <em>American Paintings of the Nineteenth Century</em>. Washington D.C.: National Gallery of Art, 1996.", "page_number": "Mentioned and reproduced: p.79", "url": ""}, {"citation": "Johnson, Deborah J., William Sidney Mount, and Elizabeth Johns. <em>William Sidney Mount: Painter of American Life</em>. New York, NY: American Federation of Arts, 1998.", "page_number": "Mentioned: pp.61-62; Reproduced: p.60", "url": null}, {"citation": "Robertson, Bruce. \"Who's sitting at the table?: William Sidney Mount's <em>After Dinner</em> 1834.\"<em> The Yale Journal of Criticism</em> 11, no.1 (1998).", "page_number": "Mentioned: pp.108-109; Reproduced: p.107", "url": ""}, {"citation": "William Reese Company.<em> Illustrated Americana &amp; American Art</em>. New Haven, CT: Wm Reese Co, 1990.", "page_number": "Mentioned and reproduced: item no.60", "url": ""}, {"citation": "Davis, John. \"Eastman Johnson's <em>Negro Life at the South</em> and Urban Slavery in Washington D.C.\" <em>The Art Bulletin</em> 80, no.1 (March 1998).", "page_number": "Mentioned: p.81; Reproduced: p.82", "url": "https://www.jstor.org/stable/3051254"}, {"citation": "Cotter, Holland. \"A Young and Uninnocent America.\" <em>The New York Times</em>, August 14, 1998.", "page_number": "Mentioned: Section E, p.36", "url": "nytimes.com/1998/08/14/arts/art-review-a-young-and-uninnocent-america.html"}, {"citation": "Amon Carter Museum. \"Exhibitions. William Sidney Mount: Painter of American Life.\"<em> Amon Carter Museum Program</em> (September 1998-February 1999).", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Koja, Stephan, and Nicolai Cikovsky. <em>America: The New World in 19th-Century Painting</em>. Munich, Germany: Prestel, 1999.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Turner, Jane Shoaf. <em>Encyclopedia of American Art Before 1914</em>. New York, NY: Grove's Dictionaries, 1999.", "page_number": "Mentioned: p.325", "url": ""}, {"citation": "Koja, Stephan, and Nicolai Cikovsky. <em>America, Die Neue Welt in Bildern Des 19. Jahrhunderts</em>. Munich: Prestel, 1999.", "page_number": "Reproduced: p.110", "url": ""}, {"citation": "Hitchcock, H. Wiley, and Kyle Gann. <em>Music in the United States: A Historical Introduction</em>. Upper Saddle River, NJ: Prentice Hall, 2000.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Voorsanger, Catherine Hoover, and John K. Howat. <em>Art and the Empire City: New York, 1825-1861</em>. New York, NY: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p.209; Reproduced: p.208", "url": "books.google.com/books?id=j8dzQHVdv9oC&printsec=frontcover#v=onepage&q&f=true"}, {"citation": "Cikovsky, Nicolai. <em>A Connecticut Place: Weir Farm, an American Painter's Rural Retreat</em>. Wilton, Connecticut: Weir Farm Trust in collaboration with the National Park Service, Weir Farm National Historic Site, 2000.", "page_number": "Mentioned: pp.49-50; Reproduced: p.49", "url": null}, {"citation": "Cikovsky, Nicolai. <em>A Connecticut Place: Weir Farm, an American Painter's Rural Retreat</em>. Wilton, CT: Weir Farm Trust in collaboration with the National Park Service, Weir Farm National Historic Site, 2000.", "page_number": "Mentioned and Reproduced: p.49", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Kleinman, Craig, Nicholas M. Evans, Scott Gac, and David W. Stowe. <em>Special Issue: Noting the Nation: Words and Music in Nineteenth-Century America</em>. ATQ 16, no. 3. Kingston, RI: University of Rhode Island, 2002.", "page_number": "Mentioned: p.143; Reproduced: front cover", "url": null}, {"citation": "Wilmerding, John. <em>Signs of the Artist: Signatures and Self-Expression in American Paintings</em>. New Haven, CT: Yale University Press, 2003.", "page_number": "Reproduced: p.80", "url": null}, {"citation": "Craven, Wayne.<em> American Art: History and Culture</em>. New York, NY: McGraw-Hill, 2003.", "page_number": "Mentioned: p.225", "url": ""}, {"citation": "Chandler, Neal. <em>Silver Apples of the Moon: Art and Poetry</em>. Shaker Heights, OH: Shaker Heights Public Library, 2006.", "page_number": "Reproduced: p.66", "url": ""}, {"citation": "Muther, Richard. <em>The History of Modern Painting</em>. London, UK: J.M. Dent &amp; Co, 1907", "page_number": "Reproduced: p.291", "url": null}, {"citation": "Novak, Barbara. <em>American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience</em>. Oxford, UK: Oxford University Press, 2007.", "page_number": "Mentioned: pp.107-108; Reproduced: p.106", "url": null}, {"citation": "Davies, Penelope J. E., and H. W. Janson. <em>Janson's History of Art: The Western Tradition</em>. Seventh Edition. Upper Saddle River, NJ: Pearson Education, 2007.", "page_number": "Mentioned: pp.837-838; Reproduced: p.837", "url": ""}, {"citation": "McIntosh, DeCourcy E. \"American genre prints in the service of French commerce.\" <em>Antiques</em> 171, no. 4 (April 2007).", "page_number": "Mentioned: pp.104-105; Reproduced: p.105", "url": ""}, {"citation": "Greenhill, Jennifer A. \"The View from Outside: Rockwell and Race in 1950.\"<em> American Art</em> 21, no.2 (Summer 2007).", "page_number": "Mentioned: pp.73-74; Reproduced: p.73", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 12. fig. 13, cover", "url": null}, {"citation": "Yale University, David G. McCullough, Jon Butler, and Helen A. Cooper. <em>Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Art Gallery</em>. New Haven, CT: Yale University Art Gallery in association with Yale University Press, 2008.", "page_number": "Mentioned: pp.22, 141; Reproduced: p.23", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Cleveland Museum of Art Members Magazine </em>48 (May/June 2008). Cleveland, OH: The Cleveland Museum of Art, 2008.", "page_number": "Mentioned: p.6", "url": ""}, {"citation": "Gillespie, Sarah Kate. \"The Devil Went Down to Brooklyn: William Moore Davis and the Legend of 'Martense's Lane.'\" <em>Magazine Antiques</em> 174, no.5 (November 2008).", "page_number": "Mentioned: pp.134-135; Reproduced: p.133", "url": ""}, {"citation": "Weinberg, Barbara H., and Carrie Rebora Barratt. <em>American Stories: Paintings of Everyday Life, 1765-1915</em>. New York, NY: Metropolitan Museum of Art, 2009", "page_number": "Mentioned: pp.xiv, 39, 68, 173; Reproduced: pp.xiii, 68", "url": null}, {"citation": "Burns, Sarah, and John Davis. <em>American Art to 1900: A Documentary History</em>. Berkeley, CA: University of California Press, 2009.", "page_number": "Mentioned: pp.312,316", "url": ""}, {"citation": "Weinberg, H. Barbara, and Carrie Rebora Barratt. \"American Stories: Paintings of Everyday Life.\" <em>American Art Review</em> 21, no.5 (Sept.-Oct. 2009).", "page_number": "Mentioned: p.75; Reproduced: p.72", "url": ""}, {"citation": "The Metropolitan Museum of Art. \"American Stories: Paintings of Everyday Life, 1765-1915: Artist Kara Walker Discusses 'The Power of Music.'\" Podcast, November 9, 2009.", "page_number": "Mentioned.", "url": ""}, {"citation": "Stoodley, Sheila Gibson. \"Narrative Paintings of the 18th and 19th Centuries Show How the Lives of Ordinary Americans Were the Stuff of History.\" <em>Art &amp; Antiques Magazine</em> 33, no.1 (January 2010).", "page_number": "Mentioned: pp.68, 71-73; Reproduced: p.66", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Cleveland Museum of Art Members Magazin</em>e. Cleveland, OH: The Cleveland Museum of Art (March/April 2010).", "page_number": "Mentioned and reproduced: p.10", "url": "archive.org/details/CMAMM2010-02/page/n9/mode/2up"}, {"citation": "Sotheby's (Firm). <em>American Paintings, Drawings &amp; Sculpture</em>. New York: Sotheby's, December 2, 2010.", "page_number": "Mentioned: p.34", "url": ""}, {"citation": "Marter, Joan M. <em>The Grove Encyclopedia of American Art</em>. Oxford, UK: Oxford University Press, 2011.", "page_number": "Mentioned: p.372", "url": ""}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, UK: Scala Books, 2012.", "page_number": "Mentioned and reproduced: p. 234-235", "url": null}, {"citation": "Galpin, Amy. <em>Behold, America!: Art of the United States from Three San Diego Museums</em>. San Diego, CA: San Diego Museum of Art, 2012.", "page_number": "Mentioned: p.74", "url": null}, {"citation": "Brownlee, Peter John. <em>American Encounters: Genre Painting and Everyday Life</em>. Chicago, IL: Terra Foundation for American Art, 2012.", "page_number": "Reproduced: p. 35, fig. 20", "url": null}, {"citation": "Bindman, David and Henry Louis Gates, Jr., eds. <em>The Image of the Black in Western Art, Vol. IV: From the American Revolution to World War I, Part 2: Black Models and White Myths</em>. Cambridge, MA: Harvard University Press, 2012.", "page_number": "Mentioned: pp.73-75; Reproduced: p.73", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2012.", "page_number": "Mentioned: p.234; Reproduced: p.235", "url": ""}, {"citation": "Brownlee, Peter John, Sarah Burns, Diane Dillon, Daniel Greene, Scott Manning Stevens, and Adam Goodheart.<em> Home Front: Daily Life in the Civil War North</em>. Chicago, IL: The University of Chicago Press, 2013.", "page_number": "Mentioned: pp.131-134; Reproduced: p.132", "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. 47", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill, and Jason David LaFountain. <em>A Companion to American Art</em>. Malden, MA: Wiley Blackwell, 2015.", "page_number": "Mentioned: pp.321, 419", "url": ""}, {"citation": "Dini, Jane.<em> Dance: American Art, 1830-1960</em>. Detroit Institute of Arts. New Haven, CT: Distributed by Yale University Press, 2016.", "page_number": "Mentioned: pp.46, 49; Reproduced: p.46", "url": ""}, {"citation": "Hill, Constance Valis. \"In the Eye of the Beholder: The Black Presence in the Art of American Dance.\" In <em>Dance: American Art, 1830-1960,</em> Jane Dini, ed., 29-49. New Haven; London: Yale University Press. 2016.", "page_number": "Mention, p. 46, 49 Reproduced: p. 46, fig. 9", "url": null}, {"citation": "Tani, Ellen Y., and Amanda Cachia. <em>Second Sight: The Paradox of Vision in Contemporary Art.</em> Brunswick, ME: Bowdoin College Museum of Art; New York, NY: Scala Arts &amp; Heritage Publishers Inc., 2018.", "page_number": "Mentioned: pp.26-27; Reproduced: p.27", "url": null}, {"citation": "McCree, J. Woodrow. Washington Irving's Critique of American Culture: Sketching a Vision of World Citizenship. 2021.", "page_number": "Reproduced: p. 154, fig. 6.1", "url": ""}, {"citation": "The Cleveland Museum of Art. \"American Painting.\" Cleveland, OH: The Cleveland Museum of Art, (no date).", "page_number": "Mentioned and reproduced: unpaginated brochure", "url": ""}, {"citation": "\"Exhibition at the National Academy Second Saloon.\" <em>The Literary World</em> no.18 (June 5, ?).", "page_number": "Mentioned: p.419", "url": ""}, {"citation": "Berlin, Ira, and Leslie M. Harris, eds. <em>Slavery in New York</em>. New York, NY: The New Press, 2005.", "page_number": "Mentioned: pp.165-166; Reproduced: p.162", "url": ""}, {"citation": "Kirkpatrick, Katherine, and Vivian Nicholson-Mueller. <em>The Art of William Sidney Mount: Long Island People of Color on Canvas. </em>Charleston, SC : The History Press, 2022.", "page_number": "Mentioned: P. 31, 39, 73, 77, 91, 96-97; Reproduced: Plates, back cover, P. 97", "url": ""}], "url": "https://clevelandart.org/art/1991.110", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_web.jpg", "width": "1106", "height": "893", "filesize": "207550", "filename": "1991.110_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_print.jpg", "width": "3400", "height": "2745", "filesize": "1826461", "filename": "1991.110_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.110/1991.110_full.tif", "width": "5422", "height": "4379", "filesize": "71253756", "filename": "1991.110_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.110/1991.110_alt0_web.jpg", "width": "1102", "height": "893", "filesize": "773960"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.110/1991.110_alt0_print.jpg", "width": "3400", "height": "2755", "filesize": "6244920"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.110/1991.110_alt0_full.tif", "width": "4621", "height": "3744", "filesize": "51933356"}}, {"date_created": "2008-08-13T15:12:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.110/1991.110_alt1_web.jpg", "width": "1029", "height": "893", "filesize": "816274"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.110/1991.110_alt1_print.jpg", "width": "3400", "height": "2952", "filesize": "7259431"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.110/1991.110_alt1_full.tif", "width": "3787", "height": "3288", "filesize": "37399304"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 155783, "creators": [{"id": 2876, "description": "William Sidney Mount (American, 1807\u20131868)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1807", "death_year": "1868", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:09:25.426000"}, {"id": 136911, "accession_number": "1961.39", "share_license_status": "CC0", "tombstone": "View of Florence, 1837. Thomas Cole (American, born England,1801\u20131848). Oil on canvas; framed: 125.4 x 186.7 x 9.2 cm (49 3/8 x 73 1/2 x 3 5/8 in.); unframed: 99.5 x 160.4 cm (39 3/16 x 63 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1961.39", "current_location": "206 American Landscape", "title": "View of Florence", "creation_date": "1837", "creation_date_earliest": 1837, "creation_date_latest": 1837, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 125.4 x 186.7 x 9.2 cm (49 3/8 x 73 1/2 x 3 5/8 in.); Unframed: 99.5 x 160.4 cm (39 3/16 x 63 1/8 in.)", "dimensions": {"framed": {"height": 1.254, "width": 1.867, "depth": 0.092}, "unframed": {"height": 0.995, "width": 1.604}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"T C\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302039, "title": "Year in Review (1961)", "description": "<i>Year in Review (1961)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-26, 1961).", "opening_date": "1961-11-01T05:00:00"}, {"id": 521017, "title": "Paintings and Drawings by Thomas Cole", "description": "<i>Paintings and Drawings by Thomas Cole</i>. The Baltimore Museum of Art, Baltimore, MD (organizer) (January 26-February 28, 1965).", "opening_date": "1965-01-26T05:00:00"}, {"id": 316697, "title": "Thomas Cole", "description": "<i>Thomas Cole</i>. Memorial Art Gallery of the University of Rochester, NY (organizer) (co-organizer) (February 14-March 23, 1969); Munson Museum of Art, Utica, NY (April 5-May 4, 1969); Albany Institute of History and Art, Albany, NY (May 9-June 20, 1969); Whitney Museum of American Art, New York, NY (June 30-September 1, 1969).", "opening_date": "1969-02-14T05:00:00"}, {"id": 301412, "title": "Florence and the Arts: Five Centuries of Patronage", "description": "<i>Florence and the Arts: Five Centuries of Patronage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13-September 19, 1971).", "opening_date": "1971-07-13T04:00:00"}, {"id": 445261, "title": "19th Century Americans in Italy", "description": "<i>19th Century Americans in Italy</i>. Spencer Museum of Art, Lawrence, KS (organizer) (November 3-December 3, 1972).", "opening_date": "1972-11-03T05:00:00"}, {"id": 287387, "title": "Thomas Cole's Journey: Atlantic Crossings", "description": "<i>Thomas Cole's Journey: Atlantic Crossings</i>. The Metropolitan Museum of Art, New York, NY (organizer) (January 29-May 13, 2018); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (June 13-October 7, 2018).", "opening_date": "2018-01-29T05:00:00"}], "legacy": [{"description": "New York, National Academy of Design, Annual Exhibition (1837), cat. no. 39 as View of Florence.", "opening_date": null}, {"description": "Boston, Athenaeum, Annual Exhibition (1839), cat. no. 123, see The Boston Athenaeum: Art Exhibition Index, 1827-1874 (Boston, 1980), p. 38, listed under year 1839 as View on the Arno, Florence, owned by J. Mason.", "opening_date": "1980-01-01T00:00:00"}, {"description": "New York, Gallery of the American Art-Union, Exhibition of the Paintings of the Late Thomas Cole, At the Gallery of the American Art-Union (27 March 1848-?), cat. no. 33, catalogue reproduced as Appendix 1in Parry (1988), pp. 368-372.", "opening_date": "1988-01-01T00:00:00"}, {"description": "Boston, Atheneum, Annual Exhibition (1850), cat. no. 137, see The Boston Athenaeum: Art Exhibition Index, 1827-1874 (Boston, 1980), p. 38, listed under year 1850 as View on the Arno, Near Florence owned by T.P. Cushing.", "opening_date": "1980-01-01T00:00:00"}, {"description": "New York, New York Gallery of Fine Arts, (1 May 1854) cat. no. 61, p. 10, see Index to American Art Exhibition Catalogues.", "opening_date": null}, {"description": "Baltimore, The Baltimore Museum of Art, Thomas Cole: Paintings by an American Romanticist (26 January-28 February 1965), cat. no. 14.", "opening_date": "1965-01-26T00:00:00"}, {"description": "Rochester, Memorial Art Gallery, University of Rochester, Thomas Cole (14 February-23 March 1969); traveled to Utica, Munson-Williams-Proctor Institute (7 April-4 May 1969); Albany, Albany Institute of History and Art (9 May-20 June 1969); New York, Whitney Museum of American Art (30 June-1 September 1969), cat. no. 32, illus. p. 83.", "opening_date": "1969-02-14T00:00:00"}, {"description": "Lawrence, University of Kansas Museum of Art, The Arcadian Landscape: Nineteenth-Century American Painters in Italy (4 November-3 December 1972), cat. no. 12, illus.", "opening_date": "1972-11-04T00:00:00"}, {"description": "Boston, Museum of Fine Arts, A New World: Masterpieces of American Painting 1760-1910 (7 September-13 November 1983); traveled to Washington, D.C., The Corcoran Gallery of Art (7 December 1983-12 February 1984); did not go to Paris; cat. no. 29, pp. 229-230, illus. p. 229.", "opening_date": "1983-09-07T00:00:00"}, {"description": "Boston, Museum of Fine Arts, The Lure of Italy: American Artists and The Italian Experience, 1760-1914 (16 September-13 December 1992); traveled to Cleveland, The Cleveland Museum of Art (3 February-11 April 1993); Houston, Museum of Fine Arts (23 May-8 August 1993), cat. no. 76, illus. pp. 330-331, pp. 42-54.", "opening_date": "1992-09-16T00:00:00"}, {"description": "The Metropolitan Museum of Art, NY (1/29/2018 - 5/13/2018) and the National Gallery, London, UK (6/13/2018 - 10/7/2018):  \"Thomas Cole's Journey: Atlantic Crossings\"", "opening_date": "2018-01-29T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 1}, {"description": "(Victor Spark, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1960-1961", "sortorder": 2}, {"description": "Francis Moro, New York, NY, sold to Victor Spark1", "citations": [], "footnotes": ["<div><!--block-->1Francis Moro and his brother, Tom, operated Paul Moro, Inc., a paintings conservation studio in New York City that had been founded by their father.&nbsp; Francis, who owned the Cole, cleaned and lined the painting with Tim, before selling it to Victor Spark in 1960.&nbsp; Francis also bought and sold paintings, and in 1966 he established Moro Galleries, Inc. &nbsp;</div>"], "date": "Until 1960", "sortorder": 3}, {"description": "Private collector, New York, NY, sold to Francis Moro1", "citations": [], "footnotes": ["<div><!--block-->1After purchasing the painting, this unknown collector brought it to Francis Moro for conservation, ultimately selling it to him. &nbsp;</div>"], "date": "?", "sortorder": 4}, {"description": "(Antique store, New York, NY, sold to a private collector)1", "citations": [], "footnotes": ["<div><!--block-->1The painting was displayed in the window of an unidentified antique store in New York City, where it was noticed and then purchased by an unknown collector.&nbsp;</div>"], "date": "?", "sortorder": 5}, {"description": "Henry James, Sr. [1811-1882], New York, NY1", "citations": [], "footnotes": ["<div><!--block-->1Henry James, Sr. owned the painting by 1854, when he was listed as its owner in a New York Gallery of Fine Arts exhibition on May 1st of that year.&nbsp; In his memoir of 1913, <em>A Small Boy and Others</em>, his son, novelist Henry James recalls the painting, which \"covered half a side of our front parlor\u201d of the family\u2019s brownstone on West 14th Street in Manhattan. &nbsp; He writes that, as of 1913, the painting was \"long ago lost to our sight;\" apparently, it was no longer in the possession of any member of the James family by this point.&nbsp; The painting\u2019s whereabouts from 1854 to circa 1960 remain unknown.&nbsp; In 1855, the James family moved to Europe, returning in 1859 to reside mainly in Newport, Rhode Island, where they lived until 1865, when Henry James, Sr. sold the 14th Street house and settled the family in Cambridge. The 14th Street house was sold to William Benton Greene [1819-1904], who had rented it while the James family resided elsewhere.&nbsp; Alfred Habegger, a noted Henry James scholar, suggested that the painting may have remained on the walls of the James home when they moved to Europe and that Greene \u201cinherited\u201d the painting with the house.</div>"], "date": "By 1854-?", "sortorder": 6}, {"description": "Edward James, New York, NY, probably to his brother, Henry James, S1", "citations": [], "footnotes": ["<div><!--block-->1Edward James lent the painting to an 1848 exhibition of works by Cole held at the American Art Union.&nbsp; Edward James was the uncle of novelist Henry James; he lived in Albany and is among the lesser known members of the James family.&nbsp; In some versions of the provenance of <em>View of Florence, </em>Edward James is followed by Thomas Parkman Cushing, who is then followed by Henry James, Sr. In her entry on <em>View of Florence </em>in the exhibition catalogue, <em>A Lost World: Masterpieces of American Painting , 1760-1910</em> (1983), Diana Strazdes situated the painting in the possession of Thomas Parkman Cushing in 1850, when he lent a Cole painting titled \u201cView on the Arno, near Florence\u201d to an exhibition at the Boston Athenaeum.&nbsp; It seems that Strazdes likely confused <em>View of Florence </em>with <em>View of the Arno, near Florence </em>(Worcester Art Museum, 1991.179), assigning the Cushing provenance to <em>View of Florence </em>which in fact it belongs to <em>View of the Arno. &nbsp;</em></div>"], "date": "By 1848-before 1854", "sortorder": 7}, {"description": "Jonathan Mason, Boston1", "citations": [], "footnotes": ["<div><!--block-->1Mason, Cole's friend and agent, is listed as the painting's owner in an 1839 exhibition at the Boston Athenaeum.</div>"], "date": "by 1839", "sortorder": 8}, {"description": "Possibly Mr. Hunt, Boston1", "citations": [], "footnotes": null, "date": "1838-1839?", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Novelist Henry James grew up with this painting and described its foreground monk as his \u201cconstant friend.\u201d", "description": "Cole visited Italy in 1831 and made a small pencil sketch of this vista of Florence shortly before sunset. In his New York studio six years later, he transformed the drawing into this large oil painting, adding picturesque humans and goats to the foreground. Exhibiting <em>View of Florence</em> alongside a painting of the Catskill Mountains in New York in 1837, Cole set out to prove that he had mastered the very different landscapes of the Old and New Worlds.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q16934583"], "internet_archive": ["https://archive.org/details/clevelandart-1961.39-view-of-florence"]}, "citations": [{"citation": "Victor Spark, letter to Henry S. Francis, June 10, 1960, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Steinberg, letter to Alfred Habegger, May 16, 1994, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Victor D. Spark Papers, Series 4.2, Other Financial Records, 1930-1981, Box 17, Folder 6, Stock Books, 1958-1960, Archives of American Art, Smithsonian Institution.", "page_number": null, "url": null}, {"citation": "Victor D. Spark Papers, Series 4.2, Other Financial Records, 1930-1981, Box 17, Folder 6, Stock Books, 1958-1960, Archives of American Art, Smithsonian Institution.", "page_number": null, "url": null}, {"citation": "Frank Zuccari, email to Marcia Steele, June 26, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Frank Zuccari, email to Marcia Steele, June 26, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Frank Zuccari, email to Marcia Steele, June 26, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Alfred Habegger, email to Victoria Sears Goldman, March 20, 2013, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Steinberg, letter to Alfred Habegger, May 16, 1994, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "James, Henry. <em>A Small Boy and Others</em>. New York: C. Scribner's Sons, 1913.", "page_number": null, "url": null}, {"citation": "Habegger, Alfred. <em>The Father: A Life of Henry James, Sr</em>. New York: Farrar, Straus, and Giroux, 1994.", "page_number": null, "url": null}, {"citation": "Alfred Habegger, email to Victoria Sears Goldman, March 20, 2013, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Perkins, Robert F., William J. Gavin, and Mary Margaret Shaughnessy. <em>The Boston Athenaeum Art Exhibition Index, 1827-1874</em>. Boston, Mass: The Library of the Boston Athenaeum, 1980.", "page_number": null, "url": null}, {"citation": "David Steinberg, letter to Alfred Habegger, May 16, 1994, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "William S. Talbot [?], notes on a telephone conversation with Howard S. Merritt, Oct. 1, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "T\u00f3ib\u00edn, Colm, Marc Simpson, Declan Kiely. <em>Henry James and American Painting.</em> University Park, Pennsylvania, New York, New York: The Pennsylvania State University Press ; The Morgan Library &amp; Museum, 2017.", "page_number": "Mentioned, pp. 50-52; reproduced, p. 51", "url": ""}, {"citation": "Novak, Barbara, Annette Blaugrund, Franklin Kelly. <em>Thomas Cole : The Artist as Architect.</em> New York, New York: The Monacelli Press, 2016.", "page_number": "Mentioned, pp. 24, 30; reproduced, pp. 26-27.", "url": ""}, {"citation": "Garlington, Aubrey S. <em>Society, Culture, and Opera in Florence, 1814-1830 : Dilettantes in an \u2018Earthly Paradise\u2019</em>. Aldershot, England: Ashgate, 2005.", "page_number": "Reproduced, cover and back cover (detail).", "url": ""}, {"citation": "", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d July 13, 1961, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0771"}, {"citation": "Cole, Thomas, and Elizabeth Ourusoff. \u201cView of Florence from San Miniato.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 1 (January 1962): 12\u201319.", "page_number": "Mentioned and reproduced: p. 12-19, fig. 1", "url": "http://www.jstor.org/stable/25142486"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1966/page/n208"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}, {"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. 228", "url": "https://archive.org/details/CMAHandbook1978/page/n248"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 82 - 83", "url": ""}, {"citation": "Simpson, Marc. \"I like ambiguities and detest great glares: Henry James and American Paintings.\" In <em>Henry James and American Painting.</em> 48-97. University Park, Pennsylvania: The Pennsylvania State University Press; New York, New York: The Morgan Library &amp; Museum, 2017.", "page_number": "Reproduced: p. 51, fig.1; Mentioned: P. 50-52", "url": null}, {"citation": "Kornhauser, Elizabeth Mankin. \"Italy: The Grand Tour.\" In <em>Thomas Cole's Journey: Atlantic Crossings</em>. Elizabeth Mankin Kornhauser and Tim Barringer, 179-193. New York : The Metropolitan Museum of Art, 2018.", "page_number": "Reproduced: p. 191, cat. 45; Mention: p. 191 & 193", "url": null}, {"citation": "Kornhauser, Elizabeth Mankin. \"Re-examining Thomas Cole.\"<em> The Magazine Antiques </em>185, no. 1 (January/February 2018): 140-147.", "page_number": "Mentioned, p. 146; reproduced, p. 140", "url": null}], "url": "https://clevelandart.org/art/1961.39", "images": {"annotation": "Oil painting from a viewpoint of the city of Florence, the sun setting over the mountains in the background, casting orange rooftops in golden light. On our left, a river cuts through the city. On our right rises the orange dome and bell tower of the Duomo, or cathedral. Left of the cathedral stands Palazzo Vecchio's castle-like structure with a single tower. In the foreground people and goats relax in front of the overlook's wall.", "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_web.jpg", "width": "900", "height": "554", "filesize": "160620", "filename": "1961.39_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_print.jpg", "width": "3400", "height": "2093", "filesize": "2083307", "filename": "1961.39_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.39/1961.39_full.tif", "width": "7570", "height": "4659", "filesize": "105833740", "filename": "1961.39_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt0_web.jpg", "width": "1263", "height": "779", "filesize": "646464"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt0_print.jpg", "width": "3400", "height": "2097", "filesize": "4569404"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt0_full.tif", "width": "5000", "height": "3084", "filesize": "46283648"}}, {"date_created": "2018-10-24T12:02:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt1_web.jpg", "width": "900", "height": "554", "filesize": "125494"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt1_print.jpg", "width": "3400", "height": "2093", "filesize": "1430133"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt1_full.tif", "width": "15151", "height": "9328", "filesize": "424013540"}}, {"date_created": "2018-10-24T13:04:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt2_web.jpg", "width": "900", "height": "559", "filesize": "94506"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt2_print.jpg", "width": "3400", "height": "2110", "filesize": "1106868"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.39/1961.39_alt2_full.tif", "width": "7727", "height": "4795", "filesize": "111180064"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 136911, "creators": [{"id": 2659, "description": "Thomas Cole (American, born England,1801\u20131848)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1848", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-02-20T00:00:00", "sortable_date": 1837, "date_added_to_oa": null, "date_text": "1837", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["View of Florence from San Miniato"], "is_highlight": false, "updated_at": "2026-04-09 20:30:17.771000"}, {"id": 147017, "accession_number": "1972.48", "share_license_status": "CC0", "tombstone": "Branch Hill Pond, Hampstead, 1828. John Constable (British, 1776\u20131837). Oil on canvas; framed: 89 x 105.5 x 11.5 cm (35 1/16 x 41 9/16 x 4 1/2 in.); unframed: 60.6 x 78.1 cm (23 7/8 x 30 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1972.48", "current_location": "203A British Painting and Decorative Arts", "title": "Branch Hill Pond, Hampstead", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 89 x 105.5 x 11.5 cm (35 1/16 x 41 9/16 x 4 1/2 in.); Unframed: 60.6 x 78.1 cm (23 7/8 x 30 3/4 in.)", "dimensions": {"framed": {"height": 0.89, "width": 1.055, "depth": 0.115}, "unframed": {"height": 0.606, "width": 0.781}}, "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": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 181714, "title": "CMA @ Oberlin (second rotation)", "description": "<i>CMA @ Oberlin (second rotation)</i>. Allen Memorial Art Museum, Oberlin, OH (April 3-June 5, 2006).", "opening_date": "2006-04-03T00:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "<em>A Century of Progress Exhibition of Paintings and Sculpture</em>. Art Institute of Chicago, Chicago, IL (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Autumn Exhibition</em>. Leggatt Brothers, London, United Kingdom (1961).", "opening_date": "1961-01-01T00:00:00"}, {"description": "<em>English Painting 1750-1850</em>. Leggatt Brothers, London, United Kingdom (1963).", "opening_date": "1963-01-01T00:00:00"}, {"description": "<em>Englische Malerei der grossen Zeit</em> . Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 8-November 6, 1966).", "opening_date": "1966-10-08T00:00:00"}, {"description": "<em>La Pittura Inglese de Hogarth a Turner</em>. Palazzo Venezia, Rome, Italy (November 21-December 20, 1966).", "opening_date": "1966-11-21T00:00:00"}]}, "provenance": [{"description": "Painted by the artist for Henry Hebbert [1783-1864], London, United Kingdom, by descent to his son, Henry Hebbert", "citations": [], "footnotes": [], "date": "1828-1864", "sortorder": 1}, {"description": "Henry Hebbert [1814-1893], London, United Kingdom", "citations": [], "footnotes": [], "date": "1864-1894", "sortorder": 2}, {"description": "Cyrus McCormick Jr. [1859-1936], Chicago, IL, .", "citations": [], "footnotes": [], "date": "1894", "sortorder": 5}, {"description": "(Hirschl and Adler Galleries, New York, NY, 1958 sold to Leggatt Brothers)", "citations": [], "footnotes": [], "date": "1958-1959", "sortorder": 6}, {"description": "(Leggatt Brothers, London, United Kingdom, 1959.", "citations": [], "footnotes": [], "date": "1959", "sortorder": 7}, {"description": "Earl of Inchcape, London, United Kingdom by 1966.", "citations": [], "footnotes": [], "date": "by 1966", "sortorder": 8}, {"description": "(E. V. Thaw & Co., New York. NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1820, Constable found a retreat in Hampstead where he completed 100 studies of cloud formations, referring to the process as \"skying.\"", "description": "<br>An amateur meteorologist, John Constable was most at home painting meticulously observed cloud formations, weather conditions, and natural light effects. He believed an accurate rendering of these constantly shifting elements could convey his vision of the vitality and magnificence of the English countryside. Working from the summerhouse he rented at Hampstead from 1819\u201326, Constable painted a landscape focusing more on the dark rain clouds than on the laborers in the foreground, keeping the details of their backbreaking work at a picturesque distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472321"], "internet_archive": ["https://archive.org/details/clevelandart-1972.48-branch-hill-pond-ham"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (1973): 63\u2013115.", "page_number": "Reproduced: p. 79; Mentioned: p. 109, no. 116", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Talbot, William S. \u201cJohn Constable: Branch Hill Pond, Hampstead Heath.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 3 (March 1974): 97\u2013115.", "page_number": "Reproduced: p. 98-101; Mentioned: p. 97, 100", "url": "http://www.jstor.org/stable/25152518"}, {"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. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "\"Visions of Landscape East and West.\" <em>Asia</em> Vol. 4, No. 5 (January/February 1982): pp. 24-29.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Talbot, William S. \u201cVisions of Landscape: East and West.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 3 (1983): 112\u201335.", "page_number": "Mentioned and Reproduced: p. 116-117, fig. 5", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Cormack, Malcolm.<em> Constable</em>. Oxford: Phaidon, 1986.", "page_number": "Reproduced: p. 173, fig. 168", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 143-145, Vol. I, no. 54", "url": ""}, {"citation": "Wiles, Stephanie, \"British Invasion\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 04, April 2006", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2006-04/page/8"}], "url": "https://clevelandart.org/art/1972.48", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_web.jpg", "width": "1155", "height": "893", "filesize": "759286", "filename": "1972.48_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_print.jpg", "width": "3400", "height": "2629", "filesize": "5756024", "filename": "1972.48_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.48/1972.48_full.tif", "width": "4627", "height": "3578", "filesize": "49697516", "filename": "1972.48_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paul J. and Edith Ingalls Vignos Gallery", "athena_id": 147017, "creators": [{"id": 1536, "description": "John Constable (British, 1776\u20131837)", "extent": null, "qualifier": null, "role": "artist", "biography": "With Turner (q.v.), his exact contemporary, John Constable defined the parameters of genius for a generation of romantic landscape painters. The son of a prosperous miller and gentleman farmer, he entered into his profession late and was basically self-taught. Between 1796 and 1799 Constable had the advice of several artists and connoisseurs influential in the London art scene, primarily that of Sir George Beaumont (1753-1827), John Thomas Smith (1766-1833), and Joseph Farington (1747-1821). With the grudging consent of his parents, he entered the Royal Academy schools in 1799, the same year Turner was elected an associate member. (Twenty years would elapse before the academy conceded Constable that gesture of recognition.) He emerged publicly as a mature and focused painter of naturalistic landscapes in 1802 with the exhibition of his first oil painting at the Royal Academy.1 Shortly afterward he moved to his family home in East Bergholt with the intention of getting \"a pure and unaffected representation of the scenes that may employ me.\" The tours of 1806 produced an important body of Lake District material, especially studies in watercolor and in graphite, a medium Constable employed with unrivaled ability even at this early date. In 1808 he began a period of intense plein-air oil sketching and by 1814 was painting finished pictures like the magnificent Stour Valley and Dedham Village (Museum of Fine Arts, Boston) or Wivenhoe Park, Essex (National Gallery of Art, Washington D.C.)2 entirely out of doors. The Stour River, Flatford Mill, and Dedham Vale were the subjects to which he returned repeatedly with brilliant success. With his bride, Maria Bicknell, the artist moved permanently to London in 1816. His repertoire of subjects would expand to include Brighton, Salisbury, and Hampstead Heath, and both his practice and his fortunes also evolved in a significant new direction when he began his six-foot pictures of Suffolk landscape painted in the London studio. The scale of such works as The White Horse (1819, Frick Collection, New York)3 undoubtedly contributed to his successful bid for associate membership in the Royal Academy that year. With Sir Thomas Lawrence (1769-1830) and Bonington (q.v.), Constable created a sensation at the 1824 Paris Salon, where he exhibited The Hay Wain (National Gallery, London) and View on the Stour near Dedham (Huntington Art Gallery, San Marino),4 although French artists had known and admired his work since 1820. After the death of his wife in 1828 and his election as full academician in 1829, Constable turned toward consolidating his reputation through writing, lecturing, and the medium of printmaking. He published English Landscape (1830-32) in collaboration with the mezzotint engraver David Lucas, but it was commercially unsuccessful. He never ceased to work from nature, but the later masterworks Salisbury Cathedral from the Meadows (1831, National Gallery, London), The Opening of Waterloo Bridge (1832, Tate Gallery, London), and Arundel Mill and Castle (1837, Toledo Museum of Art)5 are pictures in which an expressionistic use of the medium struggles against an ever-increasing imaginative formalization of natural motifs.\r\n1. Probably Edge of the Wood (Art Gallery of Ontario); see Reynolds 1996, no. 2.1.\r\n2. Reynolds 1996, no. 15.1; Reynolds 1984, no. 17.4.\r\n3. Reynolds 1984, no. 2:19.1.\r\n4. Reynolds 1984, no. 21.1; Reynolds 1984, 22.1.\r\n5. Reynolds 1984, no. 31.1; Reynolds 1984, no. 32.1; Reynolds 1984, no. 37.1.", "name_in_original_language": null, "birth_year": "1776", "death_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1828, "date_added_to_oa": null, "date_text": "1828", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Branch Hill Pond, Hampstead Heath"], "is_highlight": false, "updated_at": "2026-03-27 00:04:36.143000"}, {"id": 149665, "accession_number": "1979.57", "share_license_status": "CC0", "tombstone": "Ruin by the Sea, 1881. Arnold B\u00f6cklin (Swiss, 1827\u20131901). Oil on fabric; framed: 132.1 x 102.9 x 8.3 cm (52 x 40 1/2 x 3 1/4 in.); unframed: 111 x 82 cm (43 11/16 x 32 5/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1979.57", "current_location": "219 19th Century European", "title": "Ruin by the Sea", "creation_date": "1881", "creation_date_earliest": 1881, "creation_date_latest": 1881, "artists_tags": ["male"], "culture": ["Switzerland"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 132.1 x 102.9 x 8.3 cm (52 x 40 1/2 x 3 1/4 in.); Unframed: 111 x 82 cm (43 11/16 x 32 5/16 in.)", "dimensions": {"framed": {"height": 1.321, "width": 1.029, "depth": 0.083}, "unframed": {"height": 1.11, "width": 0.82}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: A B \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 191818, "title": "Object in Focus: Ruin by the Sea by Arnold B\u00f6cklin", "description": "<i>Object in Focus: Ruin by the Sea by Arnold B\u00f6cklin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-March 14, 1999).", "opening_date": "1999-02-09T00:00:00"}, {"id": 223530, "title": "Hitchcock and Art: Fatal Coincidences", "description": "<i>Hitchcock and Art: Fatal Coincidences</i>. Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (organizer) (November 16, 2000-March 18, 2001); Centre national d'art et de culture Georges Pompidou, Paris cedex O4, France (June 6-September 24, 2001).", "opening_date": "2000-11-16T00:00:00"}], "legacy": [{"description": "Basel, Kunsthalle. Erinnerung an die Ausstellung Schweizerischer K\u00fcnstler (1883), 3, 4, Ruine am Meer (repr.).", "opening_date": null}, {"description": "Berlin, K\u00f6nigliche Akademie der K\u00fcnste. Ausstellung von Wercken Arnold B\u00f6cklins zur Feier seines 70. Geburtstages (1897-98), no. 74.", "opening_date": null}, {"description": "Darmstadt, Mathildenh\u00f6he. Arnold B\u00f6cklin 1827-1901 (1977), no. 65 (repr.); private collection, Z\u00fcrich.", "opening_date": "1977-01-01T00:00:00"}, {"description": "London, Fischer Fine Art Ltd. 1860-1910 Paintings, Drawings, Sculpture (1979), unpaginated, Ruine am Meer (1881) (repr.).", "opening_date": "1979-01-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; February 9 - March 14, 1999.  \"Object in Focus:  Ruin by the Sea by Arnold B\u00f6cklin.\"", "opening_date": "1999-02-09T00:00:00"}, {"description": "Montreal, Quebec: The Montreal Museum of Fine Arts (11/16/00 - 4/16/01); Paris: Centre Georges Pompidou (6/6/01 - 9/30/01) \"Hitchcock and Art: Fatal Coincidences\" repr. p. 315.", "opening_date": "2000-11-16T00:00:00"}]}, "provenance": [{"description": "C. Wetter-R\u00fcsch, St. Gallen, by 1893. Hermann Nabel, Berlin 1897. Kunsthandel Eduard Schulte, Berlin 1902. E. Junghanns, Schramberg. Paul Landenberger Jr., Schramberg. Z\u00fcrich sale, Max G. Bollag, 23 March 1933 (lot 107), Ruine am Meer, reproduced. Private collection, Z\u00fcrich. Fischer Fine Art, London. Purchased by the cma on 17 August 1979.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Who used to live in this crumbling villa on a lonely shore? B\u00f6cklin's eerie painting seems to beg the question of the building's history and the circumstances of its ruin. Haunted by the past, this scene also contains premonitions of future peril.", "description": "The dark, ruined villa in this painting is made especially mysterious by the strange cypress trees tossed by the wind. A nervous green light flickers through the scene. Influenced by German Romantic art of the early 1800s, B\u00f6cklin was preoccupied with dreamlike images suggestive of death.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q19930785"], "internet_archive": ["https://archive.org/details/clevelandart-1979.57-ruin-by-the-sea"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 19, p. 74; Mentioned: p. 61", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 34-37, Vol. I, no. 12", "url": ""}, {"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.84; Reproduced: p. 85", "url": null}], "url": "https://clevelandart.org/art/1979.57", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_web.jpg", "width": "656", "height": "893", "filesize": "369514", "filename": "1979.57_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_print.jpg", "width": "2498", "height": "3400", "filesize": "5722020", "filename": "1979.57_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.57/1979.57_full.tif", "width": "4282", "height": "5829", "filesize": "74910864", "filename": "1979.57_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 149665, "creators": [{"id": 2775, "description": "Arnold B\u00f6cklin (Swiss, 1827\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": "In 1845 Arnold B\u00f6cklin enrolled for two years at the D\u00fcsseldorf academy in the landscape class of Johann Wilhelm Schirmer (1807-1863). B\u00f6cklin traveled to Brussels and Antwerp, where he admired Flemish paintings, and then continued his studies with the landscape painter Alexandre Calame (1810-1864) in Geneva. In Paris during the tumultuous February and June Revolutions of 1848, B\u00f6cklin copied Old Master paintings at the Louvre. Couture's (q.v.) Romans of the Decadence (1847, Mus\u00e9e d'Orsay, Paris) made a strong impression on him, as did Corot's (q.v.) atmospheric treat-ment of landscapes. After a short stay in Basel, B\u00f6cklin moved to Rome in 1850 and married Angela Pascucci three years later. In 1857 he returned via Basel to Hannover, where he decorated the dining room in the Wedekind mansion (1858). He hoped this commission would relieve his financial burdens, but Wedekind was far from pleased with the result. B\u00f6cklin's first major success occurred when he exhibited Pan in the Reeds (Bayerische Staatsgem\u00e4ldesammlungen, Munich) in 1859 in Munich. King Ludwig I bought the work, and soon after B\u00f6cklin started teaching in Weimar (1860-62). In Munich he met Baron von Schack, who became one of his most important supporters. From 1862 through 1866 he lived in Rome and while there was in touch with Anselm Feuerbach (1829-1880) and Hans von Mar\u00e9es (1837-1887). The trio formed the nucleus of the late-nineteenth-century \"Deutschr\u00f6mer\" (German Romans) who continued a tradition of German artists working in Italy using a classical vocabulary. B\u00f6cklin moved repeatedly, living in Basel (1866-71), Munich (1871-74), Florence (1874-85), and Zurich (1885-92) until he finally settled in Florence in 1892. In Basel he painted the murals for the Museum an der Augustinergasse (1868-70); Jacob Burckhardt's criticism of these works ended their close friendship. At the end of his career he had built a solid reputation and was praised as a distinctively German artist. His seven-tieth birthday was celebrated with exhibitions in Basel and Berlin. With other movements such as impressionism and modernism taking over, however, the esteem for his art soon diminished after his death in 1901. Except for the attention of artists like Giorgio de Chirico (1888-1978) and other surrealists, recognition of B\u00f6cklin's work did not reappear until the second half of the twentieth century. (For a self-portrait of B\u00f6cklin, see Blanche, fig. 11a.)", "name_in_original_language": null, "birth_year": "1827", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1881, "date_added_to_oa": null, "date_text": "1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:43.751000"}, {"id": 171296, "accession_number": "2014.12", "share_license_status": "CC0", "tombstone": "Vale of Kashmir, 1867. Robert S. Duncanson (American, 1821\u20131872). Oil on canvas; framed: 94.9 x 154.6 x 12.1 cm (37 3/8 x 60 7/8 x 4 3/4 in.); unframed: 73 x 132.4 cm (28 3/4 x 52 1/8 in.). The Cleveland Museum of Art, Sundry Purchase Fund, 2014.12", "current_location": "206 American Landscape", "title": "Vale of Kashmir", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 94.9 x 154.6 x 12.1 cm (37 3/8 x 60 7/8 x 4 3/4 in.); Unframed: 73 x 132.4 cm (28 3/4 x 52 1/8 in.)", "dimensions": {"framed": {"height": 0.949, "width": 1.546, "depth": 0.121}, "unframed": {"height": 0.73, "width": 1.324}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed at lower right: Duncanson. / 1867. / Cinti O", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Robert S. Duncanson: A Centennial Exhibition, Cincinnati Art Museum, March 16-April 30, 1972.", "opening_date": "1972-03-16T00:00:00"}, {"description": "<em>American Paintings from the Manoogian Collection.</em> National Gallery of Art, Washington, DC (June 4-September 4, 1989); M.H. de Young Memorial Museum, San Francisco, CA (September 23-November 26, 1989); Metropolitan Museum of Art, New York, NY (December 18, 1989-February 25, 1990); Detroit Institute of Arts, Detroit, MI (March 27-May 27, 1990).", "opening_date": "1989-06-04T00:00:00"}, {"description": "<em>Lifting the Veil: Robert S. Duncanson and the Emergence of the African American Artist. </em>Cincinnati Art Museum and Taft Museum, Cincinnati, OH (September 15--November 26, 1995); Washington University Gallery of Art, St. Louis, MO (January 26--March 31, 1996); Amon Carter Museum, Ft. Worth,TX (April 20--June 16, 1996); Hammonds House Gardens and Clark Atlanta University Art Gallery, Atlanta, GA (July 19--September 15, 1996).", "opening_date": "1995-11-26T00:00:00"}, {"description": "Long Term Loan. Detroit Institute of Arts, Detroit, MI (October 2007-June 2009).", "opening_date": "2007-10-01T00:00:00"}, {"description": "<em>Bold, Cautious, True: Walt Whitman and the American Art of the Civil War Era. </em>The Dixon Gallery and Gardens, Memphis, TN (July 5-October 4, 2009); Katonah Museum of Art, Katonah, NY (October 18, 2009-January 24, 2010); The Virginia Museum of Fine Arts, Richmond, VA (June 2-August 26, 2012).", "opening_date": "2009-07-05T00:00:00"}, {"description": "Long Term Loan. Yale University Art Gallery, New Haven, CT (December 12, 2012-January 2014).", "opening_date": "2012-12-12T00:00:00"}]}, "provenance": [{"description": "Andrew Nicholas Jergens [1881\u20131967], Cincinnati, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Elizabeth Marie Jergens [born 1950], Los Angeles, CA, by inheritance", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Spanierman Gallery, New York, NY, consigned by 1980]", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Richard Manoogian [born 1936] and Jane Cameron Manoogian [born 1943], Grosse Pointe Park, MI, purchased in 1980", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "[Jonathan Boos, New York, NY, consigned in 2014]", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 2014", "citations": [], "footnotes": null, "date": null, "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Civil War, Duncanson relocated to Montreal, where he inspired several Canadian landscape painters.", "description": "Cincinnati-based Duncanson was the first African American artist to achieve recognition both nationally and abroad. This panoramic painting, one of his grandest, was inspired by an episode in Thomas Moore\u2019s then-popular epic poem, <em>Lalla-Rookh</em> (1817), which describes a Persian princess\u2019s journey to the Indian subcontinent to be married. In Duncanson\u2019s conception, members of a courtly entourage depart a quasi-Islamic palace, arriving by boat onto a scrim of land where they ascend a monumental staircase to a plaza with a fountain spraying an impressive plume of water. Despite these substantial storytelling details, the human elements remain subordinate to the overwhelming splendor of the natural landscape in and of itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482409"], "internet_archive": ["https://archive.org/details/clevelandart-2014.12-vale-of-kashmir"]}, "citations": [{"citation": "<em>Robert S. Duncanson: A Centennial Exhibition</em>. Cincinnati, OH : Cincinnati Art Museum, 1972.", "page_number": "Mentioned: p. 15, 40; Reproduced: p. 29", "url": null}, {"citation": "Cederholm, Theresa Dickason. <em>Afro-American Artists; a Bio-Bibliographical Directory</em>. Boston, MA: Trustees of the Boston Public Library, 1973.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Manoogian, Richard A. <em>American Paintings from the Manoogian Collection</em>. Washington, DC: National Gallery of Art, 1989.", "page_number": "Reproduced: p. 25", "url": null}, {"citation": "Thomison, Dennis. <em>The Black Artist in America: An Index to Reproductions</em>. Metuchen, NJ.: Scarecrow Press, 1991.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Ketner, Joseph D. <em>The Emergence of the African-American Artist: Robert S. Duncanson, 1821-1872</em>. Columbia, MO: University of Missouri Press, 1993.", "page_number": "Mentioned: p. 8, 162-163, 202; Reproduced: cover, p. 130-131", "url": null}, {"citation": "Katz, Wendy Jean. <em>Regionalism and Reform: Art and Class Formation in Antebellum Cincinnati</em>. Columbus, OH: Ohio State University Press, 2002.", "page_number": "Mentioned: p. 130, 134; Reproduced: p. 130", "url": null}, {"citation": "Sharp, Kevin, Adam M. Thomas, and Kevin Sharp. <em>Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era</em>. Memphis, TN: Dixon Gallery and Gardens, 2009.", "page_number": "Mentioned: p. 153-157; Reproduced:  p. 56", "url": null}, {"citation": "Cleveland Museum of Art. <em>Artistic Excellence: Acquisitions 2012-14</em>. Cleveland, OH: Cleveland Museum of Art, 2014.", "page_number": "Mentioned: p. 30-31", "url": null}, {"citation": "Cole, Mark. \u201cAcquisition Highlights 2014: American Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 18.", "page_number": "Reproduced and Mentioned: p. 18", "url": "https://archive.org/details/CMAMM2015-02"}, {"citation": "Betjemann, Peter. \"The Ends of Time.\" <em>American Art </em>31, no. 3 (Fall 2017): 80-109", "page_number": "Mentioned and reproduced: p. 94-98, fig. 6-8", "url": ""}, {"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. 79", "url": null}, {"citation": "Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art. New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023.", "page_number": "Reproduced: p. 142-143", "url": ""}], "url": "https://clevelandart.org/art/2014.12", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_web.jpg", "width": "900", "height": "492", "filesize": "128201", "filename": "2014.12_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_print.jpg", "width": "3400", "height": "1857", "filesize": "1691459", "filename": "2014.12_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.12/2014.12_full.tif", "width": "7795", "height": "4258", "filesize": "99603184", "filename": "2014.12_full.tif"}}, "alternate_images": [{"date_created": "2014-07-15T09:30:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.12/2014.12_alt0_web.jpg", "width": "900", "height": "675", "filesize": "151363"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.12/2014.12_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "2109193"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.12/2014.12_alt0_full.tif", "width": "8000", "height": "6000", "filesize": "144030116"}}, {"date_created": "2014-07-15T10:04:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.12/2014.12_alt1_web.jpg", "width": "900", "height": "595", "filesize": "180576"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.12/2014.12_alt1_print.jpg", "width": "3400", "height": "2249", "filesize": "1760569"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.12/2014.12_alt1_full.tif", "width": "8000", "height": "5292", "filesize": "127046388"}}], "creditline": "Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 171296, "creators": [{"id": 2605, "description": "Robert S. Duncanson (American, 1821\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-06-02T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:14.906000"}, {"id": 128392, "accession_number": "1951.356", "share_license_status": "CC0", "tombstone": "Edge of the Woods Near L'Hermitage, Pontoise, 1879. Camille Pissarro (French, 1830\u20131903). Oil on fabric; framed: 166 x 204 x 16.5 cm (65 3/8 x 80 5/16 x 6 1/2 in.); unframed: 125 x 163 cm (49 3/16 x 64 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.356", "current_location": "222 Impressionism & Post-Impressionism", "title": "Edge of the Woods Near L'Hermitage, Pontoise", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male", "Jewish artists"], "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: 166 x 204 x 16.5 cm (65 3/8 x 80 5/16 x 6 1/2 in.); Unframed: 125 x 163 cm (49 3/16 x 64 3/16 in.)", "dimensions": {"framed": {"height": 1.66, "width": 2.04, "depth": 0.165}, "unframed": {"height": 1.25, "width": 1.63}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: C. Pissarro 79\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338469, "title": "De David a Toulouse-Lautrec : chefs-d\u2019oeuvres des collections americaines", "description": "<i>De David a Toulouse-Lautrec : chefs-d\u2019oeuvres des collections americaines</i>. Mus\u00e9e de l'Orangerie, Paris, France (organizer) (April 20-July 5, 1955).", "opening_date": "1955-04-20T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 442308, "title": "Camille Pissarro: The Unexplored Impressionist", "description": "<i>Camille Pissarro: The Unexplored Impressionist</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (October 30, 1980-January 11, 1981); Galeries Nationales du Grand Palais, 75008 Paris, France (January 30-April 27, 1981); Museum of Fine Arts, Boston, Boston, MA (May 19-August 9, 1981).", "opening_date": "1980-10-30T05:00:00"}, {"id": 338472, "title": "The New Painting: Impressionism 1874-1886", "description": "<i>The New Painting: Impressionism 1874-1886</i>. National Gallery of Art, Washington, DC (organizer) (January 16-April 6, 1986); Fine Arts Museums of San Francisco, San Francisco, CA (April 19-July 6, 1986).", "opening_date": "1986-01-16T05:00:00"}, {"id": 220250, "title": "Camille Pissarro and Impressionism", "description": "<i>Camille Pissarro and Impressionism</i>. Staatsgalerie Stuttgart, D-70184 Stuttgart, Germany (organizer) (December 11, 1999-May 1, 2000).", "opening_date": "1999-12-11T00:00:00"}, {"id": 175431, "title": "C\u00e9zanne and Pissarro: Making Modernism", "description": "<i>C\u00e9zanne and Pissarro: Making Modernism</i>. The Museum of Modern Art, New York, NY (organizer) (June 24-September 12, 2005); Los Angeles County Museum of Art, Los Angeles, CA (October 20, 2005-January 16, 2006); Mus\u00e9e d'Orsay, Paris, France (February 27-May 28, 2006).", "opening_date": "2005-06-24T00:00:00"}, {"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": 230546, "title": "Pissarro. A Meeting on St. Thomas", "description": "<i>Pissarro. A Meeting on St. Thomas</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (organizer) (March 9-July 2, 2017).", "opening_date": "2017-03-09T00:00:00"}], "legacy": [{"description": "<em>La 4e exposition de peinture</em>. 28 Avenue de l'Op\u00e9ra, Paris, France (1879).", "opening_date": null}, {"description": "<em>Tableaux par Camille Pissarro</em>. Galeries Durand-Ruel, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Centenaire de la naissance de Camille Pissarro</em>. Mus\u00e9e de l'Orangerie, Paris, France (1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "<em>Les premi\u00e8res \u00e9poques de Camille Pissarro, de 1858 \u00e0 1884</em>. Galerie Marcel Bernheim, Paris, France (1936),", "opening_date": "1936-01-01T00:00:00"}]}, "provenance": [{"description": "Family of the artist, sold to Bernheim-Jeune", "citations": [], "footnotes": [], "date": "1903-1913", "sortorder": 1}, {"description": "(Bernheim-Jeune, Paris, sold to L\u2019Art Moderne)", "citations": [], "footnotes": ["<div><!--block-->Bernheim-Jeune purchased the painting (stock number 20114) from Julie Pissarro, the artist's widow, on December 17, 1913. &nbsp;</div>"], "date": "1913-1935", "sortorder": 2}, {"description": "(L'Art Moderne, Lucerne)", "citations": [], "footnotes": ["<div><!--block-->L\u2019Art Moderne was a branch of Bernheim-Jeune located in Lucerne, Switzerland; a number of works from its stock were auctioned at H\u00f4tel Drouot on June 20, 1935.&nbsp;</div>"], "date": "1935", "sortorder": 3}, {"description": "(L'Art Moderne sale, H\u00f4tel Drouot, June 20, 1935 (no. 59), sold to Andr\u00e9 Schoeller)", "citations": [], "footnotes": [], "date": "1935", "sortorder": 4}, {"description": "(Andr\u00e9 Schoeller [1898-1991], Paris)", "citations": [], "footnotes": [], "date": "1935-", "sortorder": 5}, {"description": "(Charles Comiot, Paris", "citations": [], "footnotes": ["<div><!--block-->Comiot was a businessman and art collector who had amassed a significant collection of Impresisonist works by the late 1920s.&nbsp; The Wildenstein Pissarro catalogue raisonn\u00e9 includes Comiot as a previous owner of the painting, but does not provide dates or documentation for his ownership.&nbsp; A sale of works from Comiot\u2019s collection at H\u00f4tel Drouot on June 11, 1958 does not include the CMA painting.&nbsp; A Renoir pastel sold at Sotheby\u2019s, New York, on May 10, 2001 also has Comiot followed by de Hauke in its provenance, so the two may have had an ongoing business relationship.&nbsp;</div>"], "date": "?", "sortorder": 6}, {"description": "(C\u00e9sar de Hauke and Hector Brame, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->The Pissarro does not appear in Galerie Brame &amp; Lorenceau\u2019s stock books, so it is likely that Hector Brame, a close business associate of de Hauke, brokered the sale of the painting to CMA.</div>"], "date": "Until 1951", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A goat seen from the back standing next to the figure in blue laying in the grass invites the viewer to step inside this serene and beautiful setting.", "description": "Born to a French-Jewish family on St. Thomas island in the Caribbean, Pissarro painted this monumental landscape when he was desperately poor and struggling to sell his paintings. It depicts a man slumbering in the sun-dappled backwoods of the Hermitage, a rural village near Pontoise, where the artist had been living since 1872. Restricting his palette to pure hues, Pissarro applied brushstrokes in systematic diagonal patterns, producing an effect that he likened to knitting. This canvas was included in the fourth Impressionist exhibition of 1879.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q21785872"], "internet_archive": ["https://archive.org/details/clevelandart-1951.356-edge-of-the-woods-ne"]}, "citations": [{"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "C\u00e9sar de Hauke, letter to Henry S. Francis, Nov. 17, 1951, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "C\u00e9sar de Hauke, letter to Henry S. Francis, Nov. 17, 1951, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, Oct. 13, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes, aquarelles, pastels, dessins par Bonnard, Boudin, Ce\u0301ria, Ce\u0301zanne, Chagall, Corot, Coubine, Courbet, Cross, Degas, Derain, R. Dufy, Dufresne, Eberl, Gauguin, Van Gogh, Guillaumin, Laglenne, Marquet, Modigliani, Monet, Monticelli, Pascin, Picasso, Pissarro, Quizet, Renoir, Rouault, Signac, Souverbie, Utrillo, Vallotton, Vlaminck</em>. 1935.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. T<em>ableaux modernes, aquarelles, pastels, dessins par Bonnard, Boudin, Ce\u0301ria, Ce\u0301zanne</em>... June 20, 1935.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. T<em>ableaux modernes, aquarelles, pastels, dessins par Bonnard, Boudin, Ce\u0301ria, Ce\u0301zanne</em>... June 20, 1935.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, Joachim Pissarro, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 200", "page_number": null, "url": null}, {"citation": "Pissarro, Ludovico Rodo, and Lionello Venturi. <em>Camille Pissarro; son art--son \u0153uvre</em>. Paris: P. Rosenberg, 1939.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 30, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "D'Hervilly, Ernest. \"Exposition des Impressionistes.\" <em>Le Rappel </em>(April 11, 1879): 2.", "page_number": "Mentioned: p. 2", "url": null}, {"citation": "Pissarro, Ludovico Rodo, and Lionello Venturi. <em>Camille Pissarro; Son Art--Son Oeuvre</em>. Paris: P. Rosenberg, 1939.", "page_number": "Mentioned: vol. 1, no. 489; reproduced: vol. 2, no. 489, pl. 99", "url": null}, {"citation": "Francis, Henry S. \"Le Fond de l'Hermitage by Camille Pissarro.\" <em>The Bulletin of the Cleveland Museum of Art</em> 39, no. 4 (April 1952): 64-66.", "page_number": "Reproduced: p. 62", "url": null}, {"citation": "<em> Art et Style </em>34 (1955): 22.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Muse\u0301e de l'Orangerie. <em>De David a\u0300 Toulouse-Lautrec; chefs-d'\u0153uvres des collections ame\u0301ricaines</em>. Paris: [Presses artistiques], 1955.", "page_number": "Referenced: cat. no. 45, Reproduced: pl. 44", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Owned Paintings Will Go to France,\u201d April 20, 1955, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4556"}, {"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. 505", "url": "https://archive.org/details/CMAHandbook1958/page/n93"}, {"citation": "Milliken,William Mathewson. <em>The Cleveland Museum of Art.</em> New York: H.N. Abrams, 1958.", "page_number": "Reproduced: p. 54", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: The Museum, 1958.", "page_number": "Reproduced: no. 69", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u2013488.", "page_number": "Reproduced: p. 484", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 215", "url": "https://archive.org/details/CMAHandbook1978/page/n235"}, {"citation": "Brettell, Richard R. and Christopher Lloyd. <em>A Catalogue of the Drawings by Camille Pissarro in the Ashmolean Museum, Oxford. </em>Oxford: Clarendon Press, 1980.", "page_number": "Mentioned: p. 140-141, nos. 132, 133", "url": null}, {"citation": "<em>Pissarro: Camille Pissarro, 1830-1903 : Hayward Gallery, London, 30 October 1980-11 January 1981, Grand Palais, Paris, 30 January-27 April 1981, Museum of Fine Arts, Boston, 19 May-9 August 1981</em>. London, United Kingdom: Arts Council of Great Britain, 1980.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Lucie-Smith, Edward. \"Impressions of Pissarro.\" <em>Illustrated London News </em>268 (December 1980): 75.", "page_number": "Mentioned and reproduced: p. 75", "url": null}, {"citation": "Lloyd, Christopher. <em>Camille Pissarro</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned and reproduced: p. 80-81", "url": null}, {"citation": "Bernard, Bruce. <em>The Impressionist Revolution.</em> London: Orbis, 1986.", "page_number": "Reproduced: p. 232; mentioned: p. 263", "url": null}, {"citation": "Brettell, Richard R. <em>Pissarro and Pontoise: The Painter in a Landscape</em>. New Haven: Yale University Press, 1990.", "page_number": "Mentioned and reproduced: p. 192-193, pl. 166", "url": null}, {"citation": "Zimmermann, Michael F. <em>Seurat and the Art Theory of His Time</em>. Antwerp: Fonds Mercator, 1991.", "page_number": "Reproduced: p. 104, fig. 170", "url": null}, {"citation": "Kapos, Martha. <em>The Impressionists, a Retrospective.</em> [Southport, Conn.]: Hugh Lauter Levin Associates, 1991.", "page_number": "Reproduced: pl. 57", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned and reproduced: p. 152-153", "url": null}, {"citation": "Pissarro, Joachim. <em>Camille Pissarro.</em> New York: H.N. Abrams, 1993.", "page_number": "Mentioned: p. 121; reproduced: p. 132, fig. 138", "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. 183", "url": null}, {"citation": "Benedetti, Maria Teresa. <em>L'Impressionismo: Dentro l'Immagine.</em> Milano: A. Mondadori, 1993.", "page_number": "Mentioned and reproduced: p. 178-181", "url": null}, {"citation": "Reid, Martin. <em>Pissarro.</em> London, England: Studio Editions, 1993.", "page_number": "Mentioned and reproduced: p. 96-97", "url": null}, {"citation": "Ewers-Schultz, Martina. <em>Die Franzo\u0308sischen Grundlagen des \"Rheinischen Expressionismus\" 1905 bis 1914: Stellenwert und Bedeutung der franzo\u0308sischen Kunst in Deutschland und ihre Rezeption in den Werken der Bonner Ausstellungsgemeinschaft von 1913. </em>Mu\u0308nster: Lit, 1996.", "page_number": "Reproduced: p. 369, pl. 5", "url": null}, {"citation": "Berson, Ruth. <em>The New Painting: Impressionism, 1874-1886: Documentation.</em> [San Francisco, CA]: Fine Arts Museums of San Francisco, 1996.", "page_number": "Mentioned: Vol. 1, p. 206-207, 224; Vol. 2, p. 117; Reproduced: Vol. 2, p. 137", "url": null}, {"citation": "Benedetti, Maria Teresa. \"Pissarro: Il Periodo Impressionista.\" <em>Art e Dossier</em> 132 (March 1998): 16-33", "page_number": "Reproduced: p. 28; mentioned: p, 30", "url": null}, {"citation": "Museum of Fine Arts, Boston.<em> Mone, Runowa\u0304ru to insho\u0304ha no fu\u0304kei: kaikan kinen dai ikkai kikakuten = Monet, Renoir, and the Impressionist Landscape.</em> [Japan]: Nagoya Bosuton Bijutsukan, 1999.", "page_number": "Reproduced: p. 146, fig. 26", "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, 1999.", "page_number": "Mentioned and reproduced: p. 494-496, no. 172", "url": null}, {"citation": "Shackelford, George T. M. <em>Monet, Renoir, and the Impressionist Landscape.</em> Ottawa: National Gallery of Canada, 2000.", "page_number": "Mentioned and reproduced: p. 146, fig. 37", "url": null}, {"citation": "Eisenman, Stephen. <em>Nineteenth Century Art: A Critical History.</em> New York, N.Y.: Thames &amp; Hudson, 2002.", "page_number": "Mentioned: p. 297; reproduced: p. 292, fig. 13.11", "url": null}, {"citation": "Christie. <em>Impressionist and Modern Art (Evening Sale).</em> London: Christie's, 2002.", "page_number": "Reproduced: p. 29, fig.4", "url": null}, {"citation": "Mancoff, Debra N.<em> Impressionism: Reflections of Beauty.</em> Lincolnwood, Ill: Publications International, Ltd, 2003.", "page_number": "Mentioned and reproduced: p. 72", "url": null}, {"citation": "Pissarro, Joachim. <em> Pioneering Modern Painting: Ce\u0301zanne &amp; Pissarro, 1865-1885.</em> New York: Museum of Modern Art, 2005.", "page_number": "Reproduced: p. 212, no. 105", "url": null}, {"citation": "Legrand, Francois. \"Conversation en Peinture.\" <em>Connaissance des Arts Hors-Serie</em> 275 (2006): 24-35.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Eisenman, Stephen. <em>Nineteenth Century Art: A Critical History.</em> London: Thames &amp; Hudson, 2007.", "page_number": "Mentioned and reproduced: p. 344, fig. 15.13", "url": null}, {"citation": "Fonsmark, Anne-Birgitte. <em>Pissarro: et m\u00f8de pa\u030a Skt. Thomas.</em> K\u00f8benhavn: Ordrupgaard, 2017.", "page_number": "Reproduced: p. 168, fig. 161", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 39", "url": "https://archive.org/details/CMAPaintings1952"}], "url": "https://clevelandart.org/art/1951.356", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_web.jpg", "width": "900", "height": "690", "filesize": "388399", "filename": "1951.356_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_print.jpg", "width": "3400", "height": "2605", "filesize": "5555080", "filename": "1951.356_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.356/1951.356_full.tif", "width": "15203", "height": "11648", "filesize": "531286664", "filename": "1951.356_full.tif"}}, "alternate_images": [{"date_created": "2007-10-29T14:35:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt0_web.jpg", "width": "1167", "height": "893", "filesize": "916861"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt0_print.jpg", "width": "3400", "height": "2602", "filesize": "8002541"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt0_full.tif", "width": "5525", "height": "4228", "filesize": "70113452"}}, {"date_created": "2009-07-01T15:21:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt1_web.jpg", "width": "1177", "height": "893", "filesize": "963035"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt1_print.jpg", "width": "3400", "height": "2580", "filesize": "8189061"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt1_full.tif", "width": "5899", "height": "4476", "filesize": "79244524"}}, {"date_created": "2017-07-19T14:45:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt2_web.jpg", "width": "900", "height": "675", "filesize": "400419"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "5723993"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt2_full.tif", "width": "16000", "height": "12000", "filesize": "576032700"}}, {"date_created": "2009-07-01T15:23:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt3_web.jpg", "width": "1076", "height": "893", "filesize": "857813"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt3_print.jpg", "width": "3400", "height": "2822", "filesize": "8445305"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.356/1951.356_alt3_full.tif", "width": "5674", "height": "4710", "filesize": "80207920"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 128392, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-08-19T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "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": ["Le Fond de l'Hermitage"], "is_highlight": false, "updated_at": "2026-03-27 00:10:07.838000"}, {"id": 155860, "accession_number": "1991.163", "share_license_status": "CC0", "tombstone": "The Young Eastern Woman, 1838. Friedrich Amerling (Austrian, 1803\u20131887). Oil on fabric; framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1991.163", "current_location": "219 19th Century European", "title": "The Young Eastern Woman", "creation_date": "1838", "creation_date_earliest": 1838, "creation_date_latest": 1838, "artists_tags": ["male"], "culture": ["Austria"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 106.5 x 90.5 x 9 cm (41 15/16 x 35 5/8 x 3 9/16 in.); Unframed: 88.5 x 71.5 cm (34 13/16 x 28 1/8 in.)", "dimensions": {"framed": {"height": 1.065, "width": 0.905, "depth": 0.09}, "unframed": {"height": 0.885, "width": 0.715}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 221840, "title": "Friedrich von Amerling (1803-1887)", "description": "<i>Friedrich von Amerling (1803-1887)</i>. Belvedere, Wien, Austria (organizer) (March 26-June 22, 2003).", "opening_date": "2003-03-26T00:00:00"}], "legacy": [{"description": "Vienna, kk Akademie der Bildenden K\u00fcnste. Wiener Kunstaustellung zu St. Anna (1838), no. 282.", "opening_date": null}, {"description": "Osterreichische Galerie Belvedere, Vienna (3/26/2003 - 6/22/2003):  \"Friedrich von Amerling (1803-1887),\" exh.cat. no. 69, p. 219.", "opening_date": "2003-03-26T00:00:00"}, {"description": "Wien: Wien Museum Hermesvilla.  Orientalische Reise: Malerei Und Exotick Im Spaten 19. Jahrhundert. Oct. 16, 2003 - April 12, 2004.  Exh. cat. fig. 8, p. 43.", "opening_date": "2003-10-16T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1991-", "sortorder": 1}, {"description": "(Galerie Sanct Lucas, Vienna, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1971-1991", "sortorder": 2}, {"description": "Heirs of Franz Wertheim, United States, sold to the Galerie Sanct Lucas", "citations": [], "footnotes": null, "date": "Probably 1883-1971", "sortorder": 3}, {"description": "Baron Franz Wertheim [1814-1883], Vienna, by descent to his heirs", "citations": [], "footnotes": ["<div><!--block-->Gunther Probszt\u2019s 1927 book on Amerling situates the painting in the collection of Baron Franz Wertheim.&nbsp; Because Wertheim died in 1883, it is possible that Probszt meant to indicate that the painting was formerly with Wertheim, or that the painting was currently with Wertheim\u2019s heirs, perhaps Franz von Wertheim, Jr., who was born in 1865.</div>"], "date": "Date description:", "sortorder": 4}, {"description": "L\u00f6scher, Vienna", "citations": [], "footnotes": ["<div><!--block-->L\u00f6scher was a Viennese dealer active in the 1870s.</div>"], "date": "1871-", "sortorder": 5}, {"description": "(P. Kaeser, Vienna, Fellner sale, Dec. 14-15, 1871, lot 9, as \"Die Morgenl\u00e4nderin,\" sold to L\u00f6scher)", "citations": [], "footnotes": null, "date": "1871", "sortorder": 6}, {"description": "Jakob Fellner, Vienna", "citations": [], "footnotes": ["<div><!--block-->Fellner bought most of the Feldm\u00fcller collection shortly after 1852.</div>"], "date": "c. 1852-1871", "sortorder": 7}, {"description": "Mathias Feldm\u00fcller (the Younger), Vienna, sold to Jakob Fellne", "citations": [], "footnotes": ["<div><!--block-->According to Amerling's account book, the painting was sold to Feldm\u00fcller, a wood merchant, for 80 ducats.&nbsp; The painting may have been paired with Amerling's \"Bathing Woman\" (now lost).&nbsp; Feldm\u00fcller also purchased works from Amerling in 1836, 1840, and 1850.</div>"], "date": "1838-c. 1852", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One can see in Amerling's sensitive and beautiful portrayal why he was well known and admired for his portraits.", "description": "Although the artist provocatively titled this painting Young Eastern Woman, it is obvious that the model is not Asian, but merely wears a Turkish costume. The rich fabrics and glowing light create an exotic atmosphere, revealing a Western fascination with \"Oriental\" images and themes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476663"], "internet_archive": ["https://archive.org/details/clevelandart-1991.163-the-young-eastern-wo"]}, "citations": [{"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "P. Kaeser.  <em>Tabl. 120. </em> Dec. 14-15, 1871.", "page_number": null, "url": null}, {"citation": "<br>P. Kaeser.  <em>Tabl. 120. </em> Dec. 14-15, 1871.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "P. Kaeser.  <em>Tabl. 120. </em> Dec. 14-15, 1871.", "page_number": null, "url": null}, {"citation": "Galerie Sanct Lucas, invoice, March 1, 1992, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Turner, Evan H. \"Selected 1991 Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 2 (1992): 63-83.", "page_number": "Mentioned: p. 65, 76; Reproduced: p. 70", "url": "https://www.jstor.org/stable/25161350"}, {"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161437"}, {"citation": "Grabner, Sabine. \"Art for the Bourgeoisie in Imperial Vienna.\" In<em> Is That Biedermeier?: Amerling, Waldmu\u0308ller, and More. </em>Ferdinand Georg Waldmu\u0308ller, 14-25. M\u00fcnchen: Hirmer Verlag; Vienna: Belvedere, 2016.", "page_number": "Reproduced: p. 22 Mentioned: p. 21-22", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 12-15, Vol. I, no. 4", "url": ""}, {"citation": "Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art.  New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023.", "page_number": "Reproduced: p. 60-61", "url": ""}, {"citation": "<em>Friedrich von Amerling: Werkverzeichnis Der Gema\u0308lde = Catalogue Raisonne\u0301 of the Paintings.</em> Edited by Stella Rollig and Luisa Ziaja. Berlin: Deutscher Kunstverlag, 2025.", "page_number": "Mentioned and Reproduced: p. 149-150, no. 470", "url": ""}], "url": "https://clevelandart.org/art/1991.163", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_web.jpg", "width": "719", "height": "893", "filesize": "382243", "filename": "1991.163_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_print.jpg", "width": "2737", "height": "3400", "filesize": "5453852", "filename": "1991.163_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.163/1991.163_full.tif", "width": "4830", "height": "6000", "filesize": "86972208", "filename": "1991.163_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 155860, "creators": [{"id": 2879, "description": "Friedrich Amerling (Austrian, 1803\u20131887)", "extent": null, "qualifier": null, "role": "artist", "biography": "Friedrich Amerling grew up in a poor working-class milieu and started his career illuminating maps and prints before attending the Vienna academy from 1815 until 1824. The following two years he studied at the academy in Prague, until his sojourn in London from 1827 through 1828. Amerling went to London primarily to meet the portraitist Thomas Lawrence (1769-1830), whose fame had spread throughout Europe and whose work, together with that of Joshua Reynolds (1723-1792), would form an important influence on Amerling's art. After a brief stay in Paris, during which Amerling met Vernet (q.v.), he went on to Rome. Back in Vienna he painted the life-size portrait of Emperor Franz I (1832/33, Kunsthistorisches Museum, Vienna), which, despite its mixed reviews, estab-lished his reputation as the foremost portrait painter in Vienna. From then on he received many portrait commissions from the Viennese aristocracy and bourgeoisie (see Waldm\u00fcller, Countess Sz\u00e9chenyi, fig. 223b). In 1833 Amerling traveled to the Netherlands and, upon his return, visited the artistic centers of Munich and D\u00fcsseldorf, where he met the influential academy director Friedrich Wilhelm von Schadow (1788-1862). Amerling's career reached its height from the 1830s through the 1850s. In the early 1840s he traveled to Rome where he worked with Leopold Pollak (1806-1880) and August Riedel (1799-1883), who influenced his work with their depictions of Italian beauties. Besides painting formal portraits, Amerling developed a painting category that remained close to portraiture but crossed over to a slightly sentimental type of genre or character painting, mostly depicting single women in coquettish poses. Although Amerling retained a certain popularity throughout his long career-he was knighted in 1879-he failed to adapt to changing artistic developments and was eventually overshadowed by artists such as Hans Makart (1840-1884).", "name_in_original_language": null, "birth_year": "1803", "death_year": "1887", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1838, "date_added_to_oa": null, "date_text": "1838", "collapse_artists": false, "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": "2026-03-27 00:06:59.168000"}, {"id": 160289, "accession_number": "1998.168", "share_license_status": "CC0", "tombstone": "Portrait of Lisa Colt Curtis, 1898. John Singer Sargent (American, born Italy, 1856\u20131925). Oil on canvas; framed: 249 x 134 x 9.5 cm (98 1/16 x 52 3/4 x 3 3/4 in.); unframed: 219.3 x 104.8 cm (86 5/16 x 41 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1998.168", "current_location": "208 American Gilded Age and Realism", "title": "Portrait of Lisa Colt Curtis", "creation_date": "1898", "creation_date_earliest": 1898, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 249 x 134 x 9.5 cm (98 1/16 x 52 3/4 x 3 3/4 in.); Unframed: 219.3 x 104.8 cm (86 5/16 x 41 1/4 in.)", "dimensions": {"framed": {"height": 2.49, "width": 1.34, "depth": 0.095}, "unframed": {"height": 2.193, "width": 1.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed: To Ralph and Mrs. Ralph, John S. Sargent 1898", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 216458, "title": "Sargent and Italy", "description": "<i>Sargent and Italy</i>. Palazzo dei Diamanti, Ferrara (Galleria d'Arte Moderna et Contemporanea) (September 29, 2002-January 6, 2003); Los Angeles County Museum of Art, Los Angeles, CA (organizer) (February 9-May 11, 2003); Denver Art Museum, Denver, CO (June 21-September 14, 2003).", "opening_date": "2002-09-29T00:00:00"}, {"id": 226362, "title": "Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle", "description": "<i>Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle</i>. Isabella Stewart Gardner Museum, Boston, MA (organizer) (April 20-August 15, 2004).", "opening_date": "2004-04-20T00:00:00"}], "legacy": [{"description": "Ferrara, Italy, Palazzo dei Diamanti, Sargent and Italy (22 September 2002-6 January 2003); traveled to Los Angeles, Los Angeles County Museum of Art (2 February-11 May 2003); to Denver, Denver Art  Museum (28 June-21 September 2003); illus. p. 165.", "opening_date": "2003-02-02T00:00:00"}, {"description": "Boston, Isabella Stewart Gardner Museum Gondola Days: Isabella Stewart Gardner and the Palazzo Barbaro Circle (21 April-15 August 2004); illus. fig. 48, p. 73, listed p. 275 as Lisa Curtis; pp. 70-75.", "opening_date": "2004-04-21T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1998-", "sortorder": 1}, {"description": "(Christie\u2019s, New York, Dec. 29, 1998, private treaty sale to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1998", "sortorder": 2}, {"description": "Patricia Curtis Vigan\u00f2, Venice, Italy; Lisa Marjorie Curtis de Beaumont, France; and Ralph D. Curtis, Venice, Italy", "citations": [], "footnotes": [], "date": "Probably 1973 - probably 1998", "sortorder": 3}, {"description": "Ralph Wormeley Curtis, Jr. [1909-1973] Venice, Italy, and Paris, France, by descent to his children Patricia Curtis Vigan\u00f2, Lisa Marjorie Curtis de Beaumont, and Ralph D. Curtis", "citations": [], "footnotes": [], "date": "Probably 1936 - probably 1973", "sortorder": 4}, {"description": "Sylvia Curtis Steinert [1899-1981], Paris and Saint-Jean-Cap-Ferrat, France, to her brother, Ralph Wormeley Curtis, Jr.", "citations": [], "footnotes": ["<div><!--block-->The painting apparently resided in the Villa Sylvia, Saint-Jean-Cap-Ferrat, until Sylvia Curtis Steinert sold the property upon her divorce in 1936.&nbsp; Subsequently it was transferred to her brother, who resided in the family home at the Palazzo Barbaro, Venice; he is listed as the painting\u2019s owner when it was published in 1956 and 1970.&nbsp; According to Patricia Curtis Vigan\u00f2, the art in the Palazzo Barbaro was crated and stored at the Doge\u2019s Palace in Venice for safekeeping during the Second World War.&nbsp;</div>"], "date": "Probably 1933 - probably 1936", "sortorder": 5}, {"description": "Ralph Wormeley Curtis [1854-1922] and Lisette De Wolf Colt Curtis [1867-1933], Paris and Saint-Jean-Cap-Ferrat, France, probably by descent to their daughter Sylvia Curtis Steinert", "citations": [], "footnotes": ["<div><!--block-->The painting, inscribed \u201cTo Ralph and Mrs. Ralph / John S. Sargent 1898,\u201d was a wedding gift from Sargent, Ralph Wormeley Curtis\u2019s distant cousin.&nbsp; The portrait was photographed in situ at the Villa Sylvia, Saint-Jean-Cap-Ferrat around 1927.</div>"], "date": "1898 - probably 1933", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although known as John Singer Sargent today, he almost never used his middle name during his lifetime.", "description": "One of the most sought-after painters of his era, Sargent achieved considerable critical and financial success portraying cosmopolitan members of high society on both sides of the Atlantic. Here, the artist depicts an acquaintance\u2014a relative of the Colt firearms family\u2014who had recently married his distant cousin Ralph. In her portrait, Curtis wears an elegant satin dress and poses as if she were welcoming guests into her palatial Venetian home. The painting apparently was a wedding gift to the couple by the artist; its inscription at the top right reads, \"To Ralph and Mrs. Ralph, John S. Sargent 1898.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477599"], "internet_archive": ["https://archive.org/details/clevelandart-1998.168-portrait-of-lisa-col"]}, "citations": [{"citation": "Berendt, John. <em>The City of Falling Angels</em>. 2005.", "page_number": "Mentioned, p. 164.", "url": null}, {"citation": "Ormond, Richard. <em>John Singer Sargent: Paintings, Drawings, Watercolors. </em>New York: Harper &amp; Row, 1970.", "page_number": "Mentioned, p. 251.", "url": null}, {"citation": "<br>McKibben, David, <em>Sargent\u2019s Boston, with an Essay &amp; a Biographical Summary &amp; A Complete Check List of Sargent\u2019s</em> <em>Portraits</em>. Boston: Museum of Fine Arts, 1956.", "page_number": null, "url": null}, {"citation": "Cox, E.H.M., \u201cHouses &amp; Gardens of the Riviera: Villa Sylvia, Cap Ferrat, The Home of Mrs. Lisa Curtis, <em>Country Life </em>61 (January 15, 1927): 91", "page_number": null, "url": null}, {"citation": "Downes, William Howe. <em>John S. Sargent: His Life and Work. </em>Boston: Little, Brown, and Co., 1925.", "page_number": null, "url": null}, {"citation": "Franco Maria Ricci (Firm). <em>FMR: The Magazine of Franco Maria Ricci</em> 118 (October 2002).", "page_number": "Reproduced p. 12.", "url": ""}, {"citation": "Sargent, John Singer, Elaine Kilmurray, and Richard Ormond. <em>Sargent E l\u2019Italia.</em> [Ferrara, Italy]: Ferrara arte, 2002.", "page_number": "Mentioned, p. 324; reproduced, p. 325.", "url": ""}, {"citation": "Cole, Mark, \"An American Virtuoso,\" <em>Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art.</em> (Cleveland, OH: Cleveland Museum of Art, 2016).", "page_number": "Reproduced, p. 13.", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cLittle-Known Masterpiece by John Singer Sargent Acquired by the Cleveland Museum of Art,\u201d November 27, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4224"}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 01, January 1999", "page_number": "Mentioned & reproduced: cover, p. 3", "url": "https://archive.org/details/CMAMM1999-01/page/2"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 106 - 107", "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. 51", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: July Through September 2016</em>. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Mamoli Zorzi, Rosella. <em>Ralph W. Curtis, un Pittore Americano a Venezia: Biografia. </em>Venezia Lido: Supernova, 2019.", "page_number": "Mentioned and reproduced: P. 116, fig. 108", "url": ""}], "url": "https://clevelandart.org/art/1998.168", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_web.jpg", "width": "425", "height": "900", "filesize": "180844", "filename": "1998.168_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_print.jpg", "width": "1605", "height": "3400", "filesize": "1020240", "filename": "1998.168_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.168/1998.168_full.tif", "width": "3305", "height": "7000", "filesize": "69435332", "filename": "1998.168_full.tif"}}, "alternate_images": [{"date_created": "2007-05-21T17:15:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.168/1998.168_alt0_web.jpg", "width": "422", "height": "893", "filesize": "221473"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.168/1998.168_alt0_print.jpg", "width": "1605", "height": "3400", "filesize": "3084726"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.168/1998.168_alt0_full.tif", "width": "3305", "height": "7000", "filesize": "69435332"}}, {"date_created": "2007-05-21T17:31:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.168/1998.168_alt1_web.jpg", "width": "670", "height": "893", "filesize": "344567"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.168/1998.168_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "5266278"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.168/1998.168_alt1_full.tif", "width": "3750", "height": "5000", "filesize": "56280940"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 160289, "creators": [{"id": 2559, "description": "John Singer Sargent (American, born Italy, 1856\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1856", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-11-23T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "1898", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mrs. Ralph Curtis"], "is_highlight": false, "updated_at": "2026-03-26 23:59:08.298000"}, {"id": 138464, "accession_number": "1962.37", "share_license_status": "CC0", "tombstone": "Cupid and Psyche, 1817. Jacques-Louis David (French, 1748\u20131825). Oil on canvas; framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1962.37", "current_location": null, "title": "Cupid and Psyche", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); Unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.)", "dimensions": {"framed": {"height": 2.21, "width": 2.82, "depth": 0.1}, "unframed": {"height": 1.842, "width": 2.416}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in yellow in arm of the couch: L. David 1817 Bruxelles\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 304705, "title": "Neo-classicism: Style and Motif", "description": "<i>Neo-classicism: Style and Motif</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 31, 1964).", "opening_date": "1964-09-23T04:00:00"}, {"id": 515708, "title": "Fifteenth Anniversary Exhibition", "description": "<i>Fifteenth Anniversary Exhibition</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (November 4, 1965-January 2, 1966).", "opening_date": "1965-11-04T05:00:00"}, {"id": 455290, "title": "The Age of Neoclassicism", "description": "<i>The Age of Neoclassicism</i>. Arts Council of Great Britain (organizer) (September 7-November 19, 1972).", "opening_date": "1972-09-07T04:00:00"}, {"id": 223677, "title": "Jacques-Louis David: Empire to Exile", "description": "<i>Jacques-Louis David: Empire to Exile</i>. J. Paul Getty Museum, Los Angeles, CA (February 1-April 24, 2005); Sterling and Francine Clark Art Institute, Williamstown, MA (organizer) (June 5-September 5, 2005).", "opening_date": "2005-02-01T00:00:00"}, {"id": 180662, "title": "CMA @ Oberlin (first rotation)", "description": "<i>CMA @ Oberlin (first rotation)</i>. Allen Memorial Art Museum, Oberlin, OH (January 31-April 3, 2006).", "opening_date": "2006-01-31T00:00:00"}, {"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 673962, "title": "Jacques-Louis David", "description": "<i>Jacques-Louis David</i>. Mus\u00e9e du Louvre, Paris, France (organizer) (October 15, 2025-January 26, 2026) https://www.louvre.fr/en/exhibitions-and-events/exhibitions/jacques-louis-david.", "opening_date": "2025-10-15T04:00:00"}], "legacy": [{"description": "City Hall, Ghent, Belgium (1817). (According to Dowd 1956).", "opening_date": "1956-01-01T00:00:00"}, {"description": "<em>Au profit des hospices de Sainte-Gudule et des Ursuline</em>s. Mus\u00e9e Royal de Bruxelles, Bruxelles, Belgium (1817). (See Wildenstein and Wildenstein 1973).", "opening_date": "1973-01-01T00:00:00"}, {"description": "<em>Au profit des Grecs</em>. Galerie Lebrun, Paris, France (1826). (According to David, exh. cat., Orangerie des Tuileries, Paris, France (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Gros, ses amis, ses \u00e9l\u00e8ves</em>. Petit Palais, Paris, France (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>David: Exposition en l'honneur du deuxi\u00e8me centenaire de sa naissance</em>. Orangerie des Tuileries, Paris, France (June-September, 1948).", "opening_date": "1948-06-01T00:00:00"}]}, "provenance": [{"description": "Giovanni Battista Comte de Sommariva [1760-1826], his sale February 18-23, 1839, sold to Dubois.", "citations": [], "footnotes": [], "date": "1839", "sortorder": 1}, {"description": "(Dubois, Paris, France, February 18-23, 1839, lot 1)", "citations": [], "footnotes": null, "date": "1839", "sortorder": 2}, {"description": "James Alexandre Comte de Pourtal\u00e8s [1776-1855], Paris. France.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Pourtal\u00e8s-Gorgier sale, Paris, France, March 27, 1865 (lot 242), ff 1,450 sold to Madame de Furtado, 1880.", "citations": [], "footnotes": [], "date": "1880", "sortorder": 4}, {"description": "Madame de Furtado [1821-1896], Paris, France", "citations": [], "footnotes": [], "date": "1880-?", "sortorder": 5}, {"description": "M. Eisenschitz ? (See distinguishing marks label)", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "Prince Murat by 1913. Princesse Murat. Murat sale, Palais Galli\u00e9ra, Paris, France, March 2, 1961 (lot 140), ff 245,000.", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "(Rosenberg & Stiebel, New York, NY sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1962", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962", "sortorder": 9}], "find_spot": null, "related_works": [{"id": 162396, "description": "Cupid and Psyche, 1813. Jacques-Louis David (French, 1748\u20131825). Gray wash and pen and black ink with white paint and traces of black chalk ; sheet: 16.7 x 22.4 cm (6 9/16 x 8 13/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 2002.91", "relationship": "based on"}], "former_accession_numbers": [], "did_you_know": "Jacques-Louis David included two butterflies in this painting: one above the slumbering Psyche and the other on the base of the couple's bed frame.", "description": "David used the story of Cupid and Psyche to explore the conflict between idealized love and physical reality. Cupid, lover of the beautiful mortal Psyche, visited her nightly on the condition that she not know his identity. Cupid was usually depicted as an ideal adolescent, but here David presents him as an ungainly teenager smirking at his sexual conquest. David took inspiration from a number of ancient texts, including an obscure, recently published Greek poem by Moschus that describes Cupid as a mean-spirited brat with flashing eyes and curly hair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q3201883"], "internet_archive": ["https://archive.org/details/clevelandart-1962.37-cupid-and-psyche"]}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Dibdin, Thomas Frognall, William Bulmer, William Nicol, R. H. Evans, Robert Triphook, and John Major. <em>A Bibliographical, Antiquarian and Picturesque Tour in France and Germany</em>. 1821.", "page_number": "Mentioned: vol. 2, p. 309-310", "url": null}, {"citation": "Blanc, Charles and Adolphe Narcisse Thibaudeau. <em>Le tre\u0301sor de la curiosite\u0301, tire\u0301 des catalogues de vente de tableaux, dessins, estampes, livres, marbres, bronzes, ivoires, terres cuites, vitraux, me\u0301dailles, armes, precelaines, meubles, e\u0301maux, laques et autres objets d'art</em>. Paris: Ve J. Renouard, 1857.", "page_number": "Mentioned: vol. 2, p. 437", "url": null}, {"citation": "Rosenthal, Le\u0301on. Louis David. Paris: Librairie de l'art ancien et moderne, 1904.", "page_number": "Mentioned: p. 139-140", "url": null}, {"citation": "Muse\u0301e du Petit Palais. <em>Exposition David et ses e\u0301le\u0300ves, 7 avril-9 juin, 1913, Palais des beaux-arts de la ville de Paris</em>. Paris: Impr. G. Petit, 1913.", "page_number": "Reproduced: no. 60", "url": null}, {"citation": "Gallatin, James. <em>A Great Peace Maker; The Diary of James Gallatin, Secretary to Albert Gallatin, 1813-1827</em>. New York, NY: C. Scribner's Sons, 1930.", "page_number": "Mentioned: p. 64; Reproduced: p. 67", "url": null}, {"citation": "Cantinelli, R. <em>Jacques-Louis David, 1748-1825</em>. Paris: Editions G. van Oest, 1930.", "page_number": "Reproduced: no. 143", "url": null}, {"citation": "Escholier, Raymond and Germaine Barnaud. <em>Gros, ses amis et ses e\u0301le\u0300ves</em>. Paris: Petit Palais, 1936.", "page_number": "Reproduced: p. 218", "url": null}, {"citation": "Kolma, Klaus. <em>David, son evolution et son style</em>. Paris: P. Lejay, 1940.", "page_number": "Mentioned: p. 94-95; Reproduced: p. 129, no. 149", "url": null}, {"citation": "Maret, Jacques. <em>David</em>. Monaco: Documents d'Art, 1943", "page_number": "Mentioned: p. 16; Reproduced: p. 94", "url": null}, {"citation": "Maurois, Andre\u0301 and Franc\u0327oise Gaston-Che\u0301rau. <em>J.-L. David</em>. Paris: E\u0301ditions du Dimanche, 1948.", "page_number": "Reproduced: no. 36", "url": null}, {"citation": "Florisoone, Michel. <em>David: exposition en l'honneur du deuxie\u0300me centenaire de sa naissance</em>. Paris: E\u0301ditions des Muse\u0301es Nationaux, 1948.", "page_number": "Reproduced: no. 72", "url": null}, {"citation": "Galerie Charpentier. <em>Figures nues d'e\u0301cloe franc\u0327aise; depuis les ma\u00eetres de Fontainebleau</em>: Paris: 1953.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d June 13, 1962, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0964"}, {"citation": "Francis, Henry S. \"Jacques Louis David 'Cupid and Psyche'.\" <em>Bulletin of the Cleveland Museum of Art, </em>vol. L (1963): 29-34.", "page_number": "Reproduced: p. 34", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 164", "url": "https://archive.org/details/CMAHandbook1966/page/n188"}, {"citation": "<em>Fiftieth Anniversary Exhibition, 1915-1965. November 4, 1965-January 2, 1966. </em>Minneapolis: Minneapolis Institute of Arts, 1966.", "page_number": "Reproduced: no. 20", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland: Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 164", "url": "https://archive.org/details/CMAHandbook1969/page/n188"}, {"citation": "Council of Europe, Royal Academy of Arts, Victoria and Albert Museum, and Arts Council of Great Britain. <em>The Age of Neo-Classicism </em>(catalogue of exhibition at the Royal Academy of Arts and the V&amp;A Museum). London: Arts Council of Great Britain, 1972.", "page_number": "Reproduced: no. 71", "url": null}, {"citation": "Verbraeken, Rene\u0301. <em>Jacques-Louis David juge\u0301 par ses contemporains et par la poste\u0301rite\u0301. Suivi de la liste des tableaux dont l'authenticite\u0301 est garantie par les e\u0301crits de l'artiste, des documents de son e\u0301poque, ou par leur appartenance a\u0300 ses descendants</em>. Paris: L. Laget, 1973.", "page_number": "Mentioned: p. 29,105-106,184; Reproduced: p. 186, pl. 65", "url": null}, {"citation": "Praz, Mario. <em>Gusto neoclassico</em>. Milan: Rizzoli, 1974.", "page_number": "Mentioned: p. 18, 123; Reproduced: p. 255, pl. 27", "url": null}, {"citation": "Heim Gallery. <em>Exhibition of French Drawings: Neo-Classicism</em>. London: Heim Gallery, 1975.", "page_number": "Reproduced: no. 26", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland: Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1978/page/n222"}, {"citation": "Borowitz, Helen O. \"The Man Who Wrote to David.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 8 (1980): 256-74.", "page_number": "Mentioned and reproduced: P. 263-264", "url": "http://www.jstor.org/stable/25159691"}, {"citation": "Lawrence, Mary. <em>Lovers: 100 Works of Art Celebrating Romantic Love, with Commentaries by the Distinguished and the Great</em>. New York, NY: A &amp; W Publishers, 1982.", "page_number": "Mentioned: p. 144-145; Reproduced: p. 145", "url": null}, {"citation": "Louise d'Argencourt, Roger Diederen, Alisa Luxenberg, Patrick Noon, William H. Robinson, Ann Tzeutschler Lurie. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P:194-202, Vol. I, no. 72", "url": null}, {"citation": "Laveissie\u0300re, Sylvain and Philippe Bordes. <em>Pierre-Paul Prud'hon: actes du colloque organise\u0301 au Muse\u0301e du Louvre par le Service culturel, le 17 novembre 1997</em>. Paris: Documentation franc\u0327aise, 2001.", "page_number": "Reproduced: fig. 19", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 44, p. 46 - 47", "url": ""}, {"citation": "Cavicchioli, Sonia. <em>The Tale of Cupid and Psyche: An Illustrated History</em>. New York, NY: George Braziller, 2002.", "page_number": "Reproduced: p. 209, fig.148", "url": null}, {"citation": "Baur, Eva Gesine. <em>Meisterwerke der erotischen Kunst</em>. Cologne: Dumont, 2002.", "page_number": "Reproduced: p. 73, fig.4", "url": null}, {"citation": "Greer, Germainer. <em>The Beautiful Boy</em>. New York, NY: Rizzoli, 2003.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "Delaporte, Franc\u0327ois. <em>Anatomie des passions</em>. Paris: Presses Universitaires de France, 2003.", "page_number": "Reproduced: pl. 9", "url": null}, {"citation": "Pinelli, Antonio. <em>David</em>. Milan: 5 Continents, 2004.", "page_number": "Reproduced: pl. 46", "url": null}, {"citation": "Bordes, Philippe. <em>Jacques-Louis David: Empire to Exile</em>. New Haven: Yale University Press, 2005.", "page_number": "Mentioned: p. 231-232; Reproduced: no. 32", "url": null}, {"citation": "Muse\u0301e du Louvre. <em>Ru\u0304vuru Bijutsukan ten: 19-seiki Furansu kaiga : shin koten shugi kara roman shugi e </em>(Louvre: chefs-d'\u0153uvre de la peinture franc\u0327aise du XIXe\u0300me sie\u0300cle dans les collections du Louvre). Tokyo: Nihon Terebi Ho\u0304so\u0304mo\u0304, 2005.", "page_number": "Reproduced: p. 42", "url": null}, {"citation": "Iacono, Margaret. <em>Masterpieces of European Painting from the Cleveland Museum of Art</em>. New York, NY: Frick Collection, 2006.", "page_number": "Mentioned: p. 64-69; no. 13", "url": null}, {"citation": "Holm, Christiane. <em>Amor und Psyche: die Erfindung eines Mythos in Kunst, Wissenschaft und Alltagskultur (1765-1840)</em>. Munich: Deutscher Kunstverlag, 2006.", "page_number": "Mentioned: p. 20-21,115-116,192-194,251,159", "url": null}, {"citation": "Carrier, David. <em>Museum Skepticism: A History of the Display of Art in Public Galleries</em>. Durham, North Carolina: Duke University Press, 2006.", "page_number": "Reproduced: p. 72, fig.11", "url": null}, {"citation": "Johnson, Dorothy. <em>Jacques-Louis David: New Perspectives</em>. Newark: University of Delaware Press, 2006.", "page_number": "Reproduced: p. 30, pl. 14", "url": null}, {"citation": "Lampe, Issa. <em>Painting History Ex Patria: Empire, Exile and Memory in the Late Narrative Paintings of Jacques-Louis David (1817-1824)</em>. Ph.D. diss., Harvard University, 2006.", "page_number": "Reproduced: p. 265, fig. 4", "url": null}, {"citation": "Channing, Laurence, \"Personal and Professional\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 10, December 2006", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2006-10/page/4"}, {"citation": "Ledbury, Mark. <em>David After David: Essays on the Later Work</em>. Williamstown, MA: Sterling and Francine Clark Art Institute, 2007.", "page_number": "Reproduced: fig. 4", "url": null}, {"citation": "Allard, Se\u0301bastien and Marie-Claude Chaudonneret. <em>Le suicide de Gros: les peintres de l'Empire et la ge\u0301ne\u0301ration romantique</em>. Paris: Gourcuff Gradenigo, 2010.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Johnson, Dorothy. <em>David to Delacroix: The Rise of Romantic Mythology</em>. Chapel Hill: University of North Carolina Press, 2011.", "page_number": "Reproduced: p. 14, fig. 5", "url": null}, {"citation": "Allard, Se\u0301bastien, Nadeije Laneyrie-Dagen, and Emmanuel Pernoud. <em>L'enfant dans la peinture</em>. Paris: Citadelles &amp; Mazenod, 2011.", "page_number": "Mentioned: p. 248-249; Reproduced: p. 249", "url": null}, {"citation": "Leniaud, Jean-Michel. <em>Napole\u0301on et les arts</em>. Paris: Citadelles &amp; Mazenod, 2012.", "page_number": "Reproduced: p. 402", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. Cleveland:Cleveland Museum of Art in association with Scala Publishers, 2012.", "page_number": "Reproduced: p. 226-227", "url": null}, {"citation": "Pomare\u0300de, Vincent, Valeria Merlini, and Daniela Storti. <em>Cupid and Psyche</em>. Soveria Mannelli, Italy: Rubbettino Editore, 2012.", "page_number": "Reproduced: p. 39, fig. 14", "url": null}, {"citation": "Cogeval, Guy. <em>Masculin masculin: l'homme nu dans l'art de 1800 a\u0300 nos jours</em>. Paris: Mus\u00e9e d'Orsay, 2013.", "page_number": "Reproduced: p. 15, fig. 5", "url": null}, {"citation": "Fried, Michael. <em>Another Light: Jacques-Louis David to Thomas Demand. </em>New Haven: Yale University Press, 2014.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 287", "url": ""}, {"citation": "Langer, Laurent. \"James de Pourtales. Collectionneur de tableaux contemporains.\" In <em>Kunst &amp; Karriere: ein Kaleidoskop des Kunstbetriebs.</em> Ed. by Ba\u0308tschmann, Oskar, and Regula Kra\u0308henbu\u0308hl, 139-154. Zu\u0308rich: Schweizerisches Institut fu\u0308r Kunstwissenschaft, 2015.", "page_number": "Reproduced: p. 142, fig. 2", "url": null}, {"citation": "LeValley, Paul. Art Follows Nature: A Worldwide History of the Nude. <br>[Kissimmee, FL] : [Paul LeValley]; 2016.", "page_number": "Mentioned and reproduced: p. 157", "url": ""}, {"citation": "Guichard, Charlotte. <em>La griffe du peintre: la valeur de l'art (1730-1820).</em> Paris: \u00c9ditions du Seuil, 2018.", "page_number": "Reproduced and mentioned: p. 250-251, fig.75", "url": null}, {"citation": "Rosenberg, Pierre. \"David e Caravaggio.\" In <em>David E Caravaggio: La Crudelta\u0300 Della Natura, Il Profumo Dell\u2019ideale. </em>Fernando Mazzocca, ed., 13-40. Milano: Edizioni Gallerie d\u2019Italia: Skira, 2019.", "page_number": "Mentioned and reproduced: p. 36-37, figs. 29-30", "url": ""}, {"citation": "Arendsee, M. and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" CAN Journal (Winter 2019/20): 76-87.", "page_number": "Mentioned: p. 77", "url": null}, {"citation": "David, Jacques Louis, and Perrin Stein. <em>Jacques Louis David: Radical Draftsman.</em> 2022, 245.", "page_number": "Mentioned and reproduced, p. 245, fig. 140.", "url": ""}, {"citation": "De\u0301cimo, Marc. <em>E\u0301tant Donne\u0301 Marcel Duchamp: Palimpseste d'Une Oeuvre</em>. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Reproduced: P. 207, fig. 46", "url": ""}, {"citation": "Joseph, Wassil. <em>Franc\u0327ois Rude (1784-1855): Le Souffle Romantique.</em> Paris: Arthena, 2024.", "page_number": "Mentioned and reproduced: p. 470, fig. 313", "url": ""}, {"citation": "Allard, Sebastien, ed. <em>Jacques-Louis David.</em> Paris: Mus\u00e9e du Louvre, 2025.", "page_number": "Mentioned: p. 267; Reproduced: p. 270-271, fig. 160, p. 200, fig. 111", "url": ""}, {"citation": "Gobet, Aude.\u201cL'Exil \u00e0 Bruxelles.\u201d <em>Dossiers de l'Art</em> n. 332 (October 2025): 66-71.", "page_number": "Mentioned: p. 68, 70, 71 ; Reproduced: p. 69", "url": ""}, {"citation": "Gobet, Aude. \u201cJacques-Louis David: du chevalet \u00e0 l'ar\u00e8ne politique.\" <em>L\u2019Estampille, L\u2019objet d\u2019Art</em>, n. 628 (December 2025): 52.", "page_number": "Mentioned and reproduced: p. 52", "url": ""}], "url": "https://clevelandart.org/art/1962.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_web.jpg", "width": "1180", "height": "893", "filesize": "695293", "filename": "1962.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_print.jpg", "width": "3400", "height": "2574", "filesize": "5203435", "filename": "1962.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.37/1962.37_full.tif", "width": "5000", "height": "3785", "filesize": "56804216", "filename": "1962.37_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138464, "creators": [{"id": 1643, "description": "Jacques-Louis David (French, 1748\u20131825)", "extent": null, "qualifier": null, "role": "artist", "biography": "The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Acad\u00e9mie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Mus\u00e9e du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Mus\u00e9e du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Acad\u00e9mie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napol\u00e9on Bonaparte. David's painting The Intervention of the Sabine Women (1799, Mus\u00e9e du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'\u00e9tat of 1799, Napol\u00e9on was named first consul and began supplying David with important commissions. Upon Napol\u00e9on's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napol\u00e9on, or Le Sacre (1805-7, Mus\u00e9e du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napol\u00e9on in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napol\u00e9on's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.", "name_in_original_language": null, "birth_year": "1748", "death_year": "1825", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:02:55.653000"}, {"id": 140078, "accession_number": "1963.91", "share_license_status": "CC0", "tombstone": "La Cervara, the Roman Campagna, c. 1830\u201331. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1963.91", "current_location": "219 19th Century European", "title": "La Cervara, the Roman Campagna", "creation_date": "c. 1830\u201331", "creation_date_earliest": 1830, "creation_date_latest": 1831, "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: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); Unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.)", "dimensions": {"framed": {"height": 1.3, "width": 1.675, "depth": 0.095}, "unframed": {"height": 0.976, "width": 1.358}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 515538, "title": "Corot Exhibition", "description": "<i>Corot Exhibition</i>. Gallery of the Royal Scottish Academy, Edinburgh (organizer) (August 14-September 12, 1965); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (October 1-November 7, 1965).", "opening_date": "1965-08-14T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 380187, "title": "Jean-Baptiste Camille Corot", "description": "<i>Jean-Baptiste Camille Corot</i>. National Gallery of Canada (June 20-September 22, 1996); The Metropolitan Museum of Art (October 21, 1996-January 19, 1997).", "opening_date": "1996-02-27T05:00:00"}, {"id": 228194, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Capitale delle Arti", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Capitale delle Arti</i>. Galleria Nazionale d'Arte Moderna, Rome, Itlay (March 5-June 29, 2003).", "opening_date": "2003-03-05T00:00:00"}, {"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": 220464, "title": "Corot. Nature, Emotion, Souvenir", "description": "<i>Corot. Nature, Emotion, Souvenir</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (June 7-September 11, 2005); Palazzo dei Diamanti, 44110 Ferrara, Italy (October 9, 2005-January 8, 2006).", "opening_date": "2005-06-07T00:00:00"}], "legacy": [{"description": "<em>La Cervara, campagne de Rome</em>. Salon Mus\u00e9e Royal, Paris, France (1831).", "opening_date": null}, {"description": "<em>Corot 1796-1875.</em>Art Institute of Chicago, Chicago, Illinois (1960). (Lent by Paul Rosenberg).", "opening_date": "1960-01-01T00:00:00"}]}, "provenance": [{"description": "Cl\u00e9ment Jourdan [1836-1908], Paris, France, 1889.", "citations": [], "footnotes": null, "date": "1889", "sortorder": null}, {"description": "Seganville family, Ch\u00e2teau St. Pierre-de-Groupiac, France", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Probably Harry Sperling, New York.)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Paul Rosenberg & Co., Paris and New York, by 1960.", "citations": [], "footnotes": null, "date": "1960-1963", "sortorder": 4}, {"description": "Paul Rosenberg & Co., Paris, France and New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1963", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1963", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1845, the French poet Charles Baudelaire proclaimed Corot the leading painter of the modern landscape.", "description": "Corot based his large oil painting on drawings and oil sketches made outdoors. Attracted to the beauty of the Italian countryside, he often sketched around Rome, where he lived from 1825 to 1828. This painting's highly structured composition, based on forms moving into the distance along a series of diagonals, is characteristic of Corot's early style and recalls the classical landscapes of 17th-century painter Nicholas Poussin.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q41515823"], "internet_archive": ["https://archive.org/details/clevelandart-1963.91-la-cervara-the-roman"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Interpretations: Sixty-Five Works from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: no. 28", "url": null}, {"citation": "Robaut, Alfred, and Etienne Moreau-Ne\u0301laton. <em>L'\u0152uvre de Corot</em>. Paris, France: H. Floury, 1905.", "page_number": "Mentioned: p. 46, vol. I", "url": null}, {"citation": "Moreau-Ne\u0301laton, Etienne. <em>Corot raconte\u0301 par lui-me\u0302me</em>. Paris, France: Henri Laurens, E\u0301diteur, 1924.", "page_number": "Mentioned: p. 22, vol. I", "url": null}, {"citation": "Jal, A. <em>Salon de 1831: e\u0301bauches critiques</em>. Paris, France: A.J. De\u0301nain, 1831.", "page_number": "Mentioned: no. 399", "url": null}, {"citation": "<em>Camille Corot, 1796-1875: Kunsthaus Zu\u0308rich : 16. August-7. Oktober 1934</em>. Zu\u0308rich, Switzerland: Das Kunsthaus, 1934.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "Bazin, Germain. <em>Corot</em>. Berlin, Germany: Kru\u0308ger Verlag, 1942.", "page_number": "Reproduced: p. 90", "url": null}, {"citation": "Baud-Bovy, Daniel. <em>Corot</em>. Gene\u0301ve, Switzerland: A. Jullien, 1957.", "page_number": "Reproduced: p. 81", "url": null}, {"citation": "Fosca, Franc\u0327ois. <em>Corot, Sa Vie Et Son \u0152uvre</em>. Bruxelles, Belgium: Elsevier, 1958.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Art Institute of Chicago. <em>Corot, 1796-1875: An Exhibition of His Paintings and Graphic Works, the Art Institute of Chicago, October 6 Through November 13, 1960</em>. Chicago, IL: Art Institute of Chicago, 1960.", "page_number": "Reproduced: no. 19", "url": null}, {"citation": "Saisselin, Remy. \"Art is imitation of Nature.\" The Bulletin of The Cleveland Museum of Art LII (1965): 42-43.", "page_number": "Mentioned: p. 42; Reproduced: p. 43, fig. 1", "url": null}, {"citation": "Arts Council of Great Britain, and Cecil Hilton Monk Gould. <em>Corot</em>. London, United Kingdom: Arts Council, 1965.", "page_number": "Reproduced: no. 18", "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. 168", "url": "https://archive.org/details/CMAHandbook1966/page/n192"}, {"citation": "Lurie, Ann T. \"Corot: The Roman Campagna.\" <em>The Bulletin of The Cleveland</em> <em>Museum of Art </em>LIII (1966):51-57.", "page_number": "Reproduced: fig. 1", "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. 168", "url": "https://archive.org/details/CMAHandbook1969/page/n192"}, {"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. 207", "url": "https://archive.org/details/CMAHandbook1978/page/n227"}, {"citation": "Talbot, William S. \"Some French Landscapes: 1779-1842.\" <em>The Bulletin of The Cleveland Museum of Art </em>LXV (1978): 84-85.", "page_number": "Reproduced: fig. 12", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Wissman, Fronia E. <em>J.-B.-C. Corot: View of Volterra</em>. San Diego, CA: [Timken Art Gallery], 1988.", "page_number": "Mentioned: p. 9, 15; Reproduced:  fig. 10.", "url": null}, {"citation": "Galassi, Peter. <em>Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition</em>. New Haven, CT: Yale University Press, 1991.", "page_number": null, "url": null}, {"citation": "Chagneau,Catherine, and Marie-France Cocheteux. <em>Corot, 1796-1875: [expositions] Paris, Galeries nationales du Grand Palais, 28 fe\u0301vrier-27 mai 1996 ; Ottawa, Muse\u0301e des beaux-arts du Canada, 21 juin-22 septembre 1996 ; New York, the Metropolitan Museum of Art, 22 octobre 1996-19 janvier 1997</em>. Paris, France: Re\u0301union des muse\u0301es nationaux, 1996.", "page_number": "Mentioned: p. 22, 80-85;Reproduced: no. 30", "url": null}, {"citation": "Pomare\u0300de, Vincent. <em>Corot</em>. Paris, France: Flammarion, 1996.", "page_number": "Reproduced: p.74,75; Mentioned p. 98", "url": null}, {"citation": "Rubin, James Henry. <em>Courbet</em>. London, United Kingdom: Phaidon, 1997.", "page_number": "Reproduced: p. 223; Mentioned: p. 225", "url": null}, {"citation": "Azeglio, Massimo d', and Martina Corgnati. <em>Massimo d'Azeglio: pittore</em>. Milano, Italy: Mazzotta, 1998.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "De Rosa, Pier Andrea, and Paolo Emilio Trastulli. <em>La campagna romana: cento dipinti inediti tra fine Settecento e primo Novecento</em>. Roma, Italy: Studio Ottocento, 1999.", "page_number": "Reproduced: p. 196, no. 93", "url": null}, {"citation": "Rosenberg, Pierre, and Jean-Pierre Caillet. <em>La peinture franc\u0327aise</em>. Paris, France: Menge\u0300s, 2001.", "page_number": "Reproduced: p. 605; Mentioned: p. 673", "url": null}, {"citation": "Susinno, Stefano, Sandra Pinto, Liliana Barroero, Fernando Mazzocca, Giovanna Capitelli, and Matteo Lafranconi. <em>Maesta\u0300 di Roma: da Napoleone all'unita\u0300 d'Italia</em>. Milano, Italy: Electa, 2003.", "page_number": "Reproduced: p. 354, vol. 6", "url": null}, {"citation": "<em>Corot: natura, emozione, ricordo : Madrid, Museo Thyssen-Bornemisza, 7 giugno-11 settembre 2005, Ferrara, Palazzo dei Diamanti, 9 ottobre 2005-8 gennaio 2006</em>. Ferrara, Italy: Ferrara arte, 2005.", "page_number": "Mentioned and reproduced: p. 139, fig. 14", "url": null}, {"citation": "Pomare\u0300de, Vincent, and Michael Clarke. <em>Corot: naturaleza, emocio\u0301n, recuerdo</em>. Madrid, Spain: Museo Thyssen-Bornemisza, 2005.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 287", "url": ""}, {"citation": "Mazzocca, Fernando. \"Grand tour: Il fascino delle antiche rovine e lo splendore della natura mediterranea.\" Art e dossier no.392, Suppl.(November 2021): 27-35.", "page_number": "reproduced p.30", "url": ""}], "url": "https://clevelandart.org/art/1963.91", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_web.jpg", "width": "1245", "height": "893", "filesize": "777639", "filename": "1963.91_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_print.jpg", "width": "3400", "height": "2438", "filesize": "5590565", "filename": "1963.91_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1963.91/1963.91_full.tif", "width": "5951", "height": "4267", "filesize": "76214120", "filename": "1963.91_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 140078, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1830\u201331", "collapse_artists": false, "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": ["The Roman Campagna"], "is_highlight": true, "updated_at": "2026-03-27 00:01:55.261000"}, {"id": 98627, "accession_number": "1918.328", "share_license_status": "CC0", "tombstone": "The Age of Bronze, 1875\u201376. Auguste Rodin (French, 1840\u20131917). Bronze; with base: 182.2 x 66.4 x 47 cm (71 3/4 x 26 1/8 x 18 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Ralph King, 1918.328", "current_location": "218 European Sculpture", "title": "The Age of Bronze", "creation_date": "1875\u201376", "creation_date_earliest": 1875, "creation_date_latest": 1876, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "with base: 182.2 x 66.4 x 47 cm (71 3/4 x 26 1/8 x 18 1/2 in.)", "dimensions": {"with base": {"height": 1.822, "width": 0.664, "depth": 0.47}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed top of base to right:  Rodin; inscribed back of base:  A. RUDIER Fondeur Paris.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 311952, "title": "Art, A Means to World Understanding", "description": "<i>Art, A Means to World Understanding</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 16-April 10, 1949).", "opening_date": "1949-03-16T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 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": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 228074, "title": "Rodin:  A Magnificent Obsession - Selections from the Iris and B. Gerald Cantor Foundation", "description": "<i>Rodin:  A Magnificent Obsession - Selections from the Iris and B. Gerald Cantor Foundation</i>. Akron Art Museum, Akron, OH (organizer) (January 25-May 18, 2003).", "opening_date": "2003-01-25T00:00:00"}, {"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": 300186, "title": "Rodin-100 Years", "description": "<i>Rodin-100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 543896, "title": "Rodin\u2014100 Years", "description": "<i>Rodin\u2014100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Ralph King, Cleveland, Ohio, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1918", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sculpture suggests the heroism and suffering of his countrymen during the Franco-Prussian War of 1870\u201371. This life-sized male figure was modeled after a Belgium soldier named August Neyt.", "description": "Rodin\u2019s earliest surviving life-size sculpture,<em> The Age of Bronze</em> is an enigmatic and provocative image of a man awakening to new consciousness. The figure originally held a spear in one hand; by removing the weapon, Rodin stripped the sculpture of narrative symbols and focused on the sensuality and psychological power of the male nude. Contemporaries found the figure so realistic they falsely accused Rodin of making a cast from a living person. Museum trustee Ralph King commissioned this cast from the artist in 1916 with the intention of donating it to the museum. Rodin personally supervised the exceptionally fine casting and finished it with his favorite patina, a deep reddish tone he called \u201ccrushed grape.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60742598"], "internet_archive": ["https://archive.org/details/clevelandart-1918.328-the-age-of-bronze"]}, "citations": [{"citation": "Smiley, Charles Newton. \"Rodin in the Metropolitan Museum. \" <em>Art and Archaeology </em>3, no. 3 (March 1916): 164-171.", "page_number": "Mentioned and reproduced: p. 170-171", "url": null}, {"citation": "\"Modern Sculpture at the Museum.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 6 (1917): 108-09.", "page_number": "Mentioned: pp. 108-109", "url": "http://www.jstor.org/stable/25136110"}, {"citation": "\"Rodin Memorial Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 9 (1917): 162-63.", "page_number": "Mentioned: p. 162", "url": "http://www.jstor.org/stable/25136150"}, {"citation": "Seaton-Schmidt, Anna. \"August Rodin: Man and Sculptor: An Appreciation.\" <em>The American Magazine of Art</em> 9, no. 4 (February 1918): 129-40.", "page_number": "Reproduced: p. 135", "url": null}, {"citation": "\"The Man of the Age of Bronze.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 6/7 (1918): 63.", "page_number": "Reproduced: Front Matter; Mentioned: pp. 63, 70", "url": "www.jstor.org/stable/25136204"}, {"citation": "\"Front Matter.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 6 (1919).", "page_number": "Reproduced: Front Matter", "url": "www.jstor.org/stable/25136296"}, {"citation": "Milliken, William. \"Sculpture.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 2 (February 1947): 25-26.", "page_number": "Mentioned: p. 25", "url": "https://www.jstor.org/stable/25141340"}, {"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. 333", "url": "https://archive.org/details/CMAHandbook1958/page/n65"}, {"citation": "Milliken William Mathewson. <em>The Cleveland Museum of Art.</em> New York: H.N. Abrams, 1958.", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1966/page/n199"}, {"citation": "Tacha, Athena. <em>Rodin Sculpture in the Cleveland Museum of Art.</em> Cleveland: The Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 94-95, cat. no. VII; Reproduced: p. [38], Plate 56", "url": "https://archive.org/details/RodinSculpture/page/n108"}, {"citation": "Tacha, Athena. <em>Rodin Sculpture in the Cleveland Museum of Art</em>. [Cleveland]: Cleveland Museum of Art, 1967.", "page_number": "Reproduced: pl. 56, cat. no. VII", "url": null}, {"citation": "Cleveland Museum of Art. <em>Selected Works: Cleveland Museum of Art</em>. [Cleveland]: The Museum, 1967.", "page_number": "Reproduced: p. 214", "url": null}, {"citation": "Jianu, Ionel, and Ce\u0301cile Goldscheider. <em>Rodin</em>. Paris: Arted, 1967.", "page_number": "Mentioned: p. 85", "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. 175", "url": "https://archive.org/details/CMAHandbook1969/page/n199"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 140, fig. 126", "url": null}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 140, pl. 126", "url": null}, {"citation": "Tacha, Athena. <em>A Supplement to Rodin Sculpture in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned: p. 126S-128S, cat. no. VII", "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. 217", "url": "https://archive.org/details/CMAHandbook1978/page/n237"}, {"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. 102-103, no. 10", "url": ""}, {"citation": "Goldscheider, Ce\u0301cile. <em>Auguste Rodin: catalogue raisonne\u0301 de l'\u0153uvre sculpte\u0301.</em> Paris, FR: Wildenstein Institute, 1989.", "page_number": "Reproduced: p. 161, fig. 95b", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models</em>. London: Fitzroy Dearborn, MI, 2001.", "page_number": "Reproduced: p. 401", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, UK. Scala Books, 2012.", "page_number": "Reproduced: p. 268-269", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 290", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced: P. 21", "url": ""}], "url": "https://clevelandart.org/art/1918.328", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.328/1918.328_web.jpg", "width": "507", "height": "893", "filesize": "189298", "filename": "1918.328_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.328/1918.328_print.jpg", "width": "1930", "height": "3400", "filesize": "2492279", "filename": "1918.328_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.328/1918.328_full.tif", "width": "3352", "height": "5904", "filesize": "59399540", "filename": "1918.328_full.tif"}}, "alternate_images": [{"date_created": "2005-11-07T19:32:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.328/1918.328_alt0_web.jpg", "width": "500", "height": "893", "filesize": "188203"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.328/1918.328_alt0_print.jpg", "width": "1905", "height": "3400", "filesize": "2507940"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.328/1918.328_alt0_full.tif", "width": "3393", "height": "6057", "filesize": "61683108"}}, {"date_created": "2005-11-07T20:15:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.328/1918.328_alt1_web.jpg", "width": "503", "height": "893", "filesize": "187652"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.328/1918.328_alt1_print.jpg", "width": "1916", "height": "3400", "filesize": "2504321"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.328/1918.328_alt1_full.tif", "width": "3300", "height": "5857", "filesize": "58013220"}}], "creditline": "Gift of Mr. and Mrs. Ralph King", "image_credit": null, "sketchfab_id": "88c184078caa45da98c21cfe5f1d6845", "sketchfab_url": "https://sketchfab.com/models/88c184078caa45da98c21cfe5f1d6845", "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 98627, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1918-06-24T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "1875\u201376", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-10 07:01:23.769000"}, {"id": 172815, "accession_number": "1922.684", "share_license_status": "CC0", "tombstone": "Mount Starr King, Yosemite, 1866. Albert Bierstadt (American, born Prussia [now Germany], 1830\u20131902). Oil on canvas on panel-back stretcher; framed: 135.3 x 181 x 15.6 cm (53 1/4 x 71 1/4 x 6 1/8 in.); unframed: 97 x 142.3 cm (38 3/16 x 56 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.684", "current_location": "206 American Landscape", "title": "Mount Starr King, Yosemite", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas on panel-back stretcher", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 135.3 x 181 x 15.6 cm (53 1/4 x 71 1/4 x 6 1/8 in.); Unframed: 97 x 142.3 cm (38 3/16 x 56 in.)", "dimensions": {"framed": {"height": 1.353, "width": 1.81, "depth": 0.156}, "unframed": {"height": 0.97, "width": 1.423}, "former": {"height": 1.353, "width": 1.803, "depth": 0.159}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  ABierstadt. / 66 [AB in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317359, "title": "The Artist in the American West, 1800-1900", "description": "<i>The Artist in the American West, 1800-1900</i>. Santa Fe Musuem of Art (co-organizer).", "opening_date": null}, {"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 317349, "title": "The World of the Romantic Artist: A Survey of American Culture from 1800-1875", "description": "<i>The World of the Romantic Artist: A Survey of American Culture from 1800-1875</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (co-organizer) (December 28, 1944-January 28, 1945).", "opening_date": "1944-12-28T04:00:00"}, {"id": 316674, "title": "The Hudson River School and the Early American Landscape Tradition", "description": "<i>The Hudson River School and the Early American Landscape Tradition</i>. The Art Institute of Chicago, Chicago, IL (organizer) (co-organizer) (February 15-March 25, 1945); Whitney Museum of American Art, New York, NY (April 17-May 18, 1945).", "opening_date": "1945-02-15T04:00:00"}, {"id": 317355, "title": "American Artists Discover America", "description": "<i>American Artists Discover America</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (co-organizer) (February 2-25, 1946).", "opening_date": "1946-02-02T05:00:00"}, {"id": 317789, "title": "A Retrospective Exhibition: Albert Bierstadt 1830-1902", "description": "<i>A Retrospective Exhibition: Albert Bierstadt 1830-1902</i>. Santa Barbara Museum of Art (organizer) (August 5-September 13, 1964).", "opening_date": "1964-08-05T04:00:00"}, {"id": 228270, "title": "The Mythology of the American West", "description": "<i>The Mythology of the American West</i>. Mus\u00e9e des Beaux-Arts de Rouen, Rouen, France (organizer) (September 28, 2007-January 7, 2008); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (February 18-May 18, 2008).", "opening_date": "2007-09-28T00:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Catalogue of The Inaugural Exhibition (6 June-20 September 1916), cat. no. 2 as Starr King Mountain, California.", "opening_date": "1916-06-06T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, The World of the Romantic Artist: A Survey of American Culture from 1800-1875 (28 December 1944-28 January 1945), cat. no. 45, p. 29 as Starr King Mountain, California.", "opening_date": "1944-12-28T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, The Hudson River School and the Early American Landscape Tradition (15 February-25 March 1945); traveled to New York, Whitney Museum of American Art (17 April-18 May 1945); cat. no. 13 as Starr King Mountain, California, illus. p. 108.", "opening_date": "1945-02-15T00:00:00"}, {"description": "Oberlin, Ohio, Allen Memorial Art Museum, Oberlin College, American Artists Discover America (2-25 February 1946), cat. no. 4, illus. p. 12 as Starr King Mountain, California, catalogue appears in Bulletin of the Allen Memorial Art Museum (February 1946), vol. 3, no. 1.", "opening_date": "1946-02-02T00:00:00"}, {"description": "Santa Fe, Fine Arts Museum of New Mexico, The Artist in the American West, 1800-1900 cat. no. 2, illus. as Starr King Mountain, California.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Santa Barbara, Santa Barbara Museum of Art, A Retrospective Exhibition: Albert Bierstadt 1830-1902 (5 August-13 September 1964), cat. no. 27, illus. as Starr King Mountain, California.", "opening_date": "1964-08-05T00:00:00"}, {"description": "Mus\u00e9e des Beaux-Arts, Rouen (9/.28/2007 - 1/7/2008) and Mus\u00e9e des Beaux-Arts, Rennes (2/18/2008 - 5/18/2008): \"The Mythology of the American West\"", "opening_date": "2008-01-07T00:00:00"}]}, "provenance": [{"description": "Chester Guild Cutter (1852\u20131917), Nyack, NY, purchased from the artist", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Frank E. Marshall (1857\u20131915), Philadelphia, PA", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Vose Gallery, Boston, MA]", "citations": [], "footnotes": null, "date": "1922", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1922", "citations": [], "footnotes": null, "date": "1922-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["50.1922", "916.16", "221.1922"], "did_you_know": "Highly successful, Bierstadt built a mansion and named it Malkasten, a German word meaning \u201cpaintbox.\u201d", "description": "During the summer of 1863, Bierstadt visited Yosemite Valley in California and made numerous sketches. Back in his New York studio, he used them to produce many majestic paintings, including this view of the distant granite peak Mount Starr King. Such scenes thrilled East Coast audiences and helped encourage early movements to safeguard natural wonders. In 1864, President Lincoln signed a bill preserving Yosemite as public property; it became a national park in 1890. <br><br>Bierstadt included two Native Americans with a packhorse in his composition, and their presence references the fact that Indigenous peoples had inhabited or seasonally visited the region for millennia. Over time, various government and military agencies dispossessed them of these ancestral lands. Although no longer residents in the national park, descendants of the seven Indigenous nations with ties to Yosemite persevered to live in neighboring areas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230185", "https://www.wikidata.org/wiki/Q20538814"], "internet_archive": ["https://archive.org/details/clevelandart-1922.684-mount-starr-king-yos"]}, "citations": [{"citation": "Salome, Laurent, and Joan Carpenter Troccoli.<em> La Mythologie de l\u2019Ouest Dans L\u2019art Americain, 1830-1940.</em> Cinisello Balsamo, Milan: Silvana, 2007.", "page_number": "Mentioned, p. 138; reproduced, p. 137.", "url": ""}, {"citation": "Richardson, Edgar P. <em>American Romantic Painting.</em> Edited by Robert Freund. New York: E. Weyhe, 1944.", "page_number": "Reproduced: p. 25, cat. 203", "url": null}, {"citation": "Hendricks, Gordon. \"The First Three Western Journeys of Albert Bierstadt.\" <em>The Art Bulletin.</em> 46:3 (September, 1964). pp. 333-365.", "page_number": "Mentioned: p. 346; Reproduced: fig. 16", "url": null}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (1969): 151-66.", "page_number": "Reproduced: p. 162, fig. 12; Mentioned: p. 163", "url": "www.jstor.org/stable/25152270"}, {"citation": "Talbot, William S. \"American Visions of Wilderness.\" <em>The Living Wilderness</em>. 33:108 (Winter, 1969). pp. 14-25.", "page_number": "Reproduced: p. 22, fig. 6", "url": null}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1972.", "page_number": "Mentioned: p. 8; Reproduced: p. 9", "url": null}, {"citation": "\"A Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (1973): 21-35", "page_number": "Reproduced: Front cover (detail); Mentioned: p. 22, no. 16", "url": "www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \"American Landscape Paintings in the Cleveland Museum of Art.\" <em>Antiques</em>. 104:5. pp. 906-917.", "page_number": "Reproduced:", "url": null}, {"citation": "Hendricks, Gordon. <em>Albert Bierstadt: Painter of the American West</em>. New York: H.N. Abrams, 1973.", "page_number": "Reproduced: pp. 111-175, 321-324, illus. CL-186", "url": null}, {"citation": "Startz, Jane. <em>American Adventures: A Filmstrip History of the United States</em>. Englewood Cliffs, N.J.: Scholastic Magazines, 1973.", "page_number": null, "url": null}, {"citation": "Johnson, Mark M. \"American Landscapes. . .Scenes as Divergent as the Land Itself.\" <em>Arts and Activities</em>. 82:4 (December, 1977). pp. 28-32.", "page_number": "Reproduced: p. 29, fig. 2", "url": null}, {"citation": "Talbot, William. \"Indian Summer by Jasper F. Cropsey.\" <em>Bulletin of the Detroit Institute of Arts</em> 58, no. 3 (1980): 150-61.", "page_number": "Mentioned: p. 158; Reproduced: p. 159, fig. 11", "url": "www.jstor.org/stable/41504663"}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 132", "url": "https://archive.org/details/CMAHandbook1991/page/n147/"}, {"citation": "Robertson, Bruce. \"Frederic A. Whiting: Founding the Museum with Art and Craft.\" In <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Turner, Evan H. Foreward to <em>Catalogue of Photography</em>, by Tom E. Hinson, (ix-xii). Cleveland, OH: The Cleveland Museum of Art, 1996.", "page_number": "Mentioned: p. xi", "url": null}, {"citation": "Coudert, Marie-Claude. <em>La Mythologie de l'Ouest Dans l'Art Ame\u0301ricain, 1830-1940</em>. Edited by Laurent Salome\u0301 and Joan Carpenter Troccoli. Cinisello Balsamo, Milan: Silvana Editoriale, 2007.", "page_number": "Reproduced: p. 137, fig. 24.; Mentioned: p. 138", "url": null}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 76 - 77", "url": null}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008", "page_number": "Mentioned and reproduced (detail), p. 9", "url": "https://archive.org/details/CMAMM2008-08/page/8/"}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Reproduced: P. 23, fig. 8", "url": ""}, {"citation": "Buehrens, John A. \"Thomas Starr King: the Brief Life and Broad Legacy of a Civilian Hero of the Civil War.\" <em>The Argonaut : Journal of the San Francisco Historical Society </em>36, n.1 (Summer 2025): 52-75.", "page_number": "Reproduced: p.73", "url": ""}], "url": "https://clevelandart.org/art/1922.684", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_web.jpg", "width": "1263", "height": "855", "filesize": "719317", "filename": "1922.684_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_print.jpg", "width": "3400", "height": "2303", "filesize": "5333432", "filename": "1922.684_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.684/1922.684_full.tif", "width": "6000", "height": "4064", "filesize": "73183636", "filename": "1922.684_full.tif"}}, "alternate_images": [{"date_created": "2008-06-23T17:59:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt0_web.jpg", "width": "1200", "height": "893", "filesize": "858689"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt0_print.jpg", "width": "3400", "height": "2530", "filesize": "6385897"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt0_full.tif", "width": "4295", "height": "3196", "filesize": "41223096"}}, {"date_created": "2007-02-16T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt1_web.jpg", "width": "1224", "height": "893", "filesize": "776871"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt1_print.jpg", "width": "3296", "height": "2405", "filesize": "5111099"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt1_full.tif", "width": "3296", "height": "2405", "filesize": "23822972"}}, {"date_created": "2007-02-16T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt2_web.jpg", "width": "1263", "height": "859", "filesize": "706917"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt2_print.jpg", "width": "3400", "height": "2313", "filesize": "4498124"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt2_full.tif", "width": "3816", "height": "2596", "filesize": "29755672"}}, {"date_created": "2007-02-16T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt3_web.jpg", "width": "1263", "height": "874", "filesize": "549601"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt3_print.jpg", "width": "3400", "height": "2354", "filesize": "3493244"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1922.684/1922.684_alt3_full.tif", "width": "3834", "height": "2654", "filesize": "30563568"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 172815, "creators": [{"id": 3011, "description": "Albert Bierstadt (American, born Prussia [now Germany], 1830\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1830", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-01-31T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Half Dome, Yosemite Valley", "Starr King Mountain, California"], "is_highlight": false, "updated_at": "2026-03-27 00:05:11.198000"}, {"id": 106088, "accession_number": "1924.195", "share_license_status": "CC0", "tombstone": "Early Morning After a Storm at Sea, 1900\u20131903. Winslow Homer (American, 1836\u20131910). Oil on canvas; framed: 111 x 160 x 12 cm (43 11/16 x 63 x 4 3/4 in.); unframed: 76.8 x 127 cm (30 1/4 x 50 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1924.195", "current_location": "208 American Gilded Age and Realism", "title": "Early Morning After a Storm at Sea", "creation_date": "1900\u20131903", "creation_date_earliest": 1900, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["America, late 19th-early 20th Century"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 111 x 160 x 12 cm (43 11/16 x 63 x 4 3/4 in.); Unframed: 76.8 x 127 cm (30 1/4 x 50 in.)", "dimensions": {"framed": {"height": 1.11, "width": 1.6, "depth": 0.12}, "unframed": {"height": 0.768, "width": 1.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"HOMER / 1902\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"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": 311945, "title": "The Sea", "description": "<i>The Sea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 25, 1950).", "opening_date": "1950-09-23T04:00:00"}, {"id": 520330, "title": "Yankee Painter: A Retrospective Exhibition of Oils, Watercolors and Graphics by Winslow Homer", "description": "<i>Yankee Painter: A Retrospective Exhibition of Oils, Watercolors and Graphics by Winslow Homer</i>. University of Arizona Museum of Art, Tucson, AZ (organizer) (October 12-December 1, 1963).", "opening_date": "1963-10-12T04:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 310299, "title": "Reckoning with Winslow Homer: His Late Works and Their Influence", "description": "<i>Reckoning with Winslow Homer: His Late Works and Their Influence</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-November 25, 1990); Columbus Museum of Art, Columbus, OH (December 16, 1990-February 10, 1991); Corcoran Gallery of Art, Washington, DC (March 16-May 12, 1991).", "opening_date": "1990-09-19T04:00:00"}, {"id": 361410, "title": "Winslow Homer", "description": "<i>Winslow Homer</i>. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996); The Metropolitan Museum of Art, New York, NY (June 20-September 22, 1996).", "opening_date": "1995-10-15T04:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"id": 224220, "title": "Weatherbeaten: The Late Paintings of Winslow Homer", "description": "<i>Weatherbeaten: The Late Paintings of Winslow Homer</i>. Portland Museum of Art, Portland, ME (organizer) (September 20-December 30, 2012).", "opening_date": "2012-09-20T00:00:00"}, {"id": 290556, "title": "Coming Away: Winslow Homer and England", "description": "<i>Coming Away: Winslow Homer and England</i>. Worcester Art Museum, Worcester, MA (November 17, 2017-February 4, 2018); Milwaukee Art Museum, Milwaukee, WI (organizer) (March 2-May 20, 2018).", "opening_date": "2017-11-11T05:00:00"}, {"id": 394678, "title": "Art Along the Rivers: A Bicentennial Celebration", "description": "<i>Art Along the Rivers: A Bicentennial Celebration</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (October 3, 2021-January 9, 2022) https://www.slam.org/exhibitions/art-along-the-rivers/.", "opening_date": "2021-10-03T04:00:00"}, {"id": 437859, "title": "Winslow Homer: Crosscurrents", "description": "<i>Winslow Homer: Crosscurrents</i>. The Metropolitan Museum of Art, New York, NY (organizer) (April 4-July 31, 2022) https://www.metmuseum.org/exhibitions/listings/2022/winslow-homer.", "opening_date": "2022-04-04T04:00:00"}], "legacy": [{"description": "New York, Union League Club, Paintings by Contemporary Americans (8-10 January 1903).", "opening_date": "1903-01-08T00:00:00"}, {"description": "New York, Society of American Artists, Twenty-Fifth Annual Exhibition (28 March-3 May 1903).", "opening_date": "1903-03-28T00:00:00"}, {"description": "Pittsburgh, The Carnegie Institute, The Eighth Annual Exhibition at The Carnegie Institute (5 November 1903-1 January 1904), no. 75.", "opening_date": "1903-11-05T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of Fine Arts, Seventy-Third Annual Exhibition (25 January-5 March 1904)", "opening_date": "1904-01-25T00:00:00"}, {"description": "St. Louis, Louisiana Purchase Universal Exposition (May-December, 1904)", "opening_date": "1904-05-01T00:00:00"}, {"description": "Buffalo, Albright Art Gallery, Fifth Annual Exhibition of Selected Paintings by American Artists (11 May-1 September 1910); cat. no. 117, listed p. 38.", "opening_date": "1910-05-11T00:00:00"}, {"description": "St. Louis, City Art Museum of St. Louis, Fifth Annual Exhibition of Selected Paintings by American Artists (September 15 - November 15, 1910); cat. 120.", "opening_date": "1910-09-15T00:00:00"}, {"description": "New York City, The Museum of Modern Art, The Museum of Modern Art Sixth Loan Exhibition: Winslow Homer, Albert P. Ryder, Thomas Eakins (May, 1930), fig. 17.", "opening_date": "1930-05-01T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Museum of Art, Winslow Homer 1836-1910 (2 May-8 June 1936), fig. 29.", "opening_date": "1936-05-02T00:00:00"}, {"description": "Detroit, Detroit Institute of Arts, Annual Exhibition of American Art (2 April-3 May 1937); cat. no. 32.", "opening_date": "1937-04-02T00:00:00"}, {"description": "New York City, Whitney Museum of American Art, Winslow Homer: Centenary Exhibition (15 December 1936-15 January 1937), fig. 33, illus.", "opening_date": "1936-12-15T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute, Centenary Exhibition of Works of Winslow Homer (28 January-7 March 1937); traveled to Detroit, The Detroit Institute of Arts, (March 1937-May 1937) pp. 7-13 fig. 29.", "opening_date": "1937-01-28T00:00:00"}, {"description": "Worcester, Worcester Art Museum, Winslow Homer (16 November-17 December 1944), no. 82, p. 7.", "opening_date": "1944-11-16T00:00:00"}, {"description": "New York, Wildenstein for the Benefit of The New York Botanical Garden, Winslow Homer (19 February-22 March 1947), no. 37.", "opening_date": "1947-02-19T00:00:00"}, {"description": "Brooklyn, The Brooklyn Museum, The Coast and the Sea: A Survey of American Marine Painting (19 November 1948-16 January 1949); cat. no. 61.", "opening_date": "1948-11-19T00:00:00"}, {"description": "Brooklyn, The Brooklyn Museum, Chief Movements in Modern American Painting 1900-1950 (14 November 1951-6 January 1952)", "opening_date": "1951-11-14T00:00:00"}, {"description": "Frankfurt, Stadelsches Kunstitut, Hundert Jahre Amerikanische Malerei 1800-1900 (14 March-3 May 1953); traveled to Munich, Bayerische Staatsgem\u00e4ldesammlungen (15 May-28 June 1953); Hanburg, Kunsthalle (18 July-30 August 1953); (in addition shows were added in Berlin and D\u00fcsseldorf-see Whitney Museum catalogue for further information); cat. no. 45, illus. fig. 32.", "opening_date": "1953-03-14T00:00:00"}, {"description": "Rome, Galleria Nazionale d'Arte Moderna, Mostra Di Pittura Americana Del XIX Secolo (19 January-7 February 1954), no. 82; seems to also have traveled to Milan (see Whitney Museum catalogue for further information).", "opening_date": "1954-01-19T00:00:00"}, {"description": "New York, The Whitney Museum of American Art, American Painting in the Nineteenth Century, (22 April-23 May 1954), cat. no. 86.", "opening_date": "1954-04-22T00:00:00"}, {"description": "Oguinquit, ME, Museum of Art, Summer Exhibition (1 July-12 September 1954), cat. no. 8; illus.", "opening_date": "1954-07-01T00:00:00"}, {"description": "Pittsburgh, The Carnegie Institute, American Classics of the Nineteenth Century (1957); traveled to Utica, The Munson-Williams-Proctor Institute; Richmond, The Virginia Museum of Fine Arts; Baltimore, The Baltimore Museum of Art; Manchester, The Currier Gallery of Art, cat. no. 62.", "opening_date": "1957-01-01T00:00:00"}, {"description": "Washington, D. C., The National Gallery of Art, Winslow Homer: A Retrospective Exhibition (23 November 1958-4 January 1959); traveled to New York, The Metropolitan Museum of Art (29 January-8 March 1959), fig. 74.", "opening_date": "1959-01-29T00:00:00"}, {"description": "Tucson, University of Arizona Art Gallery, Yankee Painter: A Retrospective Exhibition of Oils, Water Colors and Graphics by Winslow Homer (11 October-1 December 1963), cat. no. 31, illus. p. 45.", "opening_date": "1963-10-11T00:00:00"}, {"description": "Akron, Akron Institute of Art, Retrospective on Winslow Homer (25 March-11 May 1969).", "opening_date": "1969-03-25T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting 1776-1976 (6 March-11 April 1976); traveled to Detroit, The Detroit Institute of Arts, (5 May-13 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 Sept", "opening_date": "1976-03-06T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1924-", "sortorder": 1}, {"description": "(Frank Rehn, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1924", "sortorder": 2}, {"description": "Cornelius Vanderbilt Barton, New York, NY, consigned to Frank Rehn, Inc.", "citations": [], "footnotes": null, "date": "1918-1924", "sortorder": 3}, {"description": "(M. Knoedler & Co., New York, NY, sold to Cornelius Vanderbilt Barton)1", "citations": [], "footnotes": ["<div><!--block-->1Bixby returned the painting to Knoedler in December 1917 (stock no. C 4847), and in March 1918 the gallery sold it to Barton.</div>"], "date": "1917-1918", "sortorder": 4}, {"description": "William K. Bixby [1857-1931], St. Louis, MO, returned to Knoedler & Co.", "citations": [], "footnotes": null, "date": "1904-1917", "sortorder": 5}, {"description": "(M. Knoedler & Co., New York, NY, sold to William K. Bixby)1", "citations": [], "footnotes": ["<div><!--block-->1Knoedler represented the painting on Homer's instruction.&nbsp; Some versions of this provenance begin with Chicago dealer William O'Brien.&nbsp; However, he represented the work only briefly and failed to sell it.&nbsp; In 1900 O'Brien approached Homer, proposing to act as an agent to solicit a new painting.&nbsp; Homer accepted O'Brien's proposition in July 1900, and on November 14, 1902, Homer informed O'Brien that the so-called \"O'Brien picture,\" as he referred to the painting, had been sent.&nbsp; He did not consider O'Brien as having a claim on the work, but offered him the first opportunity to show and sell it as a courtesy.&nbsp; However, the painting had to be returned to New&nbsp; York by January 8, 1903 in time for an exhibition at the Union League Club.&nbsp; Thus, O'Brien's association with the painting lasted just six weeks.</div>"], "date": "1903-1904", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Winslow Homer's studio in Prouts Neck, Maine, is a National Historic Landmark.", "description": "The powerful Atlantic surf pounding against the desolate coast of Prouts Neck, Maine, provided primary subject matter for the dramatic paintings that Homer created during his final decades. This example, which the artist proclaimed as \"the best picture of the sea that I have painted,\" was initially conceived as a watercolor. Undertaking the composition in oil after a lapse of nearly two decades, Homer patiently waited for the appropriate atmospheric conditions, executing the work in four different sessions spread over two years.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503457"], "internet_archive": ["https://archive.org/details/clevelandart-1924.195-early-morning-after"]}, "citations": [{"citation": "Denenberg, Thomas Andrew, and Winslow Homer. <em>Weatherbeaten: Winslow Homer and Maine</em>. 2012.", "page_number": "fig. 10, p. 100", "url": null}, {"citation": "Cleveland Museum of Art. Catalogue of an Exhibition of American Painting from 1860 Until Today at the Cleveland Museum of Art. [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "no. 85, p. 26", "url": null}, {"citation": "Cleveland Museum of Art. 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. [Cleveland, Ohio]: [Cleveland Museum of Art], 1936.", "page_number": "no. 359, listed pp. 133-134", "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Frank K.M. Rehn Galleries records, Miscellaneous Records: Lists of Paintings, 1920-1968, Archives of American Art, Smithsonian Institution. [Reel 5872 (87-725)].", "page_number": null, "url": null}, {"citation": "W.M.M., \u201cEarly Morning After a Storm at Sea by Winslow Homer,\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 11.3 (March 1924): 51-53", "page_number": null, "url": null}, {"citation": "Winslow Homer, Series IV. Inventory cards, 1859-1971, M. Knoedler &amp; Co. Records, box 135, Getty Research Institute", "page_number": null, "url": null}, {"citation": "W.M.M., \u201cEarly Morning After a Storm at Sea by Winslow Homer,\u201d <em>The Bulletin of the Cleveland Museum of Art </em>11.3 (March 1924): 51-53.", "page_number": null, "url": null}, {"citation": "", "page_number": null, "url": null}, {"citation": "W.M.M., \u201cEarly Morning After a Storm at Sea by Winslow Homer,\u201d <em>The Bulletin of the Cleveland Museum of Art </em>11.3 (March 1924): 51-53.<em><br></em>", "page_number": null, "url": null}, {"citation": "Tatham, David. <em>Winslow Homer in London : A New York Artist Abroad. </em>Syracuse, N.Y.: Syracuse University Press, 2010.", "page_number": "Mentioned pp. 7, 88, 93-94; reproduced p. 41.", "url": ""}, {"citation": "Novak, Barbara.<em> Voyages of the Self : Pairs, Parallels, and Patterns in American Art and Literature.</em> Oxford: Oxford University Press, 2007.", "page_number": "Mentioned, pp. 96-97; reproduced, color plate 10.", "url": ""}, {"citation": "Simpson, Marc. <em>Winslow Homer: The Clark Collection.</em> Williamstown, Massachusetts: Sterling and Francine Clark Art Institute, 2013.", "page_number": "Mentioned, p. 35.", "url": ""}, {"citation": "Jennings, Kate F. <em>Winslow Homer. </em>New York, N.Y.: Crescent Books : Distributed by Crown Publishers, 1990.", "page_number": "Reproduced, p. 109.", "url": ""}, {"citation": "\"Coming Away: Winslow Homer and England,\" <em>American Art Review </em>30 (May-June 2018).", "page_number": "Reproduced, p. 56.", "url": ""}, {"citation": "Michael Brenson, \"Art View: Homer's Epic: Seascapes Grand and Gentle,\" <em>New York Times, </em>March 31, 1991.", "page_number": "Mentioned, p. 7.", "url": ""}, {"citation": "City Art Museum of St. Louis.<em> Fifth Annual Exhibition of Selected Paintings by American Artists</em>. St. Louis, Mo: The Museum, 1900.", "page_number": "Mentioned: p. 49, #120", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 34", "url": "https://archive.org/details/CMAHandbook_80839/page/n36"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 42", "url": "https://archive.org/details/CMAHandbook1928/page/n46"}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 26, no. 85", "url": ""}, {"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. 89", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 14", "url": "https://archive.org/details/CMAPaintings1945/page/n22"}, {"citation": "Francis, Henry. \"Recent Additions to the Collection of Homer.\" <em>The Bulletin of the Cleveland Museum of Art </em>42, no. 3 (March 1955): 51-54.", "page_number": "Mentioned: p. 54", "url": "https://www.jstor.org/stable/25142026"}, {"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. 549", "url": "https://archive.org/details/CMAHandbook1958/page/n102"}, {"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. 187", "url": "https://archive.org/details/CMAHandbook1966/page/n211"}, {"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. 187", "url": "https://archive.org/details/CMAHandbook1969/page/n211"}, {"citation": "Hamilton, George Heard. <em>19th and 20th Century Art: Painting, Sculpture, Architecture</em>. New York: H.N. Abrams, 1970.", "page_number": "Reproduced: p. 110, fig. 95", "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. 232", "url": "https://archive.org/details/CMAHandbook1978/page/n252"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 3, p. 10; p. 98 - 99", "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. 52", "url": ""}, {"citation": "Ross, Clifford, Jay A. Clarke, Phong Bui, and Orville Schell. <em>Hurricane Waves</em>. Cambridge, MA: The MIT Press, 2015.", "page_number": "Reproduced: P. 11, fig. 3", "url": null}, {"citation": "Athens, Elizabeth, Brandon Ruud and Martha Tedeschi. <em>Coming Away: Winslow Homer &amp; England</em>. Worcester, MA : Worcester Art Museum ; Milwaukee, WI : Milwaukee Art Museum ; New Haven, CT : in association with Yale University Press, 2017.", "page_number": "Reproduced: p. 149, cat. # 67; p. 81, fig. 10 (detail): Mention: p. 56, 166", "url": null}, {"citation": "American Art Review. \"Coming Away: Winslow Homer and England.\" American Art Review 30, no. 3 (May/June 2018): 54-57.", "page_number": "Reproduced: p. 56, top", "url": null}, {"citation": "Herdrich, Stephanie L., Sylvia Yount, Daniel Immerwahr, Christopher Riopelle, Gwendolyn DuBois Shaw, and Winslow Homer. Winslow Homer: Crosscurrents. New York : The Metropolitan Museum of Art, 2022.", "page_number": "Reproduced: p. 173", "url": ""}], "url": "https://clevelandart.org/art/1924.195", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_web.jpg", "width": "1263", "height": "762", "filesize": "642840", "filename": "1924.195_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_print.jpg", "width": "3400", "height": "2050", "filesize": "4653289", "filename": "1924.195_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.195/1924.195_full.tif", "width": "6000", "height": "3618", "filesize": "65155832", "filename": "1924.195_full.tif"}}, "alternate_images": [{"date_created": "2004-08-23T20:14:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.195/1924.195_alt0_web.jpg", "width": "1263", "height": "764", "filesize": "622065"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.195/1924.195_alt0_print.jpg", "width": "3400", "height": "2056", "filesize": "4008956"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.195/1924.195_alt0_full.tif", "width": "5000", "height": "3023", "filesize": "45365748"}}, {"date_created": "2008-08-13T14:28:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.195/1924.195_alt1_web.jpg", "width": "1263", "height": "887", "filesize": "883641"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.195/1924.195_alt1_print.jpg", "width": "3400", "height": "2387", "filesize": "6257811"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.195/1924.195_alt1_full.tif", "width": "4564", "height": "3204", "filesize": "43912888"}}], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 106088, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1924-01-15T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131903", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:31.674000"}, {"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, "width": 1.13, "depth": 0.07}, "unframed": {"height": 0.656, "width": 0.815}}, "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.", "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": [{"date_created": "2007-10-15T19:06:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.19/1936.19_alt0_web.jpg", "width": "1109", "height": "893", "filesize": "724391"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.19/1936.19_alt0_print.jpg", "width": "3400", "height": "2737", "filesize": "6821032"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1936.19/1936.19_alt0_full.tif", "width": "5470", "height": "4403", "filesize": "72287496"}}], "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": "2026-03-27 00:09:05.084000"}, {"id": 135310, "accession_number": "1958.32", "share_license_status": "CC0", "tombstone": "Two Poplars in the Alpilles near Saint-R\u00e9my, 1889. Vincent van Gogh (Dutch, 1853\u20131890). Oil on fabric; framed: 81 x 66.7 x 7.3 cm (31 7/8 x 26 1/4 x 2 7/8 in.); unframed: 61.6 x 45.7 cm (24 1/4 x 18 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.32", "current_location": "222 Impressionism & Post-Impressionism", "title": "Two Poplars in the Alpilles near Saint-R\u00e9my", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 81 x 66.7 x 7.3 cm (31 7/8 x 26 1/4 x 2 7/8 in.); Unframed: 61.6 x 45.7 cm (24 1/4 x 18 in.)", "dimensions": {"framed": {"height": 0.81, "width": 0.667, "depth": 0.073}, "unframed": {"height": 0.616, "width": 0.457}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 703013, "title": "Highlights of the 19th Century", "description": "<i>Highlights of the 19th Century</i>. Akron Art Museum, Akron, OH (organizer) (March 3-31, 1959).", "opening_date": "1959-03-03T05:00:00"}, {"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 442147, "title": "Gauguin and Van Gogh in Copenhagen in 1893", "description": "<i>Gauguin and Van Gogh in Copenhagen in 1893</i>. Ordrupgaard, Charlottenlund, Copenhagen, Denmark (organizer) (December 11, 1984-February 24, 1985).", "opening_date": "1984-12-11T05:00:00"}, {"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"id": 227195, "title": "Vincent and Theo van Gogh", "description": "<i>Vincent and Theo van Gogh</i>. Hokkaido Museum of Modern Art, Hokkaido, Japan (organizer) (July 5-August 25, 2002).", "opening_date": "2002-07-05T00:00:00"}, {"id": 220540, "title": "Impressionism, Post-Impressionism and the Nordic Countries", "description": "<i>Impressionism, Post-Impressionism and the Nordic Countries</i>. Nationalmuseum, Stockholm, Sweden (organizer) (September 27, 2002-January 19, 2003); Statens Museum for Kunst, 1307 K\u00f8benhaven K, Denmark (February 21-May 25, 2003).", "opening_date": "2002-09-27T00:00:00"}, {"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": 222532, "title": "The Real Van Gogh: The Artist and His Letters", "description": "<i>The Real Van Gogh: The Artist and His Letters</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (January 23-April 18, 2010).", "opening_date": "2010-01-23T00:00:00"}, {"id": 227478, "title": "Becoming Van Gogh: His Years in Paris, 1886-1888", "description": "<i>Becoming Van Gogh: His Years in Paris, 1886-1888</i>. Denver Art Museum, Denver, CO (organizer) (October 20, 2012-January 20, 2013).", "opening_date": "2012-10-20T00:00:00"}, {"id": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Phillips Collection, Washington, DC (organizer) (October 12, 2013-February 2, 2014); The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 216529, "title": "Expressionism in Germany and France: From Van Gogh to Kandinsky", "description": "<i>Expressionism in Germany and France: From Van Gogh to Kandinsky</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (June 8-September 14, 2014).", "opening_date": "2014-06-08T00:00:00"}, {"id": 224149, "title": "Reciprocal Loan: Painting the Modern Garden", "description": "<i>Reciprocal Loan: Painting the Modern Garden</i>. Norton Museum of Art, West Palm Beach, FL (organizer) (October 1, 2015-April 30, 2016).", "opening_date": "2015-10-01T00:00:00"}, {"id": 294300, "title": "Making Van Gogh", "description": "<i>Making Van Gogh</i>. St\u00e4del Museum, Frankfurt am Main, Germany (organizer) (October 23, 2019-February 16, 2020).", "opening_date": "2019-10-23T04:00:00"}, {"id": 448164, "title": "There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art", "description": "<i>There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art</i>. The Cleveland Museum of Art (organizer) (September 17-December 5, 2021).", "opening_date": "2021-09-17T04:00:00"}, {"id": 399470, "title": "Van Gogh's Cypresses", "description": "<i>Van Gogh's Cypresses</i>. The Metropolitan Museum of Art, New York, NY (organizer) (May 15-August 27, 2023) https://www.metmuseum.org/exhibitions/van-gogh-cypresses.", "opening_date": "2023-05-15T04:00:00"}], "legacy": [{"description": "<em>Den frie Udstilling</em>. Copenhagen, Denmark (1893).", "opening_date": null}, {"description": "Paul Cassirer, Berlin, Germany (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "<em>Tentoonstelling Vincent van Gogh</em>. Stedelijk Museum, Amsterdam, Netherlands (1905).", "opening_date": "1905-01-01T00:00:00"}, {"description": "<em>Internationale Ausstellung des Sonderbundes Westdeutscher Kunstfreunde und K\u00fcnstler</em>. St\u00e4dtische Ausstellungshalle am Aachener Tor, Cologne, Germany (1912).", "opening_date": "1912-01-01T00:00:00"}, {"description": "<em>Vincent van Gogh, Zehnte Ausstellung</em>. Paul Cassirer, Berlin, Germany (1914).", "opening_date": "1914-01-01T00:00:00"}, {"description": "<em>Erste Sonderausstellung in Berlin</em>.Galerie Thannhauser, Berlin, Germany (1927).", "opening_date": "1927-01-01T00:00:00"}, {"description": "<em>Vincent van Gogh en zijn Tijdgenooten</em>. Stedelijk Museum. Amsterdam, Netherlands (1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "<em>Art Museum. Paintings by Van Gogh</em>. Baltimore Museum of Art, Baltimore, MD; Worcester Museum, Worcester, MA (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>Works by Vincent van Gog</em>h.Cleveland Museum of Art, Cleveland, OH (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Summer Loan: fourteen paintings from the Hanna collection</em>. Metropolitan Museum of Art. New York, NY (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}, {"description": "<em>Loan Exhibition Van Gogh</em>. Wildenstein, New York, NY (1955).", "opening_date": "1955-01-01T00:00:00"}, {"description": "<em>Masterpiece of the Month</em>. Art Institute, Akron, OH (March 3-31, 1959).", "opening_date": "1931-03-03T00:00:00"}]}, "provenance": [{"description": "Theo van Gogh [1857-1891] Paris, France, by descent to the artist's brother from the artist's estate.", "citations": [], "footnotes": null, "date": "1889\u20131891", "sortorder": 1}, {"description": "Johanna van Gogh-Bonger [1862-1915] his wife, Amsterdam, Netherlands, by gift to Willem Steenhoff.", "citations": [], "footnotes": null, "date": "1891\u20131905", "sortorder": 2}, {"description": "Willem Steenhoff [1863-1932] Amsterdam, Netherlands, sold to Alfred Flechtheim", "citations": [], "footnotes": null, "date": "1905\u20131910", "sortorder": 3}, {"description": "Alfred Flechtheim, D\u00fcsseldorf, Germany", "citations": [], "footnotes": [], "date": "1910", "sortorder": 4}, {"description": "Max Siller, Barmen, Germany", "citations": [], "footnotes": null, "date": "1914", "sortorder": 5}, {"description": "Paul Cassirer, Berlin", "citations": [], "footnotes": null, "date": "1914", "sortorder": 6}, {"description": "Justin Thannhauser, Munich, Berlin, Lucerne", "citations": [], "footnotes": null, "date": "1927", "sortorder": 7}, {"description": "Harry Sperling [1925-1971] New York, NY", "citations": [], "footnotes": [], "date": "July 1940", "sortorder": 9}, {"description": "M. Knoedler and Co., New York, NY", "citations": [], "footnotes": null, "date": "March 1946", "sortorder": 10}, {"description": "Sam Salz, New York, NY", "citations": [], "footnotes": [], "date": "March 1946", "sortorder": 11}, {"description": "Leonard C. Hanna, Jr, Cleveland, OH, purchased March 12, 1946", "citations": [], "footnotes": [], "date": "1946\u20131958", "sortorder": 12}, {"description": "Leonard C. Hanna, Jr. [1889-1957] Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1946\u20131958", "sortorder": 13}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958\u2013", "sortorder": 14}], "find_spot": null, "related_works": [], "former_accession_numbers": ["427.46"], "did_you_know": "During his Saint-R\u00e9my period, Van Gogh painted 150 canvases and some 100 drawings. He painted nature as he saw it without enhancement and felt that painting would help cure him of his illness.", "description": "Vincent van Gogh painted this autumnal landscape while interned at a psychiatric hospital near Saint-R\u00e9my in southern France. Although initially restricted to painting in his room, he soon resumed working outdoors. This painting reveals the full power of his mature style. Trees twist and lean against a darkening sky, while the intense colors applied with charged brushstrokes convey his emotional reaction to the subject.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q26221176"], "internet_archive": ["https://archive.org/details/clevelandart-1958.32-two-poplars-in-the-a"]}, "citations": [{"citation": "Flechtheim, Alfred. \"Kunsthaler und Sammler: Dusseldorf.\" In <em>Im Kampf um die Kunst: die Antwort auf den \"Protest deutscher Ku\u0308nstler\": mit Beitra\u0308gen deutscher Ku\u0308nstler, Galerieleiter, Sammler und Schriftsteller.</em> Mu\u0308nchen: R. Piper, 1911.", "page_number": "Mentioned: p. 168", "url": null}, {"citation": "Pfister, Kurt. <em>Vincent van Gogh</em>. Potsdam: G. Kiepenheuer, 1922.", "page_number": "Reproduced: Pl. 46", "url": null}, {"citation": "Waldemar, George. <em>Van Gogh: 24 Phototypies.</em> Paris: Librairie de France F. Sant'Andrea, 1927.", "page_number": "Reproduced: vol. 3, pl. 6", "url": null}, {"citation": "de LaFaille, J. B. <em>L'oeuvre de Vincent van Gogh, catalogue raisonne\u0301.</em> Paris et Bruxelles: Les E\u0301ditions G. van Oest, 1928.", "page_number": "Mentioned: vol.1, no. 638; reproduced: vol. 2, no. 638", "url": null}, {"citation": "Gogh, Vincent van. <em>Further Letters of Vincent Van Gogh to His Brother, 1886-1889.</em> London: Constable &amp; Co, 1929.", "page_number": "Mentioned: p. 399, no. 609, p. 416, no. 617, p. 444-445, no. 630", "url": null}, {"citation": "Scherjon, W. and W. Jos. de Gruyter. <em>Vincent Van Gogh's Great Period, Arles, St. Re\u0301my and Auvers Sur Oise (Complete Catalogue)</em>. Amsterdam NL: \"De Spieghel\", Ltd, 1937.", "page_number": "Reproduced: p. 253, no. 57", "url": null}, {"citation": "De La Faille, J. Bernard, Charles Terrasse, Prudence Montagu-Pollock, and Andre\u0301 Gloeckner. <em>Vincent Van Gogh</em>. New York, N.Y.: French and European Publications [etc.], 1939.", "page_number": "Reproduced: no. 643", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland. </em>Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 73-74", "url": null}, {"citation": "\"More Than 100 Van Goghs in New York's Major Spring Show.\" <em>ARTnews </em>54 (April 1955): 22.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Elgar, Frank. <em>Van Gogh, A Study of His Life and Work</em>. New York, NY: Praeger, 1958.", "page_number": "Reproduced: Fig. 185", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr</em>. Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 15", "url": null}, {"citation": "\"Acessions of American and Canadian Museums: October--December 1957.\" <em>The Art Quarterly </em>21, no. 1 (Spring 1958): 82-113.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art X, no. XLVI, </em>no, 6 (June, 1959): 122.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Cleveland Museum of Art, and Edward B. Henning. <em>Paths of Abstract Art</em>. [Cleveland]: Distributed by H.N. Abrams [New York], 1960.", "page_number": "Referenced: cat. no. 11, p. 9, Reproduced: p. 9", "url": null}, {"citation": "Cleveland Museum of Art, Edward B. Henning<em>. Paths of Abstract Art</em>. Cleveland, Ohio: H.N. Abrams, 1960.", "page_number": "Reproduced: no. 11, p. 11; mentioned: pp.11, 21", "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. 179", "url": "https://archive.org/details/CMAHandbook1966/page/n203"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "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: p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"citation": "De La Faille, J.-B. <em>The Works of Vincent Van Gogh; His Paintings and Drawings</em>. Amsterdam, NL: Meulenhoff International, 1970.", "page_number": "Reproduced: p. 638", "url": null}, {"citation": "Lecaldano, Paolo. <em>L'opera pittorica completa di Van Gogh e i suoi nessi grafici</em>. Milan, IT: Rizzoli,1971.", "page_number": "Reproduced: no. 707, vol. 2", "url": null}, {"citation": "Gogh, Vincent van, Jean Leymarie, and V. W. van Gogh. <em>Letters of Vincent van Gogh, 1886-1890: a facsimile edition.</em> London: Scolar Press, 1977.", "page_number": "Mentioned: vol. 2, no. 609 3/4, no. 630 2/4", "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. 221", "url": "https://archive.org/details/CMAHandbook1978/page/n241"}, {"citation": "Hulsker, Jan. <em>The Complete Van Gogh: Paintings, Drawings, Sketches</em>. New York, NY: H.N. Abrams, 1980.", "page_number": "Reproduced: no. 1797", "url": null}, {"citation": "Bodelsen, Merete, Paul Gauguin, Vincent van Gogh, and Kirsten Olesen. <em>Gauguin og van Gogh i K\u00f8benhavn i 1893 = Gauguin and van Gogh in Copenhagen in 1893</em>. K\u00f8benhavn, Denmark: Ordrupgaard, 1984.", "page_number": "Mentioned: p. 126-127; Reproduced: no. 40, 73", "url": null}, {"citation": "Bernard, Bruce. <em>Vincent by Himself: A Selection of His Paintings and Drawings Together with Extracts from His Letters</em>. London, UK: Orbis, 1985.", "page_number": "Reproduced: p. 286", "url": null}, {"citation": "Pickvance, Ronald. <em>Van Gogh in Saint-Re\u0301my and Auvers</em>. New York, NY: Metropolitan Museum of Art, 1986.", "page_number": "Reproduced: p. 302; Mentioned: p. 301", "url": null}, {"citation": "Sackerlotsky, Rotraud. \"Giovanni Segantini: Stone Pine and Roses.\" <em>The Bulletin of The Cleveland Museum of Art LXXIII</em>, no. 1 (January, 1986): 3-13.", "page_number": "Reproduced: p. 9, fig. 9", "url": null}, {"citation": "Stein, Susan Alyson. <em>Van Gogh: A Retrospective</em>. New York, NY: H.L. Levin Associates, 1986.", "page_number": null, "url": null}, {"citation": "Kunstmuseum Du\u0308sseldorf, and Westfa\u0308lisches Landesmuseum fu\u0308r Kunst und Kulturgeschichte Mu\u0308nster. <em>Alfred Flechtheim: Sammler, Kunstha\u0308ndler, Verleger</em>. Du\u0308sseldorf: Kunstmuseum Du\u0308sseldorf, 1987.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Manheim, Ron.<em> 'Im Kampf um die Kunst: de discussie van 1911 over contemporaine Kunst in Duitsland = Die Diskussion von 1911 u\u0308ber zeitgeno\u0308ssische Kunst in Deutschland.</em> Hamburg: Sautter + Lackmann, 1987.", "page_number": "Mentioned: p. 141", "url": null}, {"citation": "Feilchenfeldt, Walter, Han Veenebos, and Paul Cassirer. <em>Vincent van Gogh &amp; Paul Cassirer, Berlin: the reception of van Gogh in Germany from 1901 to 1914</em>. Zwolle, NL: Waanders, 1988.", "page_number": "Reproduced: p. 109, no. f638", "url": null}, {"citation": "Feilchenfeldt, Walter. \"Van Gogh Fakes: The Wacker Affair, with an Illustrated Catalogue of the Forgeries.\" <em>Simiolus: Netherlands Quarterly for the History of Art</em> 19, no. 4 (1989): 289-316.", "page_number": "Reproduced: p. 305", "url": null}, {"citation": "Bronkhorst, Hans. <em>Vincent Van Gogh</em>. New York, NY: Portland House, 1990.", "page_number": "Reproduced: p. 143", "url": null}, {"citation": "Heijbroek, J. F. \"Het Rijksmuseum Voor Moderne Kunst Van Willem Steenhoff. Werkelijkheid of Utopie?\" <em>Bulletin Van Het Rijksmuseum</em> 39, no. 2 (1991): 163-231.", "page_number": "Reproduced: p. 182", "url": null}, {"citation": "Hulsker, Jan. <em>The New Complete Van Gogh: Paintings, Drawings, Sketches : Revised and Enlarged Edition of the Catalogue Raisonne\u0301 of the Works of Vincent Van Gogh</em>. Amsterdam NL: J.M. Meulenhoff, 1996.", "page_number": null, "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Referenced: p. 186-187", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 302-305, Vol. I, no. 108", "url": ""}, {"citation": "Gunnarsson, Torsten, and Hans Henrik Brummer. <em>Impressionism and the North: Late 19th Century French Avant-Garde Art and the Art in the Nordic Countries 1870-1920</em>. Stockholm, SE: Nationalmuseum, 2002.", "page_number": "Reproduced: p. 154-155, no. 99", "url": null}, {"citation": "<em>Theo and Vincent van Gogh</em>. <em>Gohho ten = Vincent &amp; Theo van Gogh</em>. Hokkaido\u0304 Shinbunsha, JP: 2002.", "page_number": "Reproduced: p. 134-135, fig. 39", "url": null}, {"citation": "Toccoli, Vincent Paul and Nicoline Lopez. <em>Vincent van Gogh: le soleil foudroye\u0301</em>. Ampang Point, Selangor, MY: NGM Publishers, 2004.", "page_number": "Reproduced: p. 109, fig. 91", "url": null}, {"citation": "Dumas, Ann. <em>The Real Van Gogh: The Artist and His Letters</em>. London, UK: Royal Academy of Arts, 2010.", "page_number": "Reproduced & Mentioned: no. 141, p. 258-259", "url": null}, {"citation": "Standring, Timothy J., and Louis van Tilborgh. <em>Becoming Van Gogh</em>. Denver, CO: Denver Art Museum, 2012.", "page_number": "Reproduced: p. 228, p. 273; cat. 88", "url": null}, {"citation": "Van Tilborgh, Louis, Teio Meedendorp, Ella Hendriks, Don H. Johnson, C. Richard Johnson, and Robert G. Erdmann. \"Weave Matching and Dating of Van Gogh's Paintings: An Interdisciplinary Approach.\" <em>The Burlington Magazine</em> 154, no. 1307 (2012): 112-22.", "page_number": "Mentioned: p. 121; reproduced: p. 120, fig. 36", "url": null}, {"citation": "Skea, Ralph. <em>Vincent's Trees: Paintings and Drawings by Van Gogh</em>. London, UK: Thames &amp; Hudson, 2013.", "page_number": "Reproduced: p.7-8, fig. 2; Mentioned: p. 111", "url": null}, {"citation": "Rathbone, Eliza E., William H. Robinson, William H. Robinson, and Marcia Steele. <em>Van Gogh Repetitions</em>. New Haven, CT : Yale University Press, 2013.", "page_number": null, "url": null}, {"citation": "Wiekop, Christian. \"Crossing Borders: Expressionist Encounters with the French Avant-Garde.\" Art History: Journal of the Association of Art Historians 38, no. 5 (November 2015): 976-981.", "page_number": "Reproduced: fig. 1, p. 977", "url": null}, {"citation": "Blanc, Jan. <em>Van Gogh: ni Dieu ni mai\u0302tre.</em> Paris: Citadelles &amp; Mazenod, 2017.", "page_number": "Reproduced: p. 300-301", "url": null}, {"citation": "Koldehoff, Stefan and Chris Stolwijk, eds. <em>The Thannhauser Gallery: Marketing Van Gogh.</em> Brussels: Mercatorfonds; Amsterdam: Van Gogh Museum, 2017.", "page_number": "Reproduction: p. 137, cat. 19", "url": null}, {"citation": "Dempsey, Amy. <em>Modern Art.</em> London: Thames &amp; Hudson, 2018.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Eiling, Alexander B., Felix Kra\u0308mer, and Elena Schroll. <em>Making Van Gogh: A German Love Story</em>. M\u00fcnchen: Hirmer Verlag GmbH, 2019.", "page_number": "Reproduced: P. 103", "url": null}, {"citation": "Koldehoff, Nora, and Stefan Koldehoff. <em>Der van Gogh-Coup: Otto Wackers Aufstieg und Fall.</em> Wa\u0308denswil am Zu\u0308richsee: Nimbus, Kunst und Bu\u0308cher, 2019.", "page_number": "Reproduced: P. 204, f. 638", "url": ""}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Wach, Alexandra. \"Making van Gogh.\" <em>Restauro, 8 (2019): 44-51</em>.", "page_number": "Reproduced: p. 50", "url": null}, {"citation": "Stein, Susan Alyson. \"Signing Off in Style.\" In<em> Van Gogh's Cypresses</em>. Susan Alyson Stein, ed., 110-141. New York: The Metropolitan Museum of Art, 2023.", "page_number": "Mentioned and reproduced: P. 118-119, fig. 93", "url": ""}, {"citation": "Van Heteren, Marjan. \"Van Gogh, Ce\u0301zanne, Le Fauconnier &amp; De Bergense School.\" In <em>Van Gogh, Ce\u0301zanne, Le Fauconnier &amp; De Bergense School, </em>edited by Chris Stolwijk, and Marjan van Heteren, 92-151. 2023.", "page_number": "Mentioned and reproduced: p. 140, no. 158", "url": ""}, {"citation": "Bonafoux, Pascal. <em>Vincent van Gogh</em>. Roma: Istituto della Enciclopedia Italiana Fondato da Giovanni Treccani, 2023.", "page_number": "Reproduced: p. 328", "url": ""}, {"citation": "Sefrioui, Anne. <em>Van Gogh: The Bigger Picture. </em>New York, NY: Prestel Publishing, 2023.", "page_number": "Mentioned: p. 84; Reproduced: p. 89", "url": ""}], "url": "https://clevelandart.org/art/1958.32", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_web.jpg", "width": "673", "height": "900", "filesize": "338119", "filename": "1958.32_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_print.jpg", "width": "2543", "height": "3400", "filesize": "3870658", "filename": "1958.32_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.32/1958.32_full.tif", "width": "10950", "height": "14640", "filesize": "480958152", "filename": "1958.32_full.tif"}}, "alternate_images": [{"date_created": "2005-09-15T17:09:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt0_web.jpg", "width": "662", "height": "893", "filesize": "606480"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt0_print.jpg", "width": "2521", "height": "3400", "filesize": "7299504"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt0_full.tif", "width": "4182", "height": "5640", "filesize": "70795048"}}, {"date_created": "2015-09-11T15:41:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt1_web.jpg", "width": "664", "height": "900", "filesize": "232522"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt1_print.jpg", "width": "2510", "height": "3400", "filesize": "3095970"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt1_full.tif", "width": "5682", "height": "7697", "filesize": "131233080"}}, {"date_created": "2017-08-03T14:32:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt2_web.jpg", "width": "900", "height": "711", "filesize": "487008"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt2_print.jpg", "width": "3400", "height": "2686", "filesize": "5832375"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.32/1958.32_alt2_full.tif", "width": "15095", "height": "11923", "filesize": "539967596"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": "e89d1437be394b238a85adba5cd8067a", "sketchfab_url": "https://sketchfab.com/models/e89d1437be394b238a85adba5cd8067a", "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135310, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Poplars on a Hill"], "is_highlight": false, "updated_at": "2026-04-10 07:03:27.916000"}, {"id": 152834, "accession_number": "1985.72", "share_license_status": "CC0", "tombstone": "Sideboard, c. 1855. Attributed to Joseph Alexis Bailly (American, 1825\u20131883). Walnut; overall: 290.4 x 211.4 x 69.4 cm (114 5/16 x 83 1/4 x 27 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1985.72", "current_location": "207 American Realism", "title": "Sideboard", "creation_date": "c. 1855", "creation_date_earliest": 1850, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["America, Pennsylvania, Philadelphia?, 19th century"], "technique": "walnut", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 290.4 x 211.4 x 69.4 cm (114 5/16 x 83 1/4 x 27 5/16 in.)", "dimensions": {"overall": {"height": 2.904, "width": 2.114, "depth": 0.694}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}], "legacy": [{"description": "No legacy exhibitions.", "opening_date": null}]}, "provenance": [{"description": "Mr. and Mrs. Franklin Corn Montross of Troy, Ohio. Said to have been acquired about 1900 on the east coast of the United States, probably Philadelphia or Baltimore.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "By descent to their daughter, Mrs. Leon E. Brown of Troy who sold the piece at auction in Cincinnati, c. 1984 (Peter Hill Inc., East Lempster, New Hampshire).", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Luscious fruit, wild animals, and Native American figures are masterfully carved into this walnut sideboard. These decorative adornments were created for a distinctively American taste and would have symbolized abundance and wealth to visitors who encountered it within a grand dining room.", "description": "Newly acquired wealth from railroad production, manufacturing, and an expanded economy produced a new elite class of Americans who looked abroad for sources of decoration to adorn their lives. Grand, baronial furniture, reminiscent of German hunting lodges or French castles, became popular during the mid 1800s among America\u2019s wealthy. Elaborate displays of abundance were reflected in the carvings of flora, fauna, and freshly hunted game. The depictions of Native American hunters on this example, most likely made in Philadelphia, may have meant that this piece was displayed at one of the many international expositions that occurred during this period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779166"], "internet_archive": ["https://archive.org/details/clevelandart-1985.72-sideboard"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1985.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (February 1986): 26\u201371.", "page_number": "Reproduced: p. 52; Mentioned: p. 64, no. 46", "url": "https://www.jstor.org/stable/25159930"}, {"citation": "Hawley, Henry. \u201cAmerican Furniture of the Mid-Nineteenth Century.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 5 (May 1987): 186\u2013215.", "page_number": "Mentioned and reproduced: p. 202-206, figs. 20, 22-23", "url": "http://www.jstor.org/stable/25159990"}, {"citation": "Peirce, Donald C.<em> Art &amp; Enterprise: American Decorative Art, 1825-1917 : The Virginia Carroll Crawford Collection</em>. Atlanta: High Museum of Art, 1999.", "page_number": "Mentioned & reproduced: p. 98, fig. 3", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=40990180"}, {"citation": "Adams, Henry.<em> What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Mentioned & reproduced: pp. 72-73", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=294879034"}, {"citation": "Pin\u0303a, Leslie <em>A. Furniture in History, 3000 B.C.-2000 A.D</em>. Boston: Prentice Hall, 2010.", "page_number": "Mentioned: p. 17", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=268788668"}, {"citation": "Franklin, David, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with, New York, NY: Scala Publishers, 2012.", "page_number": "Mentioned & reproduced: pp. 250-251", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=813973055"}, {"citation": "Bidwell, Frederick E., and Leslie Cade. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with New York, NY: Scala Arts Publishers, 2014.", "page_number": "Mentioned & reproduced: pp. 140-141", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=857403600"}], "url": "https://clevelandart.org/art/1985.72", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.72/1985.72_web.jpg", "width": "728", "height": "893", "filesize": "437746", "filename": "1985.72_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.72/1985.72_print.jpg", "width": "2772", "height": "3400", "filesize": "5087765", "filename": "1985.72_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.72/1985.72_full.tif", "width": "3656", "height": "4485", "filesize": "49234264", "filename": "1985.72_full.tif"}}, "alternate_images": [{"date_created": "2008-02-27T17:00:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.72/1985.72_alt0_web.jpg", "width": "663", "height": "893", "filesize": "472609"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.72/1985.72_alt0_print.jpg", "width": "2523", "height": "3400", "filesize": "6586227"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.72/1985.72_alt0_full.tif", "width": "3710", "height": "5000", "filesize": "55716084"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 152834, "creators": [{"id": 5816, "description": "Joseph Alexis Bailly (American, 1825\u20131883)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1825", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-05-29T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "c. 1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:04:37.882000"}, {"id": 122351, "accession_number": "1942.647", "share_license_status": "CC0", "tombstone": "The Burning of the Houses of Lords and Commons, 16 October 1834, 1835. Joseph Mallord William Turner (British, 1775\u20131851). Oil on canvas; framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.). The Cleveland Museum of Art, Bequest of John L. Severance, 1942.647", "current_location": null, "title": "The Burning of the Houses of Lords and Commons, 16 October 1834", "creation_date": "1835", "creation_date_earliest": 1835, "creation_date_latest": 1835, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 123.5 x 153.5 x 12 cm (48 5/8 x 60 7/16 x 4 3/4 in.); Unframed: 92 x 123.2 cm (36 1/4 x 48 1/2 in.)", "dimensions": {"framed": {"height": 1.235, "width": 1.535, "depth": 0.12}, "unframed": {"height": 0.92, "width": 1.232}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 335856, "title": "Exhibition of the John L. Severance Collection", "description": "<i>Exhibition of the John L. Severance Collection</i>. The Cleveland Museum of Art, Cleveland, OH (November 12, 1942-March 14, 1943).", "opening_date": "1942-11-12T04:00:00"}, {"id": 361411, "title": "Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner", "description": "<i>Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner</i>. Indianapolis Museum of Art, Indianapolis, IN (organizer) (November 12, 1955-December 25, 1995); Dayton Art Institute, Dayton, OH (January 1-31, 1956).", "opening_date": "1955-11-12T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 703001, "title": "The Romantic Movement", "description": "<i>The Romantic Movement</i>. The Board of Trustees of the Tate Gallery, London, United Kingdom of Great Britain and Northern Ireland (organizer) (July 10-September 27, 1959).", "opening_date": "1959-07-10T04:00:00"}, {"id": 515827, "title": "Turner: Imagination and Reality", "description": "<i>Turner: Imagination and Reality</i>. The Museum of Modern Art, New York, NY (organizer) (March 23-June 19, 1966).", "opening_date": "1966-03-23T05:00:00"}, {"id": 302662, "title": "Turner Watercolors from The British Museum", "description": "<i>Turner Watercolors from The British Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 27-November 27, 1977).", "opening_date": "1977-09-27T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 380209, "title": "Turner", "description": "<i>Turner</i>. National Gallery of Australia (organizer) (March 16-June 10, 1996).", "opening_date": "1996-03-16T05:00:00"}, {"id": 223416, "title": "J. M. Turner", "description": "<i>J. M. Turner</i>. Museum Folkwang, 45128 Essen, Germany (organizer) (September 14, 2001-January 6, 2002).", "opening_date": "2001-09-14T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 222394, "title": "Masterpieces of European Painting from The Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from The Cleveland Museum of Art</i>. Frick Collection, New York, NY (organizer) (November 8, 2006-January 28, 2007).", "opening_date": "2006-11-08T00:00:00"}, {"id": 179662, "title": "Masterpieces of European Painting from the Cleveland Museum of Art", "description": "<i>Masterpieces of European Painting from the Cleveland Museum of Art</i>. Maltz Museum of Jewish Heritage, Beachwood, OH (March 29-July 8, 2007).", "opening_date": "2007-03-29T00:00:00"}, {"id": 177207, "title": "J.M.W. Turner", "description": "<i>J.M.W. Turner</i>. National Gallery of Art, Landover, MD (organizer) (October 1, 2007-January 6, 2008); The Dallas Museum of Art, Dallas, TX (February 10-May 25, 2008).", "opening_date": "2007-10-01T00:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}, {"id": 406868, "title": "Turner's Modern World", "description": "<i>Turner's Modern World</i>. Kimbell Art Museum, Fort Worth, TX (organizer) (October 17, 2021-February 6, 2022) https://kimbellart.org/exhibition/turners-modern-world; Museum of Fine Arts, Boston, Boston, MA (March 27-July 10, 2022) https://www.mfa.org/exhibition/turners-modern-world.", "opening_date": "2021-10-17T04:00:00"}, {"id": 683135, "title": "Turner and Constable", "description": "<i>Turner and Constable</i>. Tate Britain, London (organizer) (November 27-April 12, 2025) https://www.tate.org.uk/whats-on/tate-britain/turner-and-constable.", "opening_date": "2025-11-27T05:00:00"}], "legacy": [{"description": "<em>The Burning of the Houses of Lords and Commons</em>. Royal Academy, London, United Kingdom (1835).", "opening_date": null}, {"description": "<em>Works of British Artists</em>. British Institution, London, United Kingdom (1836).", "opening_date": null}, {"description": "<em>National Exhibition of Works of Art</em>. Leeds, United Kingdom, lent by J. G. Marshall, Esg. (1868)", "opening_date": null}, {"description": "<em>Exhibition of works by the old master and deceased masters of the British school</em>. Royal Academy, London, United Kingdom, lent by Victor Marshall, Esg. (1883),", "opening_date": null}, {"description": "<em>Twentieth Anniversary Exhibition of the Cleveland Museum of Art. </em>Cleveland Museum of Art, Cleveland, OH, lent by the Estate of John L. Severance (June 26-October 4, 1936).", "opening_date": "1936-06-26T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by John Garth Marshall [1765-1845], Headingly House, Leeds, United Kingdom, and by descent.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Christie's, London, United Kingdom, April 28, 1888, under the name of Ponsford.", "citations": [], "footnotes": null, "date": "1888", "sortorder": 2}, {"description": "Descended in the Marshall family through Victor Marshall of Mark Coniston to James Marshall.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Leicester Gallery, London, United Kingdom, 1920, sale; but returned to owner)", "citations": [], "footnotes": null, "date": "1920", "sortorder": 4}, {"description": "(Knoedler, London, United Kingdom, 1922, sold to  John L. Severance)", "citations": [], "footnotes": null, "date": "1922", "sortorder": 5}, {"description": "John L. Severance [1863-1936], Cleveland, OH, by bequest in 1936 to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1922-1936", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1942-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Turner painted two versions of this event. Cleveland's painting views the fire downriver, from the southeast bank of the Thames, while the second version at the Philadelphia Museum of Art views the fire from directly across Westminster Bridge.", "description": "Fire consumed London\u2019s famous Houses of Parliament on the night of October 16, 1834, and people gathered along the banks of the river Thames to gaze in awe at the horrifying spectacle. Initially, a low tide made it difficult to pump water to land and hampered steamers towing firefighting equipment along the river. The blaze burned uncontrollably for hours.<br><br>J. M. W. Turner records the struggle as the boats in the lower-right corner head toward the flames. Although Turner based the painting on an actual event, he magnified the height of the flames, using the disaster as the starting point to express man\u2019s helplessness when confronted with the destructive powers of nature. Brilliant swathes of color and variable atmospheric effects border on abstraction.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514853"], "internet_archive": ["https://archive.org/details/clevelandart-1942.647-the-burning-of-the-h"]}, "citations": [{"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 280", "url": null}, {"citation": "Waagen, Gustav Friedrich. <em>Works of Art and Artists in England</em>. London, United Kingdom: J. Murray, 1838.", "page_number": "Reproduced: p. 152, vol. II", "url": null}, {"citation": "Royal Academy of Arts. <em>Exhibition of the Works of the Old Masters.</em> London, United Kingdom: Printed by Wm. Clowes and Sons, 1870.", "page_number": "Reproduced: no. 215", "url": null}, {"citation": "Thornbury, Walter. <em>Life of J.M.W. Turner, R.A., Founded on Letters and Papers Furnished by His Friends and Fellow-Academicians</em>. New York, NY: Holt, 1877.", "page_number": "Mentioned: p. 327, vol. I, p. 217, vol. II", "url": null}, {"citation": "Monkhouse, W. Cosmo. <em>The Turner Gallery; A Series of One Hundred and Twenty Engravings from the Works of the Late J.M.W. Turner, R.A</em>. New York, NY: D. Appleton and Company, 1879.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "Armstrong, Walter.<em>Turner</em>. London, United Kingdom: Agnew, 1902.", "page_number": "Mentioned: p. 117,120,146-147,236", "url": null}, {"citation": "Chignell, Robert. <em>J.M.W. Turner, R.A</em>. London, United Kingdom: Walter Scott Pub. Co, 1902.", "page_number": "Reproduced: p. 197", "url": null}, {"citation": "Ruskin, John, Edward Tyas Cook, and Alexander D. O. Wedderburn. <em>The Works of John Ruskin</em>. London, United Kingdom: George Allen, 1903.", "page_number": "Mentioned: p. 423-424, vol. 3; Reproduced: p. 389, vol. 12", "url": null}, {"citation": "Graves, Algernon. <em>The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904</em>. London, United Kingdom: H. Graves and Co, 1905.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Graves, Algernon. <em>Century of Loan Exhibitions 1813-1912</em>. London, United Kingdom: Graves, 1913.", "page_number": "Mentioned: p. 1334. vol. 3, Reproduced: p. 1336", "url": null}, {"citation": "Hind, C. Lewis. <em>Turner's Golden Visions</em>. London, United Kingdom: T.C. &amp; E.C. Jack, 1925.", "page_number": "Reproduced: p. 183", "url": null}, {"citation": "Whitley, William T. <em>Art in England, 1821-1837</em>. Cambridge, United Kingdom: University Press, 1930.", "page_number": "Reproduced: p. 298", "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, OH: Cleveland Museum of Art, 1936.", "page_number": "no. 249", "url": null}, {"citation": "John Long Severance Art Collection Photographs: Furniture, Cleveland Museum of Art Archives.", "page_number": "Reproduced: p. 301", "url": "https://archive.org/details/SeveranceFurniture/page/n299/mode/1up"}, {"citation": "Finberg, A. J. <em>The Life of J.M.W. Turner, R.A</em>. Oxford, United Kingdom: Clarendon Press, 1939.", "page_number": "Reproduced: p. 500, no. 463, pl. 18", "url": null}, {"citation": "<em>Catalogue of the John L. Severance Collection: Bequest of John L. Severance, 1936.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 1942.", "page_number": "Reproduced: p. [23], Plate IX, cat. no. 16; Mention: p. 25, cat. no. 16", "url": "https://archive.org/details/SeveranceBequest/page/n29"}, {"citation": "Francis, Henry. \"Department of Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>29, no. 9 (November 1942): 132-136", "page_number": "Reproduced: p. 134; Mentioned: p. 136", "url": "https://www.jstor.org/stable/25141016"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 20", "url": "https://archive.org/details/CMAPaintings1945/page/n28"}, {"citation": "Constable, W. G., and Henry Preston Rossiter. <em>An Exhibition of Paintings, Drawings and Prints by J.M.W. Turner, John Constable [and] R.P. Bonington. March 21 to April 28, 1946</em>. Bsoton, MA: Museum of Fine Arts, 1946.", "page_number": "Reproduced: no. 11", "url": null}, {"citation": "<em>An Exhibition of Paintings by J.M.W. Turner (1775-1851) to Commemorate the Centennial of His Death</em>. Toronto, Ontario: Art Gallery of Toronto, National Gallery of Canada, 1951.", "page_number": "Reproduced: no. 9", "url": null}, {"citation": "Berenson, Bernard. <em>Seeing and Knowing</em>. New York, NY: Macmillan, 1953.", "page_number": "Mentioned: p. 33; Reproduced: p. 48, no. 86", "url": null}, {"citation": "<em>Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner, English, 1775-1851</em>. Indianapolis, IN: Art Association of Indianapolis, 1955.", "page_number": "Reproduced: no. 38", "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. 476", "url": "https://archive.org/details/CMAHandbook1958/page/n87"}, {"citation": "Arts Council of Great Britain. <em>The Romantic Movement: Fifth Exhibition to Celebrate the Tenth Anniversary of the Council of Europe, 10 July to 27 September 1959 [at] the Tate Gallery and the Arts Council Gallery, London</em>. London, United Kingdom: Arts Council of Great Britain, 1959.", "page_number": "Reproduced: no. 353, pl. 48", "url": null}, {"citation": "Rothenstein, John, and Martin Butlin. <em>Turner</em>. New York, NY: G. Braziller, 1964.", "page_number": "Mentioned: p. 48-50, 54; Reproduced: p, 64, opl. xvii", "url": null}, {"citation": "Birren, Faber. <em>History of Color in Painting, With New Principles of Color Expression</em>. New York, NY: Reinhold Pub. Corp, 1965.", "page_number": "Reproduced: p. 261, pl. xi; Mentioned: p. 185, 260", "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. 183", "url": "https://archive.org/details/CMAHandbook1966/page/n207"}, {"citation": "Lindsay, Jack. <em>J.M.W. Turner: His Life and Work; A Critical Biography</em>. Greenwich, CT: New York Graphic Society, 1966.", "page_number": "Mentioned and reproduced: p. 178-182, 187, 204", "url": null}, {"citation": "Gowing, Lawrence. <em>Turner: Imagination and Reality</em>. New York, NY. Museum of Modern Art,1966.", "page_number": "Mentioned: p. 45,59; Reproduced: no, 10", "url": null}, {"citation": "Arnason, H. H. <em>History of Modern Art: Painting, Sculpture, Architecture</em>. New York, NY: H.N. Abrams, 1968.", "page_number": "Reproduced: p. 16, pl. 2", "url": null}, {"citation": "Gatt, Giuseppe. <em>Turner: The Life and Work of the Artist Illustrated with 80 Colour Plates</em>. London, United Kingdom: Thames &amp; Hudson, 1968.", "page_number": "Mentioned: p. 33; Reproduced: pl. 49-50", "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. 183", "url": "https://archive.org/details/CMAHandbook1969/page/n207"}, {"citation": "Graves, Algernon. <em>The British Institution, 1806-1867; A Complete Dictionary of Contributors and Their Work from the Foundation of the Institution</em>. Bath, United Kingdom: Kingsmead Reprints, 1969.", "page_number": "Reproduced: p. 545", "url": null}, {"citation": "Gage, John. <em>Color in Turner; Poetry and Truth</em>. New York. NY: Praeger, 1969.", "page_number": "Mentioned: p. 117, 252; Reproduced on dust jacket", "url": null}, {"citation": "Reynolds, Graham. <em>Turner</em>. London, United Kingdom: Thames &amp; Hudson, 1969.", "page_number": "Mentioned: p. 81, 165; Reproduced: p. 214, pl. 142", "url": null}, {"citation": "Hirsh, Diana. <em>The World of Turner, 1775-1851</em>. New York, NY: Time-Life Books, 1969.", "page_number": "Mentioned and reproduced: p. 154-155", "url": null}, {"citation": "Blunden, Maria, Godfrey Blunden, and James Emmons. <em>Impressionists and Impressionism</em>. Geneva, Switzerland : Skira; New York, NY : Distributed in the United States by World Pub. Co., 1970.", "page_number": "Reproduced: p. 98", "url": null}, {"citation": "Munro, Thomas. <em>Form and Style in the Arts: An Introduction to Aesthetic Morphology</em>. Cleveland, OH: Press of Case Western Reserve University, 1970.", "page_number": "Reproduced: pl. II", "url": null}, {"citation": "Turner, J. M. W. <em>Ta\u0304na\u0304 = Turner</em>. Tokyo, Japan: Bijutsu shuppan-sha, 1970.", "page_number": "Reproduced: p. 5", "url": null}, {"citation": "<em>L'impressionnisme</em>. Paris, France: Re\u0301alite\u0301s, 1971.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "Valsecchi, Marco. <em>Landscape Painting of the 19th Century</em>. Greenwich, CT: New York Graphic Society, 1971.", "page_number": "Reproduced: p. 371, pl. 9", "url": null}, {"citation": "Clark, Kenneth. <em>The Romantic Rebellion: Romantic Versus Classic Art</em>. London, United Kingdom: Sotheby Parke Bernet Publications Ltd., 1973.", "page_number": "Reproduced: p. 256", "url": null}, {"citation": "Philadelphia Museum of Art, and George H. Marcus. <em>Treasures of the Philadelphia Museum of Art and the John G. Johnson Collection</em>. Philadelphia, PA: The Museum, 1973.", "page_number": "Reproduced: p. 73", "url": null}, {"citation": "Centraal Museum (Utrecht, Netherlands). <em>Landschap in Utrecht: Centraal Museum Utrecht, 18 september-3 november 1974</em>. [Utrecht]: [Centraal Museum], 1974.", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "Tate Gallery. <em>Turner, 1775-1851</em>. London, United Kingdom: Tate Gallery Publications, 1974.", "page_number": "Reproduced: p. 142", "url": null}, {"citation": "Talbot, William S. \u201cJohn Constable: Branch Hill Pond, Hampstead Heath.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 3 (March 1974): 97\u2013115.", "page_number": "Mentioned and reproduced: p. 104-105, fig. 5", "url": "http://www.jstor.org/stable/25152518"}, {"citation": "Herrmann, Luke. <em>Turner: Paintings, Watercolors, Prints &amp; Drawings</em>. Boston, MA: New York Graphic Society, 1975.", "page_number": "Reproduced: p. 42, pl. 133", "url": null}, {"citation": "Selz, Jean. <em>Turner</em>. New York, NY: Crown Publishers, 1975.", "page_number": "Reproduced: p. 59", "url": null}, {"citation": "Butlin, Martin, and Evelyn Joll. <em>The Paintings of J.M.W. Turner</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art and the Tate Gallery by Yale University Press, 1977.", "page_number": "Reproduced: no. 364, vol. I and pl, 339, vol. 2", "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. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "Honour, Hugh. <em>Romanticism</em>. New York, NY: Harper &amp; Row, 1979.", "page_number": "Mentioned: p. 97; Reproduced: p. 383, fig. 51", "url": null}, {"citation": "Thomas, David. <em>J.M.W. Turner</em>. London, United Kingdom: Medici Society, 1979.", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "Wilton, Andrew. <em>J.M.W. Turner: His Art and Life</em>. New York, NY: Rizzoli, 1979.", "page_number": "Reproduced: p. 218, 364", "url": null}, {"citation": "Wilton, Andrew. <em>Turner and the Sublime</em>. London, United Kingdom: Published by British Museum Publications for the Art Gallery of Ontario, the Yale Center for British Art, the Trustees of the British Museum, 1980.", "page_number": "Reproduced: p. 97", "url": null}, {"citation": "Joll, Evelyn, Martin Butlin, and Gemma Verchi. <em>L'opera completa di Turner</em>. Milano, Italy: Rizzoli, 1982.", "page_number": "Reproduced: no. 377", "url": null}, {"citation": "Paulson, Ronald. <em>Book and Painting: Shakespeare, Milton, and the Bible : Literary Texts and the Emergence of English Painting</em>. Knoxville, TN: University of Tennessee Press, 1982.", "page_number": "Mentioned: p. 147; Reproduced: p. 149 p.", "url": null}, {"citation": "Gealt, Adelheid M. <em>Looking at Art: A Visitor's Guide to Museum Collections</em>. New York, NY: R.R. Bowker, 1983.", "page_number": "Mentioned: p. 367-368; Reproduced: pl. 10", "url": null}, {"citation": "Butlin, Martin, and Evelyn Joll. <em>The Paintings of J.M.W. Turner</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art and the Tate Gallery by Yale University Press, 1984.", "page_number": "Mentioned: p. 208, vol. 1; Reproduced: p, 210, no. 364", "url": null}, {"citation": "Solender, Katherine. <em>Dreadful Fire!: Burning of the Houses of Parliament</em>. Cleveland, OH: Cleveland Museum of Art, 1984.", "page_number": "Reproduced: no. 12", "url": null}, {"citation": "Heffernan, James A. W. <em>The Re-Creation of Landscape: A Study of Wordsworth, Coleridge, Constable, and Turner</em>. Hanover, CT: Published for Dartmouth College by University Press of New England, 1984.", "page_number": "Mentioned: p. 24; Reproduced: p. 223, fig. 43", "url": null}, {"citation": "Cleaver, Dale G. <em>Art: An Introduction</em>. San Diego, CA: Harcourt Brace Jovanovich, 1985.", "page_number": "Reproduced: p. 281, fig. 17-5", "url": null}, {"citation": "Lindsay, Jack. <em>Turner: The Man and His Art</em>. London, United Kingdom: Granada, 1985.", "page_number": "Mentioned: p. 123-125; Reproduced: pl. 15", "url": null}, {"citation": "Dorment, Richard. <em>British Painting in the Philadelphia Museum of Art: From the Seventeenth Through the Nineteenth Century</em>. Philadelphia, PA: Philadelphia Museum of Art, 1986.", "page_number": "Mentioned: p. 396,398, 401; Reproduced: fig. 111-1", "url": null}, {"citation": "Kroeber, Karl. <em>British Romantic Art</em>. Berkeley, CA: University of California Press, 1986.", "page_number": "Mentioned: p. 168, 169; Reproduced: fig. 10", "url": null}, {"citation": "Larson, Dean M. <em>Studying with the Masters: Lessons from Rubens, Vela\u0301zquez, Turner, Degas, Monet, Sargent, Matisse</em>. New York, NY: Watson-Guptill Publications, 1986.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Eitner, Lorenz. <em>An Outline of 19th Century European Painting: From David Through Ce\u0301zanne</em>. New York, NY: Harper &amp; Row, 1987.", "page_number": "Mentioned: p. 149, vol. 1; Reproduced: fig. 133", "url": null}, {"citation": "Gage, John. <em>J.M.W. Turner: A Wonderful Range of Mind</em>. New Haven, CT: Yale University Press, 1987.", "page_number": "Mentioned: p. 226; Reproduced: p. 233, no. 89, fig. 320", "url": null}, {"citation": "Kurtz, Bruce D. <em>Visual Imagination: An Introduction to Art</em>. Englewood Cliffs, NJ.: Prentice-Hall, 1987.", "page_number": "Reproduced: p. 178, fig. 7-19", "url": null}, {"citation": "Wilton, Andrew. <em>Turner in His Time</em>. New York, NY: H.N. Abrams, 1987.", "page_number": "Mentioned: p. 183-184; Reproduced: p. 206", "url": null}, {"citation": "Adams, Steven. <em>The Art of the Pre-Raphaelites</em>. Secaucus, NJ.: Chartwell Books, 1988.", "page_number": "Reproduced: p. 46", "url": null}, {"citation": "Robinson, Jeremy. <em>The Light Eternal: A Study of J.M.W. Turner</em>. London, United Kingdom: Crescent Moon, 1989.", "page_number": "Reproduced: p. 64", "url": null}, {"citation": "Ginzburg Carignani, Silvia. <em>Turner</em>. New York, NY: Arch Cape Press, 1990.", "page_number": "Reproduced: p. 17, fig. 43", "url": null}, {"citation": "Klien, Wolfgang. <em>Der Siegeszug der Landschaftsmalerei: eine Entwicklungsgeschichte der Landschaftsmalerei in Europa</em>. Hamburg, Germany: Jahn &amp; Ernst, 1990.", "page_number": "Reproduced: p. 71", "url": null}, {"citation": "Ferrier, Jean-Louis, and Sophie Monneret. <em>L'aventure de l'art au XIXe sie\u0300cle</em>. Paris. France: Hachette 1991.", "page_number": "Reproduced: p. 378", "url": null}, {"citation": "Mathes, Charles. <em>Treasures of American Museums</em>. New York, NY: Mallard Press, 1991.", "page_number": "Reproduced: p. 121, fig. 6", "url": null}, {"citation": "Meyer, Laure. <em>Les mai\u0302tres du paysage anglais: de la Renaissance a\u0300 nos jours</em>. Paris, France: Terrail, 1992.", "page_number": "Mentioned: p. 110; Reproduced: p. 112-113", "url": null}, {"citation": "Lyles, Anne. <em>Turner: the Fifth Decade: Watercolours 1830-1840</em>. London, United Kingdom: Tate Gallery, 1992.", "page_number": "Mentioned and reproduced: p. 71-73", "url": null}, {"citation": "Nagata, Yoshio. <em>Ta\u0304na\u0304 = William Turner</em>. To\u0304kyo\u0304, Japan: Asahi Shinbunsha, 1992.", "page_number": "Reproduced: pl. 50", "url": null}, {"citation": "Breuille, Jean-Philippe. <em>L'Art du XIXe sie\u0300cle: dictionnaire de peinture et de sculpture</em>. Paris, France: Larousse, 1993.", "page_number": "Reproduced: p. 719", "url": null}, {"citation": "Daniels, Stephen. <em>Fields of Vision: Landscape Imagery and National Identity in England and the United States</em>. Cambridge, United Kingdom: Polity, 1993.", "page_number": "Mentioned: p. 130, 132, 134; Reproduced: p. 136, fig. 8", "url": null}, {"citation": "Robinson, Michelle, and J. M. W. Turner. <em>J.M.W. Turner's The Burning of the Houses of Parliament, 16th October, 1834, an Allegory of Misrule</em>. [Place of publication not identified]: [publisher not identified], 1994.", "page_number": "Reproduced: p. 48", "url": null}, {"citation": "Kenner, Robert. <em>J.M.W. Turner</em>. New York, NY: H.N. Abrams, 1995.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Egerton, Judy. <em>Turner, the Fighting Temeraire</em>. London, United Kingdom: National Gallery Publications, 1995.", "page_number": "Reproduced: p. 79", "url": null}, {"citation": "Liversidge, M. J. H., and Catharine Edwards. <em>Imagining Rome: British Artists and Rome in the Nineteenth Century</em>. London, United Kingdom: Merrell Holberton, 1996.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Rosenthal, Michael. \"Turner in Australia.\" <em>Apollo: The International Magazine for Collectors</em> 144 (October 1996): 51.", "page_number": "Reproduced: p. 51", "url": null}, {"citation": "Lloyd, Michael. <em>Turner</em>. Canberra, Australia, ACT: National Gallery of Australia, 1996.", "page_number": "Mentioned: p. 87-99; Reproduced: p. 89, 231", "url": null}, {"citation": "Strasser, Rene\u0301. <em>Die Stadt als Landschaft</em>. Rorschach, Switzerland: E. Lo\u0308pfe-Benz AG, 1997.", "page_number": "Reproduced: p. 61", "url": null}, {"citation": "Suzuki, Haruo, and Chieko Hasegawa. <em>100 chefs-d'\u0153uvres du monde</em>. Tokyo, Japan: Kyuryudo, 1997.", "page_number": "Reproduced: p. 97, no. 45", "url": null}, {"citation": "Bailey, Anthony. <em>Standing in the Sun: A Life of J.M.W. Turner</em>. New York, NY: Harper Collins Publishers, 1998.", "page_number": "Mentioned: p. 288-299, 301, 333-335; Reproduced: 358-359", "url": null}, {"citation": "Rottmann, Carl, Christoph H. Heilmann, and Erika Ro\u0308diger-Diruf. <em>Landschaft als Geschichte: Carl Rottmann, 1797-1850, Hofmaler Ko\u0308nig Ludwigs I</em>. Mu\u0308nchen, Germany: Hirmer, 1998.", "page_number": "Reproduced: p. 43, pl. 9", "url": null}, {"citation": "Lammerhuber, Lois, and Alexander Smoltczyk. <em>Das Dach der Welt seine Geschichte, seine Magie, sein Gesicht und seine Sprache</em>. Baden, Germany: Ed. Lammerhuber, 1998.", "page_number": null, "url": null}, {"citation": "Marceau, Jo. <em>Art: A World History</em>. London, United Kingdom: Dorling Kindersley, 1997.", "page_number": "Reproduced: p. 462", "url": null}, {"citation": "Lambourne, Lionel. <em>Victorian Painting</em>. London, United Kingdom: Phaidon Press, 1999.", "page_number": "Mentioned: p. 22-23; Reproduced: no. 18", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art Catalogue of Paintings: Part Four;European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 213", "url": null}, {"citation": "Butlin, Martin, Luke Herrmann, and Evelyn Joll. <em>The Oxford Companion to J.M.W. Turner</em>. Oxford, United Kingdom: Oxford University Press, 2001.", "page_number": "Reproduced: pl. 21", "url": null}, {"citation": "Wilton, Andrew and Georg-W. Ko\u0308ltzsch. <em>William Turner: Licht und Farbe : eine Ausstellung in Zusammenarbeit mit Tate</em>. Ko\u0308ln, Germany: DuMont, 2001.", "page_number": "Reproduced: p. 248; Mentioned: p. 362", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 47-48; Reproduced: p. 47", "url": null}, {"citation": "Meslay, Olivier. <em> l'incendie de la peinture</em>. Paris, France: Gallimard, 2004.", "page_number": "Mentioned and reproduced: p. 98-99", "url": null}, {"citation": "Adams, Laurie. <em>A History of Western Art</em>. Boston, MA: McGraw-Hill, 2004.", "page_number": "Reproduced: p. 407, fig. 22.14", "url": null}, {"citation": "Owen, Susan Margaret. <em>Rivers and the British Landscape</em>. Lancaste, United Kingdomr: Carnegie, 2005.", "page_number": "Reproduced: p. 163", "url": null}, {"citation": "Meslay, Olivier. <em>Turner: Life and Landscape</em>. New York, NY: Harry N. Abrams, 2005.", "page_number": "Mentioned and reproduced: p. 98-99", "url": null}, {"citation": "Iacono, Margaret. <em>Masterpieces of European Painting from the Cleveland Museum of Art</em>. New York, NY: The Frick Collection, 2006", "page_number": "Mentioned: p. 70-73; Reproduced: no. 14", "url": null}, {"citation": "Gage, John. <em>Colour in Art</em>. London, United Kingdom: Thames &amp; Hudson, 2006.", "page_number": "Reproduced: p. 74, fig. 64", "url": null}, {"citation": "Channing, Laurence, \"Personal and Professional\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 10, December 2006", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2006-10/page/4"}, {"citation": "Warrell, Ian and Franklin Kelly. <em>J.M.W. Turner</em>. London, United Kingdom: Tate Publishing, 2007.", "page_number": "Reproduced: p. 184, fig. 130", "url": null}, {"citation": "Gage, John, He\u0301le\u0300ne Tronc, and Odile Me\u0301ne\u0301gaux. <em>Turner</em>. Paris, France: Citadelles &amp; Mazenod, 2010", "page_number": "Mentioned: p. 356-357; Reproduced: fig. 282, front dust jacket", "url": null}, {"citation": "Oge\u0301e, Fre\u0301de\u0301ric. <em>Turner les paysages absolus</em>. Paris, France: Hazan, 2010.", "page_number": "Mentioned and reproduced: p. 186-187", "url": null}, {"citation": "Arnason, H. Harvard, and Elizabeth Mansfield. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. Upper Saddle River, NJ: Pearson Prentice Hall, 2010.", "page_number": "Reproduced: p. 13, no. 1.15", "url": null}, {"citation": "Adams, Laurie. <em>A History of Western Art</em>. New York, NY: McGraw-Hill, 2011.", "page_number": "Reproduced: p. 411, fig. 22.15", "url": null}, {"citation": "Richter-Musso, Ines, Ortrud Westheider, James Hamilton, and Michael Philipp. <em>Turner and the Elements</em>. Munich, Germany: Hirmer, 2011.", "page_number": "Reproduced: p. 184, no. 7", "url": null}, {"citation": ".Buren, Daniel. <em>Revealed: Turner Contemporary Opens</em>. Margate, United Kingdom: Turner Contemporary, 2011.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Costello, Leo. <em>J.M.W. Turner and the Subject of History</em>. Farnham, Surrey, United Kingdom: Ashgate, 2012.", "page_number": "Reproduced: p. 95, fig. 2.17", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Mentioned and reproduced: p. 228-229", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 288", "url": ""}, {"citation": "Moyle, Franny, and J. M. W. Turner. <em>Turner: The Extraordinary Life and Momentous Times of J.M.W. Turner</em>. London : Viking, 2016.", "page_number": "Mentioned: p. 381; Reproduced: endpapers", "url": null}, {"citation": "Lapucci, Roberta &amp; Borgioli, Leonardo. \"Un inedito duplice bozetto di Joseph Mallallord William Turner.\" <em>Kermes: la rivista del restauro</em> 29, no.101/102 (Jan./June 2016).", "page_number": "Reproduced: p. 110; fig. 3", "url": null}, {"citation": "Cheshire, Lee. <em>London in Paint</em>. London, United Kingdom : Tate Publishing, 2017.", "page_number": "Mentioned & reproduced: P. 40", "url": null}, {"citation": "Sotheby's. \"Critical Reception.\" <em>Old Masters, Evening Sale</em>, July 5, 2017: 116-119.", "page_number": "Reproduced: p. 119, fig. 18", "url": null}, {"citation": "Hunter, Matthew C. \"Curve, Line, Circle, Slash, Cross: A Diagram of Liquid Intelligence.\" <em>Grey Room </em>69 (Fall 2017): 6-23.", "page_number": "Reproduced: p. 13", "url": ""}, {"citation": "\"A Bright New Welcome: The corridor in the museum's main entrance will be flooded with lights and color by Spencer Finch's<em> Color Test 2010 (9 Permutations</em>).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 58. no. 2 (March/April 2018): 30-31.", "page_number": "Reproduced: P. 31 and Mentioned: P. 30", "url": "https://archive.org/details/CMAMM2018-02/page/n15/mode/2up"}, {"citation": "Ehrlich, Linda C. \"Turning Away from the Fire: A New Look at Films of Kore-eda Hirokazu.\"<em> Framework: The Journal of Cinema and Media 60, no. 1 (Spring 2019): 116-140. <br></em>", "page_number": "Reproduced: p. 118, fig. 2", "url": null}, {"citation": "\u201cReimaging the British Galleries: Our curators preview the new look of the space.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 6 (November/December 2019): 5-7.", "page_number": "Reproduced and Mentioned: P. 5.", "url": ""}, {"citation": "Masello, David. \"Backlit: looking into Turner's light.\" <em>Fine Art Connoisseur </em>17, no. 1 (January/February 2020): 90-93.", "page_number": "Reproduced: p.92", "url": null}, {"citation": "Reynolds, Graham. <em>Turner</em>. [Place of publication not identified]: Thames &amp; Hudson, 2020.", "page_number": "Reproduced: P. 157; Mentioned: P. 156, no. 142", "url": null}, {"citation": "Faroult, Guillaume, Sophie Barthe\u0301le\u0301my, Sandra Buratti-Hasan, and Jenny Gaschke. Absolutely bizarre !: les dro\u0302les d'histoire de l'e\u0301cole de Bristol (1800-1840). 2020, 114.", "page_number": "Mentioned and reproduced: pp. 113-114, fig. 46.", "url": ""}, {"citation": "Arcangeli, Francesco, and Filippo Milani. Dal romanticismo all'informale. 2020, 183.", "page_number": "Mentioned: p. 192; reproduced: p. 183, No. 160.", "url": ""}, {"citation": "Ellcock, Stephen. <em>The Book of Change: Images to Inspire Revelations and Revolutions.</em> London: September Publishing, 2021.", "page_number": "Reproduced: p. 30Reproduced: p. 234", "url": ""}, {"citation": "Imhof, Michael, and J. M. W. Turner. William Turner: Leben und Werk. Petersberg : Michael Imhof Verlag, 2023.", "page_number": "Mentioned: p. 195; reproduced: pp. 192-193", "url": ""}, {"citation": "Hunter, Matthew C. \"The Sun is God: Turner, Angerstein, and Insurance.\" <em>Oxford Art Journal</em> 47, n. 1 (2024): 39-65.", "page_number": "Reproduced: front cover, p. 52 (fig. 8), 64 (fig. 11 detail); Mentioned: p. 51, 64", "url": ""}, {"citation": "Moorby, Nicola. <em>Turner and Constable: Art, Life, Landscape. </em>New Haven: Yale University Press, 2025.", "page_number": "Reproduced: Jacket cover", "url": ""}, {"citation": "Concannon, Amy, ed. <em>Turner &amp; Constable: Rivals and Originals. </em>London: Tate Publishing, 2025.", "page_number": "Mentioned and reproduced: p. 198-199, no. 162", "url": ""}, {"citation": "\u201cTurner versus Constable.\" <em>L\u2019Estampille, L\u2019objet d\u2019Art</em>, n. 628 (December 2025): 16.", "page_number": "Mentioned and reproduced: p. 16", "url": ""}, {"citation": "Lin, Savi. \u201cThe Eternal Dialogue Between Light and Shadow and Reality: the Rivalry Between Turner and Constable, Founders of the British Landscape Painting School.\u201d <em>Yi shu jia</em>, i. 610 (March 2026): 68-75.", "page_number": "Mentioned and reproduced: p. 74", "url": ""}], "url": "https://clevelandart.org/art/1942.647", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_web.jpg", "width": "900", "height": "668", "filesize": "241680", "filename": "1942.647_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_print.jpg", "width": "3400", "height": "2525", "filesize": "3069687", "filename": "1942.647_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.647/1942.647_full.tif", "width": "15155", "height": "11254", "filesize": "511692212", "filename": "1942.647_full.tif"}}, "alternate_images": [{"date_created": "2007-02-12T17:29:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt0_web.jpg", "width": "1205", "height": "893", "filesize": "790219"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt0_print.jpg", "width": "3400", "height": "2519", "filesize": "6049467"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt0_full.tif", "width": "5500", "height": "4075", "filesize": "67269068"}}, {"date_created": "2017-01-23T10:45:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt1_web.jpg", "width": "900", "height": "683", "filesize": "261878"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt1_print.jpg", "width": "3400", "height": "2582", "filesize": "3465872"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt1_full.tif", "width": "7594", "height": "5768", "filesize": "131435400"}}, {"date_created": "2017-01-23T10:51:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt2_web.jpg", "width": "900", "height": "679", "filesize": "224408"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt2_print.jpg", "width": "3400", "height": "2566", "filesize": "2916456"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.647/1942.647_alt2_full.tif", "width": "7681", "height": "5797", "filesize": "133608516"}}], "creditline": "Bequest of John L. Severance", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122351, "creators": [{"id": 1280, "description": "Joseph Mallord William Turner (British, 1775\u20131851)", "extent": null, "qualifier": null, "role": "artist", "biography": "Joseph Mallord William Turner, the supreme landscape painter of the romantic era, had the exceptional good fortune to be the son of a Covent Garden barber and wigmaker who thoroughly supported his aspirations to paint pictures. As an adolescent, Turner colored engravings for the print sellers and apprenticed with architectural draftsman Thomas Malton (1726-1801). Although he entered the Royal Academy Schools in 1789, Turner's substantive artistic training came from his numerous self-conducted topographical drawing tours of the British Isles in the early 1790s and from his camaraderie with Thomas Girtin (1775-1802), with whom he copied the masterworks of landscape watercolorist John Robert Cozens (1752-1799) in the collection of Dr. Thomas Monro (1759-1833). Turner submitted his first oil painting, a seascape, for exhibition at the Royal Academy in 1796 and was elected an associate member three years later, at the earliest permissible age. Devoted to the academy's lofty mission, as it had been articulated by the recently deceased Sir Joshua Reynolds (1723-1792) in his annual lectures to the students of the academy, Turner would relish his election as a full academician in 1802 and would serve as professor of perspective from 1807 until 1837. His masterpieces of the early decades (and there seems an endless succession of works with title to that distinction) were either homages to past masters of landscape painting or entirely personal interpretations of the most extraordinary range of naturalistic effects and subjects. Whether it was The Fifth Plague of Egypt (1800, Indianapolis Museum of Art) and its amalgam of allusions to Nicolas Poussin (1594-1665) and Richard Wilson (1714-1782), The Dort Packet-Boat from Rotterdam Becalmed (1818, Yale Center for British Art, New Haven), with its overt tribute to Aelbert Cuyp (1620-1691), or The Fall of an Avalanche in the Grisons (1810, Tate Gallery, London), with its unprecedented invention of horrific naturalistic detail that challenged conventional notions of the sublime in art, the net effect of Turner's achievement was to elevate landscape painting to a status within the traditional hierarchy of genres that it had rarely enjoyed since the seventeenth century. Unlike Constable (q.v.), Turner was an indefatigable traveler abroad. His first visit to Switzerland in 1802 resulted in a spectacular series of exhibition watercolors that boldly established watercolor painting as a vital medium of original expression. A tour of Belgium, the Netherlands, and the Rhine in 1817 was followed by his first protracted stay in Italy in 1819. After 1820 summer excursions to France, Germany, Switzerland, Italy, and especially Venice were almost annual occurrences. Gradually, and primarily after the 1819 Italian sojourn, Turner's palette lightened. Traditional notions of chiaroscuro, of alternating bands of light and dark earth colors, yielded to compositions orchestrated in brighter hues, in which the various colors move across the painted surface almost at will, little respecting the forms they describe but in perfect balance.\r\nDuring the 1820s and early 1830s Turner committed vast amounts of his creative capital to the production of literary and travel illustrations. These kept an entire generation of engravers employed for several decades. Despite the tendency of his era to stigmatize reproductive engraving as an inferior instrument of artistic presentation, Turner was preoccupied with its processes and potential, acutely aware that, long after his pigments had faded, his reputation would be secure in the more durable brilliance of the engraver's deftly crafted reproductions. A second trip to Italy in 1828 may partially account for the heightened coloring of Ulysses Deriding Polyphemus (1828, National Gallery, London), which John Ruskin described as a pivotal picture in Turner's career. But there was very little falling off in either technical or thematic invention during the last decades of Turner's life. In major oils like Snow Storm-Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London) and Rain, Steam and Speed (1844, National Gallery, London) and no less measure in the series of elaborately finished Swiss watercolors executed on commission at the end of his life, natural forms occupy an uncertain place between concrete reality and total dissolution by light into the colors and images of what Monet (q.v.) admiringly called the \"exuberant romanticism of Turner's fancy.\" Perspective can be intentionally distorted and the color schemes can approach the brazenly artificial, yet somehow the fundamental truth of Turner's vision, his faith in the supreme forces of nature and in the artist's preeminence as the mediator of that experience, continues to persuade.", "name_in_original_language": null, "birth_year": "1775", "death_year": "1851", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-07-24T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Burning of the Houses of Parliament, 1834"], "is_highlight": true, "updated_at": "2026-03-27 16:32:35.017000"}, {"id": 153765, "accession_number": "1987.62", "share_license_status": "CC0", "tombstone": "Commemorative figure (lefem), mid-1800s\u20131910. Probably carved by Ateu Atsa (Bangwa, c. 1840\u20131910). Wood; overall: 92.1 x 20.3 cm (36 1/4 x 8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1987.62", "current_location": "108A African", "title": "Commemorative figure (lefem)", "creation_date": "mid-1800s\u20131910", "creation_date_earliest": 1850, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["Africa, Central Africa, Cameroon, Bangwa Kingdom"], "technique": "wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 92.1 x 20.3 cm (36 1/4 x 8 in.)", "dimensions": {"overall": {"height": 0.921, "width": 0.203}}, "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": 207389, "title": "Heroic Africans: Legendary Leaders, Iconic Sculptures", "description": "<i>Heroic Africans: Legendary Leaders, Iconic Sculptures</i>. The Metropolitan Museum of Art, New York, NY (organizer) (September 21, 2011-January 29, 2012).", "opening_date": "2011-09-21T00:00:00"}, {"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"}, {"id": 287107, "title": "African Master Carvers: Known and Famous", "description": "<i>African Master Carvers: Known and Famous</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}], "legacy": [{"description": "CMA 1988: \"Year in Review 1987,\" Bulletin 75 (February 1988), p. 70, no. 180, repr. p. 60.", "opening_date": "1988-02-01T00:00:00"}, {"description": "The Metropolitan Museum of Art, NYC (October 4, 2011 - 1/29/2012): \"Heroic Africans: Legendary Leaders, Iconic Sculptures\", figure 118, p. 130.", "opening_date": "2012-01-29T00:00:00"}, {"description": "The Cleveland Museum of Art (3/26/2017-7/16/2017); \u201cAfrican Master Carvers: Known and Famous\u201d.", "opening_date": "2017-03-26T00:00:00"}, {"description": "<em>African Art: Recent Acquisitions</em>. Pace Primitive and Ancient Art. New York, NY (October 24\u2013December 6, 1986).", "opening_date": "1986-12-06T00:00:00"}]}, "provenance": [{"description": "probably Ateu Atsa, Cameroon", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Charles Ratton, Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Pace Primitive and Ancient Art, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Cleveland Museum of Art by purchase 1987", "citations": [], "footnotes": null, "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ateu Atsa was both a famous and infamous artist! It is said that he enraged a ruler by portraying him realistically rather than in an idealized way, and was chased out of town after the sculpture was revealed.", "description": "Adorned with royal attire consisting of a cap, beaded necklace, folded loincloth, and drinking horn, this figure was carved as a commemorative portrait of a historical king or high dignitary. It was kept by a secret association called <em>Lefem,</em> whose members gathered weekly in a sacred space in the forest to discuss matters related to the welfare of the kingdom. Standing in a royal shrine, the figure witnessed sacrifices made to the skulls of the chief\u2019s ancestors. Meant to safeguard the kingdom and protect the fecundity of its inhabitants, it was also exhibited during funerals and royal ceremonies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79940023"], "internet_archive": ["https://archive.org/details/clevelandart-1987.62-commemorative-figure"]}, "citations": [{"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 30, p. 90 - 91", "url": ""}, {"citation": "Lintig, Bettina von. 2014. \u201cA Grasslands Beaded Leopard Skin.\u201d <em>Tribal Art: Quarterly Journal of the Art Culture and History of Traditional Peoples and New World Civilizations</em> 18 (3) No. 72 Summer 2014 Pp 108-117.", "page_number": "", "url": ""}, {"citation": "New Orleans Museum of Art, Museum of Fine Arts, Houston, Field Museum of Natural History, American Museum of Natural History, Smithsonian Institution Traveling Exhibition Service, and National Museum of Natural History (U.S.). 1984. <em>The Art of Cameroon</em>. Washington, D.C: Smithsonian Institution Traveling Exhibition Service, cat. no. 7, pp. 86-87.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, and Henry John Drewal. 1989. <em>African Art : A Brief Guide to the Collection : The Cleveland Museum of Art</em>. Cleveland: Museum, fig. 18.", "page_number": "", "url": ""}, {"citation": "CMA Handbook, 1991b, p. 143.", "page_number": "", "url": ""}, {"citation": "LaGamma, Alisa, Metropolitan Museum of Art (New York, N.Y.), and Museum Rietberg. 2011. <em>Heroic Africans : Legendary Leaders, Iconic Sculptures</em>. New York, New Haven Conn: Metropolitan Museum of Art ; Distributed by Yale University Press, fig. 18, p. 130.", "page_number": "", "url": ""}, {"citation": "Turner, Evan H. \u201cThe Year in Review for 1987.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 2 (February 1988): 30\u201371.", "page_number": "Reproduced: p. 60; Mentioned: p. 70, no. 180", "url": "http://www.jstor.org/stable/25160017"}, {"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. 33", "url": ""}, {"citation": "Lintig, Bettina von. \"From Fontem to Berlin: The Long Journey of a Bangwa Lefem Staff.\" Tribal Art 19, no. 3 (Summer 2015): 130-135.", "page_number": "Reproduced: p. 130, fig. 1", "url": null}], "url": "https://clevelandart.org/art/1987.62", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.62/1987.62_web.jpg", "width": "582", "height": "893", "filesize": "265074", "filename": "1987.62_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.62/1987.62_print.jpg", "width": "2216", "height": "3400", "filesize": "3760193", "filename": "1987.62_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.62/1987.62_full.tif", "width": "5150", "height": "7900", "filesize": "122087324", "filename": "1987.62_full.tif"}}, "alternate_images": [{"date_created": "2012-02-16T11:37:18.008000", 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H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153765, "creators": [{"id": 49917, "description": "Ateu Atsa (Bangwa, c. 1840\u20131910)", "extent": "carved by", "qualifier": "probably carved by", "role": "carver", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "mid-1800s\u20131910", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:11.098000"}, {"id": 135336, "accession_number": "1958.34", "share_license_status": "CC0", "tombstone": "Berthe Morisot with a Muff, c. 1871\u201372. \u00c9douard Manet (French, 1832\u20131883). Oil on canvas; framed: 91.1 x 76.5 x 7.3 cm (35 7/8 x 30 1/8 x 2 7/8 in.); unframed: 74 x 60 cm (29 1/8 x 23 5/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.34", "current_location": "004 Special Exhibition Gallery", "title": "Berthe Morisot with a Muff", "creation_date": "c. 1871\u201372", "creation_date_earliest": 1871, "creation_date_latest": 1872, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 91.1 x 76.5 x 7.3 cm (35 7/8 x 30 1/8 x 2 7/8 in.); Unframed: 74 x 60 cm (29 1/8 x 23 5/8 in.)", "dimensions": {"framed": {"height": 0.911, "width": 0.765, "depth": 0.073}, "unframed": {"height": 0.74, "width": 0.6}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 343605, "title": "\u00c9douard Manet", "description": "<i>\u00c9douard Manet</i>. Philadelphia Museum of Art (organizer) (November 3-December 11, 1966); The Art Institute of Chicago (January 13-February 19, 1967).", "opening_date": "1966-11-03T05:00:00"}, {"id": 343611, "title": "Manet", "description": "<i>Manet</i>. Nationalmuseum, Stockholm, Sweden (organizer) (February 7-May 12, 1985).", "opening_date": "1985-02-07T05:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Baltimore Museum of Art (organizer) (October 10, 1999-January 30, 2000); Museum of Fine Arts, Houston (March 25-May 7, 2000); The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 222877, "title": "An Intimate Vision--Women Impressionsts:  Bracquemond, Cassatt, Gonzal\u00e8s, and Morisot", "description": "<i>An Intimate Vision--Women Impressionsts:  Bracquemond, Cassatt, Gonzal\u00e8s, and Morisot</i>. Museo de Bellas Artes, Bilbao, 48011 Bilbao, Spain (organizer) (November 12, 2001-February 3, 2002).", "opening_date": "2001-11-12T00:00:00"}, {"id": 220881, "title": "R\u00e9trospective Berthe Morisot (1841-1895)", "description": "<i>R\u00e9trospective Berthe Morisot (1841-1895)</i>. Palais des Beaux Arts de Lille, Lille, France (organizer) (March 8-June 9, 2002).", "opening_date": "2002-03-08T00:00:00"}, {"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": 222514, "title": "Manet: Portraying Life", "description": "<i>Manet: Portraying Life</i>. The Toledo Museum of Art, Toledo, OH (October 4, 2012-January 1, 2013); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (January 26-April 14, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 214137, "title": "Degas, Impressionism & the Paris Millinery Trade", "description": "<i>Degas, Impressionism & the Paris Millinery Trade</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (February 12-May 7, 2017); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (June 24-September 24, 2017).", "opening_date": "2017-02-12T00:00:00"}, {"id": 295866, "title": "Edouard Manet", "description": "<i>Edouard Manet</i>. Von der Heydt-Museum, Wuppertal, Germany (organizer) (October 24, 2017-February 25, 2018).", "opening_date": "2017-10-24T04:00:00"}, {"id": 315395, "title": "The Impressionists and Photography", "description": "<i>The Impressionists and Photography</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (October 15, 2019-January 26, 2020).", "opening_date": "2019-10-15T04:00:00"}, {"id": 455282, "title": "Manet: A Model Family", "description": "<i>Manet: A Model Family</i>. Isabella Stewart Gardner Museum, Boston, MA (organizer) (October 10, 2024-January 20, 2025) https://www.gardnermuseum.org/calendar/manet-model-family.", "opening_date": "2024-10-10T04:00:00"}, {"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (October 11, 2025-February 15, 2026) https://www.famsf.org/exhibitions/manet-morisot; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": [{"description": "manchon, pr\u00eat\u00e9 par M. Balsan, Paris, France.", "opening_date": null}, {"description": "<em>Exposition d'art fran\u00e7ais du XIXe si\u00e8cle</em>. Galeries Paul Rosenberg, Paris, France (1917).", "opening_date": "1917-01-01T00:00:00"}, {"description": "<em>Le d\u00e9cor de la vie sous le Second Empire.</em> Pavillon de Marsan, Palais du Louvre, Paris, France (1922).", "opening_date": "1922-01-01T00:00:00"}, {"description": "<em>Exposition d'oeuvres de Manet.</em>Galerie Bernheim-Jeune, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Quelques oeuvres importantes de Manet \u00e0 Van Gogh</em>. Galerie Durand-Ruel, Paris, France. (1932).", "opening_date": "1932-01-01T00:00:00"}, {"description": "<em>Exposition Manet 1832-1883</em>. Mus\u00e9e de l'Orangerie, Paris, France (1932).", "opening_date": "1932-01-01T00:00:00"}, {"description": "<em>L'impressionnisme.</em> Palais des Beaux-Arts, Brussels, Belgium (1935).", "opening_date": "1935-01-01T00:00:00"}, {"description": "<em>Exhibition of Masters of French Nineteenth Century Painting</em>. New Burlington Galleries, London, United Kingdom (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "Amsterdam, Stedelijk Museum. Honderd Jaar Fransche Kunst. Stedelijk Museum, Amsterdam, Netherlands (1938).", "opening_date": "1938-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Manet.</em> Wildenstein, New York, NY (1948).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>Summer Loan: group of fourteen Hanna paintings</em>. Metropolitan Museum of Art, New York, NY (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}]}, "provenance": [{"description": "Artist's studio inventory, Paris, France, 1884", "citations": [], "footnotes": [], "date": "1884", "sortorder": 2}, {"description": "(Drouot, Paris, France, February, 1884, Artist's estate sale, sold back to Mrs. Manet)", "citations": [], "footnotes": [], "date": "1884", "sortorder": 3}, {"description": "Mrs. Edouard Manet [1829-1906], Paris, France", "citations": [], "footnotes": [], "date": "1884-1910", "sortorder": 4}, {"description": "August Pellerin [1853-1929], Paris, France", "citations": [], "footnotes": [], "date": "1910", "sortorder": 5}, {"description": "Jules Strauss [1863-1943], Paris, France", "citations": [], "footnotes": null, "date": "1912", "sortorder": 6}, {"description": "(Georges Petit, Paris, France, December 1932, lot 48, sold to Turner", "citations": [], "footnotes": null, "date": "1932", "sortorder": 7}, {"description": "Turner, London, United Kingdom", "citations": [], "footnotes": null, "date": "1932-1935", "sortorder": 8}, {"description": "Jacques Balsan [1868-1956], Paris, France", "citations": [], "footnotes": null, "date": "1935-1947", "sortorder": 9}, {"description": "Mrs. Jules Balsan [1877-1964], New York, NY, November 1947, consigned to  Knoedler & Co. for sale", "citations": [], "footnotes": null, "date": "1935", "sortorder": 10}, {"description": "(Knoedler & Co., New York, NY, November 1947, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": null, "date": "1947", "sortorder": 11}, {"description": "Leonard C. Hanna, Jr. [1898-1957], Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1947-1958", "sortorder": 12}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 13}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Manet kept this portrait of Morisot throughout his life, and it was listed in the inventory of his studio after his death.", "description": "This is one of two portraits Manet painted of Morisot dressed for winter in a heavy coat and feathered hat. (See <em>Berthe Morisot with a Half Veil</em>, also in this gallery.) Manet\u2019s wide brushstrokes and crosshatchings, which describe areas of shadow, evoke the sketchy quality of Morisot\u2019s own paintings, likely Manet\u2019s nod to his subject\u2019s identity as an artist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465125"], "internet_archive": ["https://archive.org/details/clevelandart-1958.34-berthe-morisot"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Duret, The\u0301odore, and J. E. Crawford Flitch.<em> Manet and the French Impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Ce\u0301zanne--Guillaumin.</em> London: G. Richards; Philadelphia: J.B. Lippincott Company, 1910.", "page_number": "Mentioned: p. 226, no. 111", "url": null}, {"citation": "Meier-Graefe, Julius. <em>Edouard Manet</em>. Mu\u0308nchen: Piper, 1912.", "page_number": "Reproduced: pl. 93", "url": null}, {"citation": "Blanche, Jacques-E\u0301mile, and Frederick C. de Sumichrast. <em>Manet</em>. New York: Dodd, Mead, 1925.", "page_number": "Reproduced: pl. 22", "url": null}, {"citation": "Duret, The\u0301odore. <em>Histoire de E\u0301douard Manet et de Son Oeuvre: Avec un Catalogue des Peintures et des Pastels</em>. Paris: Bernheim-Jeune, 1926.", "page_number": "Mentioned: p. 250, no. 111", "url": null}, {"citation": "Moreau-Ne\u0301laton, Etienne. Manet: Raconte\u0301 par Lui-me\u0302me. Paris: H. Laurens, 1926.", "page_number": "Mentioned: vol. 1, p. 109; reproduced: vol. 1, fig. 119", "url": null}, {"citation": "Manet, E\u0301douard. <em>E. Manet: 24 Phototypies: notice de Florent Fels.</em> Paris: Librairie de France, 1928.", "page_number": "Reproduced: pl. 12", "url": null}, {"citation": "Tabarant, A. <em>Manet: Histoire Catalographique</em>. Paris: E\u0301d. Montaigne, 1931.", "page_number": "Mentioned: p. 192, no. 140", "url": null}, {"citation": "Colin, Paul. <em>E\u0301douard Manet</em>. Paris: Floury, 1932.", "page_number": "Reproduced: pl. XXXII", "url": null}, {"citation": "Jamot, Paul, and Georges Wildenstein. <em>Manet.</em> Paris: Les Beaux-arts, e\u0301dition d'e\u0301tudes et de documents, 1932.", "page_number": "Mentioned: vol. 1, p. 137, no. 154; reproduced: vol. 2, p. 65, fig. 152", "url": null}, {"citation": "\"Collection Jules Strauss.\" L'Art et les Artistes 26, no. 131 (November 1932): 71.", "page_number": "Reproduced: p. 71", "url": null}, {"citation": "Bataille, Marie-Louise. \"Die Auktion Jules Strauss.\" <em>Kunst und ku\u0308nstler </em>32 (1933): 74-75.", "page_number": "Mentioned and reproduced: p. 74-75", "url": null}, {"citation": "Duret, The\u0301odore, and John Ernest Crawford Flitch. <em>Manet.</em> New York: Crown Publishers, 1937.", "page_number": "Reproduced: pl. 42", "url": null}, {"citation": "Laver, James, Michel Sevier, and Alfred Flechtheim. <em>French Painting and the Nineteenth Century.</em> New York: Scribner's, 1937.", "page_number": "Mentioned and reproduced: p. 64, no. 64", "url": null}, {"citation": "Duca, Lo. \"L'Art Francese in the Mostre.\"<em> Emporium</em> 86 (1937): 517-540.", "page_number": "Reproduced: p. 533", "url": null}, {"citation": "Jedlicka, Gotthard.<em> E\u0301douard Manet. Mit 145 abbildungen</em>. Erlenbach-Zu\u0308rich: E. Rentsch, 1941.", "page_number": "Reproduced: opp. p. 132", "url": null}, {"citation": "Florisoone, Michel. <em>Manet.</em> Monaco: Documents d'art, 1947.", "page_number": "Mentioned: p. XXV", "url": null}, {"citation": "Tabarant, A. <em>Manet et Ses Oeuvres</em>. [Paris]: Gallimard, 1947.", "page_number": "Reproduced: p. 144; mentioned: p.157-158", "url": null}, {"citation": "Louchheim, Aline B. \"Private Collectors: On Loan at the Metropolitan.\" <em>The New York Times </em>(July 17, 1949): 6x.", "page_number": "Reproduced: p. 6x", "url": null}, {"citation": "Venturi, Lionello. <em>Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec.</em> New York: Scribner, 1950.", "page_number": "Mentioned: p. 18; reproduced: fig. 9", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 15", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr</em>. Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 18", "url": null}, {"citation": "Frankfurter, Alfred M. \u201cCleveland: Model Museum for a Modern Cosmopolis.\u201d <em>ARTnews</em> 57 (March 1958): 24\u201337.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>Art Quarterly</em> 21, no. 1 (Spring 1958): 83-104.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "\u201cAnnual Report of the Year 1958.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 46, no. 6 (June 1959): 111\u2013158.", "page_number": "Mentioned: p. 122", "url": "http://www.jstor.org/stable/25142346"}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. [Cleveland]: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: cat. no. 87", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u201388.", "page_number": "Reproduced: p. 484", "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. 172", "url": "https://archive.org/details/CMAHandbook1966/page/n196"}, {"citation": "Philadelphia Museum of Art, and Anne Coffin Hanson. <em>E\u0301douard Manet, 1832-1883. [Exhibition] Philadelphia Museum of Art, November 3-December 11, 1966; the Art Institute of Chicago, January 13-February 19, 1967</em>. 1966.", "page_number": "Mentioned and Reproduced: cat. no. 105, p. 121, 123", "url": null}, {"citation": "Aymar, Gordon Christian. <em>The Art of Portrait Painting; Portraits Through the Centuries As Seen Through the Eyes of a Practicing Portrait Painter.</em> Philadelphia: Chilton Book Co, 1967.", "page_number": "Mentioned and reproduced: p. 206, pl. 100", "url": null}, {"citation": "Orienti,Sandra, and Marcello Venturi. <em>L'Opera Pittorica di Edouard Manet</em>. Milano: Rizzoli, 1967.", "page_number": "Mentioned and reproduced: p. 98, no. 124", "url": null}, {"citation": "Neugass, Fritz. \"Manet-Ausstellung in den USA.\" <em>Die Weltkunst. The World-art Review </em>37 (15 January 1967): 50-51.", "page_number": "Mentioned: p. 51", "url": null}, {"citation": "Neilson, Winthrop, and Frances Fullerton Neilson. <em>Seven Women: Great Painters</em>. Philadelphia: Chilton Book Co, 1968.", "page_number": "Mentioned: p. 59-60; reproduced: pl. 8", "url": null}, {"citation": "Bodelsen, Merete (Christensen). \u201cEarly Impressionist Sales 1874-94 in the Light of Some Unpublished \u2018Proc\u00e8s-Verbaux.\u2019\u201d <em>Burlington Magazine</em> 110 (February 1968): 330\u201349.", "page_number": "Reproduced: p. 343", "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. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "Hess, Thomas B., and Linda Nochlin. \"Woman as Sex Object.\" <em>ARTnews Annual</em> 38 (1972): 84.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "Rouart, Denis, and Daniel Wildenstein. <em>E\u0301douard Manet: Catalogue Raisonne\u0301</em>. Lausanne: Bibliothe\u0300que des arts, 1975.", "page_number": "Mentioned and reproduced: vol. 1, p. 128-129, no. 138", "url": null}, {"citation": "Hanson, Anne Coffin. <em>Manet and the Modern Tradition.</em> New Haven: Yale University Press, 1977.", "page_number": "Reproduced: pl. 43", "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. 211", "url": "https://archive.org/details/CMAHandbook1978/page/n231"}, {"citation": "Monneret, Sophie. <em>L'Impressionnisme et Son Epoque: Dictionnaire International Illustre\u0301</em>. Paris: Denoe\u0308l, 1978.", "page_number": "Mentioned: vol. 2, p. 19", "url": null}, {"citation": "Wentworth, Michael. <em>James Tissot: Catalogue Raisonne\u0301 of His Prints</em>. <br>Minneapolis, Minn.: Minneapolis Institute of Arts,1978.", "page_number": "Reproduced: p. 145, fig. 31e", "url": null}, {"citation": "Holten, Ragnar von, and E\u0301douard Manet. <em>Manet i na\u0308rbild</em>. Stockholm: Nationalmuseum, 1985.", "page_number": "Mentioned and Reproduced: cat. no. 63, p. 92", "url": null}, {"citation": "Keller, Horst. <em>Edouard Manet</em>. Mu\u0308nchen: Bruckmann, 1989.", "page_number": "Reproduced: p. 99, no. 73; mentioned: p. 173, no. 73", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Manet.</em> [Paris]: Che\u0302ne, 1990.", "page_number": "Reproduced: p. 151, no. 3", "url": null}, {"citation": "Higonnet, Anne. <em>Berthe Moriso</em>t. New York, N.Y.: Harper &amp; Row, 1990.", "page_number": "Reproduced: pl. 8", "url": null}, {"citation": "Opfell, Olga S. <em>Special Visions: Profiles of Fifteen Women Artists from the Renaissance to the Present Day</em>. Jefferson, N.C.: McFarland, 1991.", "page_number": "Reproduced: p. 71", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West</em>. New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned and reproduced: p. 151", "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": "Mentioned and reproduced: p. 140", "url": null}, {"citation": "Brombert, Beth Archer.<em> Edouard Manet: Rebel in a Frock Coat.</em> Boston: Little, Brown, 1996.", "page_number": "Mentioned: p. 264; reproduced: fig. 28", "url": null}, {"citation": "Ko\u0308rner, Hans. <em>Edouard Manet: Dandy, Flaneur, Maler.</em> Mu\u0308nchen: W. Fink, 1996.", "page_number": "Reproduced: p. 136, fig. 104", "url": null}, {"citation": "Shennan, Margaret. <em>Berthe Morisot, the First Lady of Impressionism</em>. Thrupp, Stroud, Gloucestershire: Sutton Pub, 1996.", "page_number": "Mentioned: p. 90", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Mentioned and Reproduced: p. 96-97", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del Impresionismo.</em> Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Mentioned and reproduced: p. 96-97", "url": null}, {"citation": "Johnston, Sona.<em> Faces of Impressionism: Portraits from American Collections</em>. New York, NY : Rizzoli, 1999.", "page_number": "Reproduced: p. 169, cat. no. 35", "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. 2, p. 408-410, no. 141", "url": null}, {"citation": "Johnston, Sona, Susan Bollendorf, and John House.<em> Faces of Impressionism: Portraits from American Collections. </em>[Baltimore, Md.]: Baltimore Museum of Art in association with Rizzoli International, 1999.", "page_number": "Mentioned and reproduced: p. 108-109, no. 35", "url": null}, {"citation": "Bray, Xavier, Bill Scott, and Juliet Wilson-Bareau. <em>Mujeres impresionistas: la otra mirada : Sala BBK, 12 de novembre de 2001-3 de febrero de 2002</em>. [Bilbao]: Museo de Bellas Artes de Bilbao, 2001.", "page_number": "Mentioned and Reproduced: cat. no. 3, p. 58-59", "url": null}, {"citation": "Bray, Xavier, Bill Scott, and Juliet Wilson-Bareau. <em>Mujeres Impresionistas: la Otra Mirada : Sala BBK, 12 de novembre de 2001-3 de febrero de 2002. </em>[Bilbao]: Museo de Bellas Artes de Bilbao, 2001.", "page_number": "Mentioned and reproduced: p. 58-59, no. 3", "url": null}, {"citation": "Locke, Nancy. <em>Manet and the Family Romance.</em> Princeton, N.J.: Princeton University Press, 2001.", "page_number": "Mentioned: p. 148; Reproduced: p. 151, fig. 79", "url": ""}, {"citation": "Morisot, Berthe. <em>Berthe Morisot, 1841-1895: Lille, Palais des beaux-arts, 10 mars-9 juin 2002, Martigny, Fondation Pierre Gianadda, 20 juin-19 novembre 2002</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2002.", "page_number": "Mentioned: cat. no. 162, p. 454-455", "url": null}, {"citation": "<em>Berthe Morisot, 1841-1895: Lille, Palais des beaux-arts, 10 mars-9 juin 2002, Martigny, Fondation Pierre Gianadda, 20 juin-19 novembre 2002</em>. Paris: Re\u0301union des muse\u0301es nationaux, 2002.", "page_number": "Mentioned and reproduced: p. 454-455, no. 162", "url": null}, {"citation": "Stevens, Mary Anne. <em>Manet, Portraying Life</em>. Toledo: Toledo Museum of Art; London: Royal Academy of Arts; New York: Distributed in the United States and Canada by Harry N. Abrams, Inc., 2012.", "page_number": "Reproduced: p. 101, no. 19", "url": null}, {"citation": "Kelly, Simon, and Esther Bell. <em>Degas, Impressionism, and the Paris Millinery Trade.</em> San Francisco, CA: Fine Arts Museums of San Francisco-Legion of Honor ; Munic ; DelMonico Books, an imprint of Prestel, a member of Verlagsgruppe Random House GmbH, 2017.", "page_number": "Reproduced: p. 150-151, no. 29", "url": null}, {"citation": "Conzen, Ina. \"Die Flaneuse - Manets Bilder von Frauen.\" In <em>Edouard Manet. </em>Gerhard Finckh, ed., 41-49. Wuppertal: Von der Heydt-Museum, 2017.", "page_number": "Reproduced: p. 45, 211", "url": null}, {"citation": "Diana Greenwald, ed. <em>Manet: A Model Family, </em>Boston, Princeton: Isabella Stewart Gardner Museum; in association with Princeton University Press, 2024.", "page_number": "Mentioned and reproduced: p. 182-185", "url": ""}, {"citation": "Beeny, Emily A. \"Manet &amp; Morisot.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 11-71. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 53; Reproduced: p. 98, no. 21", "url": ""}, {"citation": "Patry, Sylvie. \"\"Marisot\" in 1874.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 11-71. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 193-194; Reproduced: p. 98, no. 21", "url": ""}, {"citation": "Pludermacher, Isolde. \"An Enigma in Painting: Manet's Portraits of Morisot.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 167-181. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 168-168, 171; Reproduced: p. 98, no. 21", "url": ""}, {"citation": "Brown, Heather Lemonedes. \"A Spring Exhibition Preview: Manet &amp; Monet.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 65, no. 4 (2025): 8.", "page_number": "Reproduced and Mentioned: p. 8", "url": "https://archive.org/details/CMAMM-2025-04"}], "url": "https://clevelandart.org/art/1958.34", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.34/1958.34_web.jpg", "width": "726", "height": "900", "filesize": "251668", "filename": "1958.34_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.34/1958.34_print.jpg", "width": "2744", "height": "3400", "filesize": "4392059", "filename": "1958.34_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.34/1958.34_full.tif", "width": "11668", "height": "14455", "filesize": "506012684", "filename": "1958.34_full.tif"}}, "alternate_images": [{"date_created": "2006-04-06T16:22:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.34/1958.34_alt0_web.jpg", "width": "720", "height": "893", "filesize": "456987"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.34/1958.34_alt0_print.jpg", "width": "2741", "height": "3400", "filesize": "7138709"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.34/1958.34_alt0_full.tif", "width": "4031", "height": "5000", "filesize": "60495924"}}, {"date_created": "2017-10-04T13:20:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.34/1958.34_alt1_web.jpg", "width": "675", "height": "900", "filesize": "261293"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.34/1958.34_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "4259848"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.34/1958.34_alt1_full.tif", "width": "12000", "height": "16000", "filesize": "576029560"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 135336, "creators": [{"id": 1796, "description": "\u00c9douard Manet (French, 1832\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1871, "date_added_to_oa": null, "date_text": "c. 1871\u201372", "collapse_artists": false, "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": "2026-04-09 17:32:05.252000"}, {"id": 135185, "accession_number": "1958.21", "share_license_status": "CC0", "tombstone": "Mount Sainte-Victoire, c. 1904. Paul Cezanne (French, 1839\u20131906). Oil on fabric; framed: 87.5 x 106.5 x 7 cm (34 7/16 x 41 15/16 x 2 3/4 in.); unframed: 72.2 x 92.4 cm (28 7/16 x 36 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.21", "current_location": "222 Impressionism & Post-Impressionism", "title": "Mount Sainte-Victoire", "creation_date": "c. 1904", "creation_date_earliest": 1899, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["France, late 19th-early 20th Century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.5 x 106.5 x 7 cm (34 7/16 x 41 15/16 x 2 3/4 in.); Unframed: 72.2 x 92.4 cm (28 7/16 x 36 3/8 in.)", "dimensions": {"framed": {"height": 0.875, "width": 1.065, "depth": 0.07}, "unframed": {"height": 0.722, "width": 0.924}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338935, "title": "Loan Exhibition: Cezanne", "description": "<i>Loan Exhibition: Cezanne</i>. Wildenstein & Co. (organizer) (November 5-December 5, 1959).", "opening_date": "1959-11-05T05:00:00"}, {"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 300763, "title": "Years of Ferment: The Birth of Twentieth-century Art", "description": "<i>Years of Ferment: The Birth of Twentieth-century Art</i>. Frederick S. Wight Art Gallery, UCLA, Los Angeles, CA (January 24-March 7, 1965); San Francisco Museum of Modern Art, San Francisco, CA (March 28-May 16, 1965); The Cleveland Museum of Art, Cleveland, OH (July 14-August 22, 1965).", "opening_date": "1965-01-24T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 338921, "title": "C\u00e9zanne: The Late Work", "description": "<i>C\u00e9zanne: The Late Work</i>. The Museum of Modern Art (organizer) (October 7, 1977-January 3, 1978).", "opening_date": "1977-10-07T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 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": 338916, "title": "Sainte-Victoire, C\u00e9zanne 1990", "description": "<i>Sainte-Victoire, C\u00e9zanne 1990</i>. Mus\u00e9e Granet, 13100 Aix-en-Provence, France (organizer) (June 15-September 2, 1990).", "opening_date": "1990-06-15T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 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": 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); Mus\u00e9e Granet, 13100 Aix-en-Provence, France (June 5-September 15, 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>. 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": 220355, "title": "C\u00e9zanne Site/Non-Site", "description": "<i>C\u00e9zanne Site/Non-Site</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (February 4-May 18, 2014).", "opening_date": "2014-02-04T00:00:00"}], "legacy": [{"description": "<em>Franz\u00f6sische Kunst des XIX. und XX</em>. Jahrhunderts. Z\u00fcrich Kunsthaus, Zurich, Switzerland (1917),", "opening_date": "1917-01-01T00:00:00"}, {"description": "<em>Obecn\u00ed d\u00ffm. French Art of the 19th-20th Centuries</em>. Galerie Barbazanges.Prague,Czechoslovakia (1923).", "opening_date": "1923-01-01T00:00:00"}, {"description": "<em>Important Pictures by Nineteenth Century French Masters</em>. Lef\u00e8vre Galleries, London, United Kingdom (1924),", "opening_date": "1924-01-01T00:00:00"}, {"description": "<em>Exhibition of French Paintings by C\u00e9zanne, Matisse, Derain, Utrillo, Pascin, Marie Laurencin, and Van Dongen.</em> Reinhardt Galleries, New York, NY (1926).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>Four Paintings by C\u00e9zanne</em>. Valentine Gallery, New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Loan Exhibition of Paintings by C\u00e9zanne</em>. Paul Rosenberg, New York, NY (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of C\u00e9zanne</em>. Wildenstein Gallery, New York, NY (1947).", "opening_date": "1947-01-01T00:00:00"}, {"description": "<em>The Post-Impressionists and Their Followers. </em>Society of Four Arts, Palm Beach, FL (1949).", "opening_date": "1949-01-01T00:00:00"}, {"description": "Yale University Art Gallery. New Haven, CT (1950),", "opening_date": "1950-01-01T00:00:00"}, {"description": "<em>Exposition pour comm\u00e9morer le cinquantenaire de la mort de C\u00e9zanne</em>. Pavillon de Vend\u00f4me, Aix-en-Provence, France (1956).", "opening_date": "1956-01-01T00:00:00"}, {"description": "<em>Paul C\u00e9zanne 1839-1906</em>. Haus der Kunst, Munich, Germany (1956).", "opening_date": "1956-01-01T00:00:00"}]}, "provenance": [{"description": "Ambroise Vollard [1866-1939] Paris, France (Vollard archive photograph no. 367).", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Dr. G. Schweitzer, Berlin Germany", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "August Pellerin [1853-1929], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Alphonse Kann [1870-1948] Saint-Germain-en Laye, Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Galerie Barbazanges, Paris France)", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "(Reinhardt Galleries, New York, NY)", "citations": [], "footnotes": null, "date": "1926", "sortorder": 6}, {"description": "(The Valentine Galleries, New York, NY, February 20, 1939 sold to Leonard C. Hanna Jr.)", "citations": [], "footnotes": null, "date": "1939", "sortorder": 7}, {"description": "Leonard C. Hanna Jr [1889-1957] Cleveland, OH", "citations": [], "footnotes": null, "date": "1939-1957", "sortorder": 8}, {"description": "Leonard C. Hanna [1889-1957] Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1958", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1637.43"], "did_you_know": "Cezanne created 36 paintings and 45 watercolors of Mount Sainte-Victoire. He was preoccupied with this subject and painted this mountain repeatedly until his death.", "description": "During the last 20 years of his life, Cezanne repeatedly painted Mount Sainte-Victoire near his home in Aix-en-Provence in southern France. Cezanne painted this view from life at one of his favorite sites, a small road that led from Aix eastward toward Mount Sainte-Victoire. He set up his easel at the edge of the road where he could see two umbrella pines and the mountain towering over the scene. A branch of one of the pines extends from the left of the canvas across the sky, echoing the slope of the mountain, linking the near and the far.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60517723"], "internet_archive": ["https://archive.org/details/clevelandart-1958.21-mount-sainte-victoir"]}, "citations": [{"citation": "Wedderkop, Hans von. <em>Paul Ce\u0301zanne</em>. Leipzig: Klinkhardt &amp; Biermann, 1922.", "page_number": "Reproduced: unpaginated", "url": null}, {"citation": "Wedderkop, Hans von. \"Paul Cezanne.\" <em>Der Cicerone </em>14, pt. 2 (1922): 681-692.", "page_number": "Reproduced: p; 684", "url": null}, {"citation": "Rivie\u0300re, Georges. <em>Le Mai\u0302tre Paul Ce\u0301zan</em>ne. Paris: H. Floury, 1923.", "page_number": "Mentioned: p. 211", "url": null}, {"citation": "<em>ARTnews</em> 25 (November 27, 1926): 9.", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "Venturi, Lionello. <em>Ce\u0301zanne, Son Art, Son Oeuvre; 1,600 illustrations.</em> Paris: P. Rosenberg, 1936.", "page_number": "Mentioned: v. 1, no. 666; reproduced: v. 2, fig. 666", "url": null}, {"citation": "Rewald, John. <em>Cezanne et Zola</em>. Paris: A. Sedrowski, 1936.", "page_number": "Reproduced: fig. 74", "url": null}, {"citation": "Novotny, Fritz. <em>Ce\u0301zanne und das Ende der wissenschaftlichen Perspektive</em>. Wien: A. Schroll, 1938.", "page_number": "Mentioned: p. 194; reproduced: abb. 1", "url": null}, {"citation": "\u201cC\u00e9zanne, Fighter for Freedom.\u201d <em>ARTnews</em> 41 (November 15, 1942): 16\u201319.", "page_number": "Reproduced: p. 18", "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. 99", "url": null}, {"citation": "Rewald, John. \u201cAs C\u00e9zanne Recreated Nature; Camera Record.\u201d <em>ARTnews</em> 43 (February 15, 1944): 9\u201313.", "page_number": "Reproduced: p. 10", "url": null}, {"citation": "\u201cMountain in Provence.\u201d <em>Time</em> 64, no. 2 (July 12, 1954): 75.", "page_number": "Mentioned and reproduced: p. 75", "url": null}, {"citation": "Coe, Nancy. T<em>he History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College 1955.", "page_number": "Reproduced: v. 2, p. 71-72.", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Museum, 1958.", "page_number": "Mentioned and reproduced: no. 5", "url": null}, {"citation": "\"Great Gifts of Art, 1958.\" <em>Fortune Magazine</em> LVIII, no. 6 (December 1958): 106-116.", "page_number": "Reproduced: p. 109", "url": null}, {"citation": "Ce\u0301zanne, Paul, and Meyer Schapiro. <em>Loan Exhibition Ce\u0301zanne Under the Patronage of Mrs. Dwight D. Eisenhower and His Excellency, Monsieur Herve\u0301 Alphand, the Ambassador of France to the United States, for the Benefit of the National Organization of Mentally Ill Children, November 5-December 5, 1959</em>. New York: Wildenstein, 1959.", "page_number": "Mentioned and Reproduced: cat. no. 42", "url": null}, {"citation": "Cleveland Museum of Art, Edward B. Henning<em>. Paths of Abstract Art</em>. Cleveland, Ohio: H.N. Abrams, 1960.", "page_number": "Reproduced: no. 9, p. 11; mentioned: pp. 11,19", "url": null}, {"citation": "Reff, Theodore. \"A New Exhibition of Cezanne.\" <em>The Burlington Magazine</em> 102, no. 684 (March 1960): 114-118.", "page_number": "Mentioned: p. 114, 116", "url": null}, {"citation": "Ratcliffe, R. W. <em>Ce\u0301zanne's Working Methods and Their Theoretical Background.</em> Thesis(PhD)--University of London (Courtauld Institute of Art), 1960-61, 1961.", "page_number": "Mentioned: p. 211", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u201388.", "page_number": "Reproduced: p. 485", "url": null}, {"citation": "UCLA Art Council. <em>Years of Ferment; The Birth of Twentieth Century Art 1886-1914</em>. [Los Angeles]: [UCLA Art Council], 1965.", "page_number": "Mentioned and Reproduced: P. 13, no. 2", "url": null}, {"citation": "Saisselin, Remy. \"Art Is Imitation of Nature.\" <em>The Bulletin of the Cleveland Museum of Art</em> LII, no. 2 (February 1965): 34-44.", "page_number": "Mentioned and reproduced: p. 43-44", "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. 178", "url": "https://archive.org/details/CMAHandbook1966/page/n202"}, {"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. 178", "url": "https://archive.org/details/CMAHandbook1969/page/n202"}, {"citation": "Orienti, Sandra. <em>The Complete Paintings of Ce\u0301zanne</em>. New York: H.N. Abrams, 1972.", "page_number": "Mentioned and reproduced: p. 120, no. 756", "url": null}, {"citation": "Henning, Edward B. \"Two Major Paintings by Georges Braque.\" <em>The Bulletin of the Cleveland Museum of Art </em>LXIV, no. 4 (April 1977): 137-141.", "page_number": "Mentioned and reproduced: p, 138, fig. 4", "url": null}, {"citation": "Ce\u0301zanne, Paul, Theodore Reff, and William Rubin. <em>Ce\u0301zanne: The Late Work : Essays</em>. New York: Museum of Modern Art, 1977.", "page_number": "Mentioned: cat. no. 45, p. 27, 49, 85, 205, 401, Reproduced p. 321, pl. 119", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 220", "url": "https://archive.org/details/CMAHandbook1978/page/n240"}, {"citation": "Bourges, M. R. <em>Itine\u0301raires de Ce\u0301zanne.</em> [Aix-en-Provence]: Ville d'Aix-en-Provence, 1982.", "page_number": "Reproduced: Route du Tholonet, fig. 4", "url": null}, {"citation": "Hoog, Michel. \"Le Motif de la Sainte Victoire.\" In <em>Ce\u0301zanne, ou, La Peinture en Jeu. </em>Musee Granet, 92-105. Limoges: Criterion, 1982.", "page_number": "Mentioned and reproduced: p. 96", "url": null}, {"citation": "Shiff, Richard. \"Representation, Copying, and the Technique of Originality.\" <em>New Literary History</em> 15, no. 2 (1984): 333-63.", "page_number": "Mentioned and reproduced: p. 354-355", "url": null}, {"citation": "Henning, Edward B. \" Woman in the Waves by Paul Gauguin.\" <em>The Bulletin of the Cleveland Museum of Art </em>LXXI, no. 8 (October 1984): 280-", "page_number": "Mentioned and reproduced: p. 282-283, fig. 4", "url": null}, {"citation": "Pickvance, Ronald, and Hideo Takumi.<em> Paul Ce\u0301zanne: (1839-1906) ; Tokyo ; 18.9. - 7.10.1986 ; Isetan Museum of Art ; Kobe ; 10.10. 9.11.1986 ; Hyogo Prefectural Museum of Modern Art ; Nagoya ; 15.11. - 4.12.1986 ; Aichi Prefectural Art Gallery.</em> Tokyo: Tokyo Shimbun, 1986.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Rewald, John. <em>Ce\u0301zanne: A Biograph</em>y. New York: H.N. Abrams, 1986.", "page_number": "Mentioned and reproduced: p. 240-241", "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: p. 105", "url": null}, {"citation": "Teboul, Jacques. <em>Les Victoires de Ce\u0301zanne</em>. Paris: A. Biro, 1988.", "page_number": "Mentioned and reproduced: p. 19", "url": null}, {"citation": "Ce\u0301zanne, Paul. <em>Sainte-Victoire, Ce\u0301zanne, 1990: Muse\u0301e Granet, Muse\u0301e des tapisseries, Pavillon de Vendo\u0302me, Aix-en-Provence, 16 juin-2 septembre 1990</em>. Paris: Re\u0301union des muse\u0301es nationaux, 1990.", "page_number": "Mentioned cat. not. 38, Reproduced: fig. 66 and on cover", "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. 152", "url": null}, {"citation": "Cleveland Museum of Art.<em> Interpretations: Sixty-Five Works from the Cleveland Museum of Art.</em> Cleveland, Ohio: Cleveland Museum of Art,1991.", "page_number": "Mentioned and reproduced: no. 35", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterpieces from East and West.</em> New York, NY: Rizzoli International, 1992.", "page_number": "Mentioned and reproduced: p. 157", "url": null}, {"citation": "Cahn, Isabelle. <em>Ce\u0301zann</em>e. [Milano]: Editoriale Giorgio Mondadori, 1992.", "page_number": "Reproduced: fig. 65", "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": "Vescovo, Marisa. \"Dossier-Cezanne.\" <em>Art e Dossier </em>75 (January 1993): 12.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Patin, Sylvie. <em>Ce\u0301zanne.</em> Paris: Re\u0301union des Muse\u0301es Nationaux, 1995.", "page_number": "Reproduced: p. 80", "url": null}, {"citation": "Orienti, Sandra. <em>Tout l'Oeuvre Peint de Ce\u0301zanne</em>. Paris: Flammarion, 1995.", "page_number": "Reproduced: p. 120-121, no. 756", "url": null}, {"citation": "Lartigue, Charles de. <em>Les Paysages de Paul Ce\u0301zanne.</em> Lyon: Cre\u0301ations du Pe\u0301lican, 1995.", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Machotka, Pavel. <em>Ce\u0301zanne: Landscape into Art</em>. New Haven: Yale University Press, 1996.", "page_number": "Mentioned: p. 61, 138, 144-145; reproduced: p. 145, fig. 138", "url": null}, {"citation": "Coutagne, Denis, and Bruno Ely, eds. <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. 162", "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: v. 1, p. 530, no. 900; Reproduced: v. 2, p. 529, fig. 900", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del Impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Reproduced: p. 63, fig. 17", "url": null}, {"citation": "Cha\u0302telet, Albert, and Bernard Philippe Groslier. <em>Histoire de l'Art: Peinture, Sculpture, Architecture, Arts De\u0301corati</em>fs. [Paris]: Larousse, 1998.", "page_number": "Mentioned and reproduced: p. 488", "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, 1999.", "page_number": "Mentioned and reproduced: p. 127-130, no. 48", "url": null}, {"citation": "Adachi, Shinzo\u0304. <em>Kaiga jisshu\u0304</em>. O\u0304saka-fu: O\u0304saka Geijutsu Daigaku Tsu\u0304shin Kyo\u0304ikubu, 2001.", "page_number": "Reproduced: p. 170", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2005-05/page/8"}, {"citation": "Conisbee, Philip, and Denis Coutagne. <em>Ce\u0301zanne in Provenc</em>e. Washington: National Gallery of Art, 2006.", "page_number": "Mentioned and reproduced: p. 202, no. 83", "url": null}, {"citation": "Conisbee, Philip, and Denis Coutagne. <em>Ce\u0301zanne en Provence: Muse\u0301e Granet, Aix-en-Provence, 9 Juin-17 Septembre 2006.</em> Paris: Re\u0301union des Muse\u0301es Nationaux, 2006.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Coutagne, Denis. \"C\u00e9zanne en Provence: L'Estaque.\" <em>Dossier de l'Art</em> 130 (2006):18.", "page_number": "Reproduced: p. 18", "url": null}, {"citation": "Conisbee, Philip, and Denis Coutagne. <em>Ce\u0301zanne en Provence: Muse\u0301e Granet, Aix-en-Provence, 9 juin-17 septembre 2006.</em> Paris: Re\u0301union des Muse\u0301es Nationaux, 2006.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Boigontier, Pascale, and Bruno Boigontier. <em>Portraits d'Aix-en-Provence</em>. Bordeaux: Sud Ouest, 2006.", "page_number": "Reproduced: p. 59", "url": null}, {"citation": "Coutagne, Denis. <em>Ce\u0301zanne en Ve\u0301rite\u0301(s): Essai.</em> Arles: Actes sud, 2006.", "page_number": "Reproduced: p. 441, ill. 54", "url": null}, {"citation": "Solana, Guillermo. <em>Ce\u0301zanne: Site/Non-site: Museo Thyssen-Bornemisza, Madrid, February 4-May 18, 2014</em>. [Madrid]: Museo Thyssen-Bornemisza, 2014.", "page_number": "Reproduced: p. 122, no. 35", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 294; reproduced: P. 284-285", "url": ""}, {"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": "Reproduced & mentioned: p. 81", "url": null}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Mentioned and reproduced: P. 47, fig. 3", "url": ""}, {"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 68-69, fig. 33", "url": ""}, {"citation": "Adams, William D., and Thierry Maugenest. <em>Cezanne \u00c0 Ch\u00e2teau Noir: L\u2019Histoire d\u2019Une Fascination.</em> Bordeaux: \u00c9ditions Herv\u00e9 Chopin, 2025.", "page_number": "Mentioned and reproduced: p. 34-35, fig. 22; p. 166, fig. 190", "url": ""}], "url": "https://clevelandart.org/art/1958.21", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.21/1958.21_web.jpg", "width": "900", "height": "717", "filesize": "258218", "filename": "1958.21_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.21/1958.21_print.jpg", "width": "3400", "height": "2709", "filesize": "4080763", "filename": "1958.21_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.21/1958.21_full.tif", "width": "14368", "height": "11448", "filesize": "493479916", "filename": "1958.21_full.tif"}}, "alternate_images": [{"date_created": "2007-10-15T18:21:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.21/1958.21_alt0_web.jpg", "width": "1128", "height": "893", "filesize": "736893"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.21/1958.21_alt0_print.jpg", "width": "3400", "height": "2691", "filesize": "6776077"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.21/1958.21_alt0_full.tif", "width": "5935", "height": "4698", "filesize": "83687020"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": "10d9d7aa5dac45b899b1cf5ba00a5e2b", "sketchfab_url": "https://sketchfab.com/models/10d9d7aa5dac45b899b1cf5ba00a5e2b", "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135185, "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": "1958-11-29T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "c. 1904", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["La Montagne Sainte-Victoire"], "is_highlight": true, "updated_at": "2026-04-10 07:03:19.355000"}, {"id": 121188, "accession_number": "1942.1065", "share_license_status": "CC0", "tombstone": "Romaine Lacaux, 1864. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; framed: 106.7 x 89.2 x 8.9 cm (42 x 35 1/8 x 3 1/2 in.); unframed: 81.3 x 65 cm (32 x 25 9/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1942.1065", "current_location": "222 Impressionism & Post-Impressionism", "title": "Romaine Lacaux", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 106.7 x 89.2 x 8.9 cm (42 x 35 1/8 x 3 1/2 in.); Unframed: 81.3 x 65 cm (32 x 25 9/16 in.)", "dimensions": {"framed": {"height": 1.067, "width": 0.892, "depth": 0.089}, "unframed": {"height": 0.813, "width": 0.65}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed center right: a. renoir / 1864\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 338387, "title": "Twenty-one Masterpieces by Seven Great Masters", "description": "<i>Twenty-one Masterpieces by Seven Great Masters</i>. Rosenberg & Co. (organizer) (November 15-December 1, 1948).", "opening_date": "1948-11-15T05:00:00"}, {"id": 311952, "title": "Art, A Means to World Understanding", "description": "<i>Art, A Means to World Understanding</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 16-April 10, 1949).", "opening_date": "1949-03-16T05:00:00"}, {"id": 338390, "title": "A Loan Exhibition of Renoir for the Benefit of the New York Infirmary", "description": "<i>A Loan Exhibition of Renoir for the Benefit of the New York Infirmary</i>. Wildenstein & Co. (organizer) (March 22-April 29, 1950).", "opening_date": "1950-03-22T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 338393, "title": "Youthful Works by Great Artists", "description": "<i>Youthful Works by Great Artists</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (March 10-30, 1963).", "opening_date": "1963-03-10T05:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 338396, "title": "Renoir", "description": "<i>Renoir</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 3-April 1, 1973).", "opening_date": "1973-02-03T05:00:00"}, {"id": 338409, "title": "L'Art en France Sours Le Second Empire (Art in France Under the Second Empire)", "description": "<i>L'Art en France Sours Le Second Empire (Art in France Under the Second Empire)</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (October 1-November 26, 1978); The Detroit Institute of Arts, Detroit, MI (January 28-March 18, 1979); Galeries Nationales du Grand Palais, 75008 Paris, France (May 11-August 13, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 343639, "title": "Renoir", "description": "<i>Renoir</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 21, 1985); Galeries Nationales du Grand Palais, 75008 Paris, France (May 14-September 2, 1985); Museum of Fine Arts, Boston, Boston, MA (October 9, 1985-January 5, 1986).", "opening_date": "1985-01-30T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 338402, "title": "Les Origines de l'Impressionnisme", "description": "<i>Les Origines de l'Impressionnisme</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (April 19-August 8, 1994); The Metropolitan Museum of Art, New York, NY (September 19, 1994-January 8, 1995).", "opening_date": "1994-04-19T04:00:00"}, {"id": 211403, "title": "Renoir's Portraits:  Impressions of an Age", "description": "<i>Renoir's Portraits:  Impressions of an Age</i>. National Gallery of Canada (organizer) (June 27-September 14, 1997); The Art Institute of Chicago (October 17, 1997-January 4, 1998); Kimbell Art Museum (February 8-April 26, 1998).", "opening_date": "1997-06-27T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Baltimore Museum of Art (organizer) (October 10, 1999-January 30, 2000); Museum of Fine Arts, Houston (March 25-May 7, 2000); The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 207204, "title": "Manet/Vel\u00e1zquez: The French Taste for Spanish Painting", "description": "<i>Manet/Vel\u00e1zquez: The French Taste for Spanish Painting</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 25-June 29, 2003).", "opening_date": "2003-02-25T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 216824, "title": "Renoir's Women", "description": "<i>Renoir's Women</i>. Columbus Museum of Art, Columbus, OH (organizer) (September 23, 2005-January 15, 2006).", "opening_date": "2005-09-23T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Exposition de la jeunesse vue par les ma\u00eetres fran\u00e7ais et \u00e9trangers du XVIe au XIXe si\u00e8cle.</em> Paris, H\u00f4tel Jean Charpentier, Paris, France (1928.", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>French Art 1200-1900.</em> London, Royal Academy of Arts, London, United Kingdom (1932).", "opening_date": "1932-01-01T00:00:00"}, {"description": "<em>Exposition Renoir 1841-1919.</em> Paris, Mus\u00e9e de L'Orangerie, Paris, France (1933).", "opening_date": "1933-01-01T00:00:00"}, {"description": "<em>Centennial Loan Exhibition 1841-1941: Renoir.</em> Duveen Galleries, New York, NY (1941).", "opening_date": "1941-01-01T00:00:00"}]}, "provenance": [{"description": "Lacaux family, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Edmond Decap, Paris, France, by descent to Mme. Maruice Barret-Decap", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Mme. Maurice Barret-Decap, Paris, France", "citations": [], "footnotes": null, "date": "-1929", "sortorder": 3}, {"description": "(Drouot, Paris, France, December 12, 1929, lot 12, Barret-Decap Sale, sold to Roger Berheim)", "citations": [], "footnotes": null, "date": "1929-1941", "sortorder": 4}, {"description": "(Roger Bernheim, Paris, France, sold to Jacques Seligmann & Co.,)", "citations": [], "footnotes": null, "date": "by 1941", "sortorder": 5}, {"description": "(Jacques Seligmann & Co., New York, NY, December 2, 1941, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1941-1942", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The son of a poor tailor from Limoges, Renoir began his artistic career at age 13 as an apprentice to a porcelain painter.", "description": "This painting may be Renoir's earliest signed canvas. Its sensitive display of color and light communicates an ideal of delicate, youthful beauty. The luminous tones of the background drapery and of the child's white blouse result from the artist's careful observation of reflected light and color on translucent materials. The delicate nuances of color, particularly in the young girl's face, reveal Renoir's previous training as a decorator of porcelain. He painted this portrait, commissioned by the vacationing Lacaux family, during his stay at an artist's colony in the village of Barbizon, near Paris.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q15880875"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1065-romaine-lacaux"]}, "citations": [{"citation": "<em>Revue de l'Art Ancien et Moderne</em> 751 (September/October 1928): cover.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Hotel Drouot. \"Auction. December 12, 1929.\" <em>ARTnews</em> 28, no. 7 (16 November, 1929): 11.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Hotel Drouot. \"Auction. December 12, 1929.\" <em>ARTnews</em> 28, no. 8 (23 November, 1929): 11.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "Imbourg, Pierre. \"The B . . . D . . .Collection.\" <em>Formes; An International Art Review </em>1 (December 1929): 20-21.", "page_number": "Mentioned: p. 20-21; reproduced: opp. p. 18", "url": null}, {"citation": "Royal Academy of Arts (Great Britain). <em>Commemorative Catalogue of the Exhibition of French Art, 1200-1900</em>. London, UK: Oxford University Press, H. Milford, 1933.", "page_number": "Reproduced: p. 109, no.479", "url": null}, {"citation": "\"Noel 1933.\"<em> L'Illustration: Journal Universel</em> (1933): 49.", "page_number": "Reproduced: p.49", "url": null}, {"citation": "Barnes, Albert C., and Violette De Mazia. <em>The Art of Renoir</em>. New York, NY: Minton, Balch &amp; Co, 1935.", "page_number": "Reproduced: p. 255", "url": null}, {"citation": "Florisoone, Michel, Frederic Lees, and Andre\u0301 Gloeckner. <em>Renoir</em>. New York, NY: French and European Publications, Inc, 1938.", "page_number": "Reproduced: p. 26", "url": null}, {"citation": "Wilenski, R. H. <em>Modern French Painters</em>. New York, NY: Reynal &amp; Hitchcock, 1940.", "page_number": "Reproduced: p. 339", "url": null}, {"citation": "Frankfurter, Alfred M. \"Celebrating Renoir's Centenary: A Bright Galaxy.\" <em>ARTnews</em> 40 (15-30 November 1941): 16-21.", "page_number": "Mentioned and reproduced: p. 16-21.", "url": null}, {"citation": "Francis, Henry S. \"Melle Romaine Lacaux by Renoir.\" The Bulletin of the Cleveland Museum of Art XXX, no. 6 (June, 1943): 92-98.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Richardson, E. P. \"Mlle. Romaine Lacaux by Renoir.\" <em>The Art Quarterly</em> 6, no. 2 (Spring 1943): 150, 156.", "page_number": "Mentioned: p. 156; reproduced: p. 150", "url": null}, {"citation": "Davidson, Alfred. \"Cleveland Buys Goya and Renoir Portraits.\" <em>Art Digest </em>17, no. 17 (1 June 1943): 7.", "page_number": "Mentioned and reproduced: p. 7", "url": null}, {"citation": "\"Renoir and Goya Meet in Cleveland.\" <em>ARTnews</em> 42, no. 8 (June/July 1943): 35.", "page_number": "Mentioned and reproduced: p.35", "url": null}, {"citation": "<em>ARTnews</em> 42, no. 17 (15-31 January 1944): cover.", "page_number": "Reproduced: cover", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAPaintings1945/page/n44"}, {"citation": "Vaudoyer, Jean-Louis. <em>Les impressionnistes de Manet a\u0300 Ce\u0301zanne</em>. Paris, FR: Nouvelles e\u0301ditions franc\u0327aises, 1948.", "page_number": "Reproduced: p. 50", "url": null}, {"citation": "Zahar, Marcel. <em>Renoir</em>. New York, NY: Authentic Publications, 1948.", "page_number": "Figs. 1, 3", "url": null}, {"citation": "<em>ARTnews Annual 1948</em>. New York, N.Y.: Newsweek, Inc, 1948.", "page_number": "Reproduced: p. 75", "url": null}, {"citation": "Paul Rosenberg &amp; Co. <em>Loan Exhibition of 21 Masterpieces by 7 Great Masters ... for the Benefit of the Public Education Association, November 15th to December 18th, 1948</em>. New York, N.Y.: P. Rosenberg &amp; Co, 1948.", "page_number": "Mentioned and Reproduced: cat. no. 4", "url": null}, {"citation": "<em>Pictures on Exhibit </em>11, no. 3 (December 1948): cover.", "page_number": "Reproduced: cover", "url": null}, {"citation": "<em>Catalogue de reproductions en couleurs de la peinture de 1860 a\u0300 ... = Catalogue of colour reproductions of painting from 1860 to ... = Cata\u0301logo de reproducciones en color de la pintura de 1860 a</em>. Paris, FR: Unesco, 1949.", "page_number": "Reproduced: p. 297", "url": null}, {"citation": "<em>ARTnews Annual 1948-1949</em>. New York, N.Y.: Newsweek, Inc, 1949.", "page_number": "Reproduced: p. 188", "url": null}, {"citation": "Pach, Walter. <em>Pierre Auguste Renoir</em>. New York, NY: H.N. Abrams, 1950.", "page_number": "Reproduced: p. 32-33", "url": null}, {"citation": "Venturi, Lionello. <em>Impressionists and Symbolists: Manet, Degas, Monet, Pissarro, Sisley, Renoir, Cezanne, Seurat, Gauguin, Van Gogh, Toulouse-Lautrec</em>. New York, NY: Scribner, 1950.", "page_number": "Reproduced: p. 93, fig. 92", "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.), and Daniel Wildenstein. <em>A Loan Exhibition of Renoir for the Benefit of the New York Infirmary, March 23-April 29, 1950 at Wildenstein</em>. 1950.", "page_number": "Mentioned: cat. no. 1, Reproduced: frontispiece", "url": null}, {"citation": "Towndrow, Kenneth Romney. \u201cFrench Painters.\u201d <em>Apollo: The International Magazine for Collectors</em> 55 (February 1952): 43\u201348.", "page_number": "Reproduced: p. 45", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 501", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 72", "url": null}, {"citation": "<em>Encyclopedia of World Art</em>. New York: McGraw-Hill, 1959.", "page_number": "Mentioned: vol. 12, p. 162", "url": null}, {"citation": "Seligman, Germain. <em>Merchants of Art: 1880-1960; Eighty Years of Professional Collecting</em>. New York, NY: Appleton-Century-Crofts, 1962.", "page_number": "Reproduced: pl. 93", "url": null}, {"citation": "Rostrup, Haavard. \"Studier I Fransk Portraetmaleri: Renoir og Bonnard.\" <em>Meddelelser fra Ny Carlsberg Glyptotek </em>20 (1963): 1-24.", "page_number": "Mentioned: p. 8; reproduced: p. 3", "url": null}, {"citation": "Saisselin, Re\u0301my G. <em>Style, Truth, and the Portrait</em>. [Cleveland]: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: cat. no. 88.", "url": null}, {"citation": "Stechow, Wolfgang. \"A Symposium Honoring Professor Wolfgang Stechow : Youthful Works by Great Artists.\" <em>Bulletin / Allen Memorial Art Museum / Allen Memorial Art Museum</em>20.1963, 77-220 : Ill. ; 8 (1963).", "page_number": "Mentioned and Reproduced: cat. no. 24", "url": null}, {"citation": "Henning, Edward B. \"From Turner to Guston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 184-488.", "page_number": "Reproduced: p. 484", "url": null}, {"citation": "Lambourne, Nigel. <em>Renoir: Paintings, Drawings, Lithographs, and Etchings</em>. London, UK: Folio Society, 1965.", "page_number": "Reproduced: pl. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "Cabanne, Pierre. <em>Renoir.</em> [Paris]: Re\u0301alite\u0301s-Hachette, 1970.", "page_number": "Mentioned and reproduced: p. 46-47", "url": null}, {"citation": "Daulte, Franc\u0327ois. <em>Auguste Renoir: catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Lausanne: Durand-Ruel, 1971.", "page_number": "Reproduced: p. 33, vol. 1 no. 12", "url": null}, {"citation": "Fezzi, Elda. <em>L'opera completa di Renoir nel periodo impressionista, 1869-1883.</em> Milano: Rizzoli, 1972.", "page_number": "Reproduced: p. 89, fig. 7", "url": null}, {"citation": "Daulte, Franc\u0327ois. <em>Auguste Renoir</em>. Milano, IT: Fratelli Fabbri Editori, 1972.", "page_number": "Reproduced: p. 74, fig. 1864", "url": null}, {"citation": "Champa, Kermit Swiler. <em>Studies in Early Impressionism</em>. New Haven, CT: Yale University Press, 1973.", "page_number": "Reproduced: p. 49, pl. 16, mentioned: p. 34-38", "url": null}, {"citation": "Renoir, Auguste, and John Maxon. <em>Paintings by Renoir</em>. [Chicago]: Art Institute of Chicago, 1973.", "page_number": null, "url": null}, {"citation": "Kuroe, Mitsuhiko. <em>Renoir</em>. Tokyo, Japan: Shincho-sha, 1974.", "page_number": "Reproduced: no. 1", "url": null}, {"citation": "Wheldon, Keith, and Auguste Renoir. <em>Renoir and His Art</em>. London, UK: Hamlyn, 1975.", "page_number": "Reproduced: p. 12, pl. 4", "url": null}, {"citation": "Pach, Walter. <em>Auguste Renoir: Leben und Werk</em>. Ko\u0308ln, Germany: Verlag M. DuMont Schauberg, 1976.", "page_number": "Reproduced: p. 61, pl. 1", "url": null}, {"citation": "De Mazia, Violette. \"E Pluribus Unum--Cont'd: Part IV.\" <em>Journal of the Art Department </em>8, no. 2 (Autumn 1977): 3-42.", "page_number": "Mentioned: p. 5; reproduced: pl.4", "url": null}, {"citation": "Callen, Anthea. <em>Renoir</em>. London, UK: Oresko Books,1978.", "page_number": "Reproduced: p. 7, fig. 1", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 215", "url": "https://archive.org/details/CMAHandbook1978/page/n235"}, {"citation": "Moulin, Jean-Marie. \"The Art of the Second Empire.\" <em>The Magazine Antiques </em>114, no. 4 (October 1978): 776-783.", "page_number": "Reproduced: p. 777", "url": null}, {"citation": "Galeries nationales du Grand Palais (France), Philadelphia Museum of Art, Detroit Institute of Arts, and Re\u0301union des muse\u0301es nationaux (France). <em>L'Art en France sous le Second Empire: [exposition], Grand Palais, 11 mai-13 aou\u0302t 1979</em>. Paris: La Re\u0301union, 1979.", "page_number": "Mentioned: cat. no. VI, Reproduced: p. 348-9", "url": null}, {"citation": "Harris, Nathaniel. <em>A Treasury of Impressionism</em>. London, UK: Optimum, 1979.", "page_number": null, "url": null}, {"citation": "<em>Renoir: </em>Hayward Gallery, London, UK, January 30 - April 21, 1985, Galeries nationales du Grand Palais, Paris, FR, May 14 - September 2, 1985, Museum of Fine Arts, Boston, MA. October 9 -January 5, 1986. Paris, FR: Re\u0301union des muse\u0301es nationaux, 1985.", "page_number": "Referenced: cat. no. 1, p. 182, Reproduced: p. 37, 182", "url": null}, {"citation": "Renoir, Auguste. <em>Renoir: Hayward Gallery, London, 30 January-21 April 1985, Galeries Nationales Du Grand Palais, Paris, 14 May-2 September 1985, Museum of Fine Arts, Boston, 9 October 1985-5 January 1986</em>. [London]: Arts Council of Great Britain, 1985.", "page_number": "Mentioned and Reproduced: cat. no. 1, 37,182", "url": null}, {"citation": "Tinterow, Gary, and Henri Loyrette. <em>Origins of Impressionism</em>. 1994.", "page_number": "Reproduced: p. 254-255", "url": null}, {"citation": "Drucker, Michel. <em>Renoir</em>. Paris, FR: P. Tisne\u0301, 1944.", "page_number": "Reproduced: p. 25, pl. 2", "url": null}, {"citation": "Renoir's Portraits: Impressions of an Age (Exhibition), Auguste Renoir, Colin B. Bailey, John Bruce Collins, Linda Nochlin, and Anne Distel. <em>Renoir's Portraits: Impressions of an Age</em>. New Haven: Yale University Press, 1997.", "page_number": "Mentioned and Reproduced: cat. no. 3, p. 21-23, 94-96, 268", "url": null}, {"citation": "Johnston, Sona.<em> Faces of Impressionism: Portraits from American Collections</em>. New York, NY : Rizzoli, 1999.", "page_number": "Reproduced: p. 145, cat. no. 53", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 526-529, Vol. II, no. 184", "url": ""}, {"citation": "Joannides, Paul. <em>Renoir: sa vie, son oeuvre</em>. Courbevoie, FR: Soline, 2000.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "<em>Sekai bijutsukan no tabi</em>. To\u0304kyo\u0304, Japan: Sho\u0304gakukan, 2002.", "page_number": "Reproduced: p. 310", "url": null}, {"citation": "Tinterow, Gary, Genevie\u0300ve Lacambre, and Deborah L. Rolda\u0301n. <em>Manet/Vela\u0301zquez: The French Taste for Spanish Painting</em>. New York, NY: Metropolitan Museum of Art, 2003.", "page_number": "Reproduced: p. 516, fig. 1.64, p. 64", "url": null}, {"citation": "Pach, Walter, and Auguste Renoir. <em>Pierre Auguste Renoir</em>. New York, NY: Harry N. Abrams, Publishers, 2003.", "page_number": "Reproduced: p. 48-49", "url": null}, {"citation": "Fahy, Everett, Elizabeth E. Barker, and Jayne Wrightsman. <em>The Wrightsman pictures</em>. New York, NY: Metropolitan Museum of Art, 2005.", "page_number": "Reproduced: p. 181", "url": null}, {"citation": "Dumas, Ann, and John Bruce Collins. <em>Renoir's Women</em>. London, UK: Merrell, 2005.", "page_number": "Reproduced: p. 41, fig. 26", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM2005-05/page/8"}, {"citation": "Kagawa, Kyo\u0304ko. <em>Runowa\u0304ru</em>. To\u0304kyo\u0304, Japan: Sho\u0304gakukan, 2006.", "page_number": "Reproduced: p. 74", "url": null}, {"citation": "Dauberville, Guy-Patrice, Michel Dauberville, and Camille Fre\u0301montier-Murphy. <em>Renoir: catalogue raisonne\u0301 des tableaux, pastels, dessins et aquarelles</em>. Paris, FR: E\u0301ditions Bernheim-Jeune, 2007.", "page_number": "Reproduced: p. 485, fig. 489", "url": null}, {"citation": "\"Off the Walls.\" <em>Fine Art Connoisseur </em>5, no. 5 (September/October 2008):67-71.", "page_number": "Mentioned and reproduced: p. 71", "url": null}, {"citation": "Thomas, Greg M. <em>Impressionist Children: Childhood, Family, and Modern Identity in French Art</em>. New Haven, CT: Yale University Press, 2010.", "page_number": "Reproduced: p. 9, fig. 10", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 289", "url": ""}, {"citation": "\"Auf der Such nach dem Museumparkplatz.\" <em>Weltkuns</em>t. 154 (march 2019): 68", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" CAN Journal (Winter 2019/20): 76-87.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Robinson, William H. \u201cPortrait of Renoir.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 4 (Fall 2021): 28.", "page_number": "Reproduced and mentioned: p. 28", "url": "https://archive.org/details/CMAMM2021-04"}], "url": "https://clevelandart.org/art/1942.1065", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1065/1942.1065_web.jpg", "width": "716", "height": "900", "filesize": "245264", "filename": "1942.1065_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1065/1942.1065_print.jpg", "width": "2706", "height": "3400", "filesize": "3262188", "filename": "1942.1065_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1065/1942.1065_full.tif", "width": "11255", "height": "14143", "filesize": "477570348", "filename": "1942.1065_full.tif"}}, "alternate_images": [{"date_created": "2006-04-10T17:59:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt0_web.jpg", "width": "714", "height": "893", "filesize": "117970"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt0_print.jpg", "width": "2708", "height": "3400", "filesize": "5893608"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt0_full.tif", "width": "3983", "height": "5000", "filesize": "59776132"}}, {"date_created": "2017-05-08T11:39:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt1_web.jpg", "width": "900", "height": "675", "filesize": "249889"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "3517867"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt1_full.tif", "width": "16000", "height": "12000", "filesize": "576031536"}}, {"date_created": "2017-05-08T11:31:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt2_web.jpg", "width": "900", "height": "675", "filesize": "228052"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "3081699"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1065/1942.1065_alt2_full.tif", "width": "16000", "height": "12000", "filesize": "576030924"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 121188, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-02T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Mlle. Romaine Lacaux"], "is_highlight": true, "updated_at": "2026-03-27 00:00:53.759000"}, {"id": 141935, "accession_number": "1965.474", "share_license_status": "CC0", "tombstone": "Samuel Williams, c. 1817. Washington Allston (American, 1779\u20131843). Oil on canvas; framed: 172.5 x 142.5 x 14 cm (67 15/16 x 56 1/8 x 5 1/2 in.); unframed: 142.2 x 111.8 cm (56 x 44 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1965.474", "current_location": "205 Federal American", "title": "Samuel Williams", "creation_date": "c. 1817", "creation_date_earliest": 1812, "creation_date_latest": 1827, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 172.5 x 142.5 x 14 cm (67 15/16 x 56 1/8 x 5 1/2 in.); Unframed: 142.2 x 111.8 cm (56 x 44 in.)", "dimensions": {"framed": {"height": 1.725, "width": 1.425, "depth": 0.14}, "unframed": {"height": 1.422, "width": 1.118}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 444326, "title": "A Cloudy Symbol: Washington Allston in Retrospect", "description": "<i>A Cloudy Symbol: Washington Allston in Retrospect</i>. Lowe Art Museum, Miami, FL (organizer) (March 6-April 13, 1975).", "opening_date": "1975-03-06T04:00:00"}, {"id": 442407, "title": "\"A Man of Genius\": The Art of Washington Allston", "description": "<i>\"A Man of Genius\": The Art of Washington Allston</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (December 11, 1979-February 3, 1980); Pennsylvania Academy of the Fine Arts, Philadelphia, PA (February 28-April 27, 1980).", "opening_date": "1979-12-11T05:00:00"}], "legacy": [{"description": "Boston, The Athenaeum Gallery: Annual Exhibition (1835), no. 60", "opening_date": null}, {"description": "Boston, Harding's Gallery, Exhibition of Pictures Painted by Washington Allston, (1839) no. 34", "opening_date": null}, {"description": "Boston, The Athenaeum Gallery, Annual Exhibition (1850), no. 62", "opening_date": null}, {"description": "Boston, Museum of Fine Arts, Catalogue of Works of Art Exhibited: Pt. 2, Paintings, Drawings, Engravings, and Decorative Art, (1881) no. 203", "opening_date": null}, {"description": "Detroit, Detroit Institute of Arts, Washington Allston (1948), no. 110", "opening_date": "1948-01-01T00:00:00"}, {"description": "Detroit, Detroit Institute of Arts, Collection in Progress (1955), no. 4", "opening_date": "1955-01-01T00:00:00"}, {"description": "United States Information Agency, Tour of South America (1956-57), no. 5", "opening_date": "1956-01-01T00:00:00"}, {"description": "United States Information Agency, Tour of Greece and Israel (1958), no. 8", "opening_date": "1958-01-01T00:00:00"}, {"description": "Milwaukee, Milwaukee Art Center, American Painting 1760-1960, (3 March - 3 April1960), p. 16.", "opening_date": "1960-01-01T00:00:00"}, {"description": "Tucson, University of Arizona Art Gallery, American Painting 1765-1963, (1964), illus. pg. 17, cat. no, 2.", "opening_date": "1964-01-01T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, Golden Anniversary Acquisitions, (1966), cat. no. 54", "opening_date": "1966-01-01T00:00:00"}, {"description": "Coral Gables, Lowe Art Museum, The Paintings of Washington Allston, (6 March - 13 April 1975) cat. no, 17, discussed in text on pg. 9.", "opening_date": "1975-03-06T00:00:00"}, {"description": "Boston, Museum of Fine Arts, \"Man of Genius\" The Art of Washington Allston (1779-1843), (1979) fig. 48, p. 71, discussed in text on pg. 86.", "opening_date": "1979-01-01T00:00:00"}]}, "provenance": [{"description": "Timothy Williams, Boston; Mrs. W. Pratt; Theodore Lyman, Brookline, Mass.; Mr. and Mrs. Lawrence A. Fleischman, Detroit; Kennedy Galleries, New York", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Allston experimented with painting recipes, even attempting to mix his pigment colors with skimmed milk.", "description": "Allston\u2019s portrait of his London banker and business agent explores the experience of reverie. Williams looks off absently, perhaps inspired by the pictures in the book he holds. With its view of an Italianate landscape beyond the columns of this invented setting, the painting seemingly invites viewers to join the sitter in dreaming about faraway places.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483468"], "internet_archive": ["https://archive.org/details/clevelandart-1965.474-samuel-williams"]}, "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. 161", "url": "https://archive.org/details/CMAHandbook1966/page/n185"}, {"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. 161", "url": "https://archive.org/details/CMAHandbook1969/page/n185"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1978/page/n220"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 48 - 49", "url": ""}], "url": "https://clevelandart.org/art/1965.474", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.474/1965.474_web.jpg", "width": "702", "height": "893", "filesize": "359390", "filename": "1965.474_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.474/1965.474_print.jpg", "width": "2674", "height": "3400", "filesize": "6245724", "filename": "1965.474_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.474/1965.474_full.tif", "width": "7016", "height": "8920", "filesize": "187782928", "filename": "1965.474_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 141935, "creators": [{"id": 2706, "description": "Washington Allston (American, 1779\u20131843)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1779", "death_year": "1843", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-11-06T00:00:00", "sortable_date": 1812, "date_added_to_oa": null, "date_text": "c. 1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:08.096000"}, {"id": 144495, "accession_number": "1969.2", "share_license_status": "CC0", "tombstone": "Buffalo Mask, early to mid-1900s. Africa, West Africa, Burkina Faso, possibly Bwa-style maker. Wood, plant fibers, paint, and iron; overall: 69.8 cm (27 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1969.2", "current_location": "108A African", "title": "Buffalo Mask", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1970, "artists_tags": [], "culture": ["Africa, West Africa, Burkina Faso, possibly Bwa-style maker"], "technique": "Wood, plant fibers, paint, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 69.8 cm (27 1/2 in.)", "dimensions": {"overall": {"height": 0.698}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 304550, "title": "A Cleveland Bestiary", "description": "<i>A Cleveland Bestiary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15-December 16, 1981).", "opening_date": "1981-10-15T04:00:00"}], "legacy": [{"description": "CMA 1968: African Tribal Images: The Katherine White Reswick Collection, cat. no. 31, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1970: \"Year in Review 1969,\" CMA Bulletin LVII (Jan., 1970), p. 47, no. 128, repr. p. 41.", "opening_date": "1970-01-01T00:00:00"}, {"description": "CMA 1981: A Cleveland Bestiary, October 14-December 9, 1981, cat. no. 11, repr. p, 17.", "opening_date": "1981-10-14T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Exhibited at CMA in 1968, <em>African Tribal Images: The Katherine White Reswick Collection</em>; published as fig. 31</div>"], "date": "at least 1968\u20131969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->CMA Bulletin January 1970, figure 128.</div>"], "date": "1969\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["933.68"], "did_you_know": "Once broken, the right horn of this mask was repaired; this indicates that it was valued.", "description": "Among the Bwa people, masks with human, animal, and fantastic traits typically represent protective bush spirits. This mask\u2019s horns and muzzle identify it as a bush buffalo. Masked dancers appear during the dry season for initiations, funerals of elders, market days, harvest celebrations, and annual renewal rituals to protect the well-being of the community.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1969.2-buffalo-mask"]}, "citations": [{"citation": "Fagg, William. <em>African Tribal Images: the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, 1968.", "page_number": "Reproduced: cat. no. 31", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1969.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 1 (January 1970): 2\u201350.", "page_number": "Reproduced:  p. 41, fig. 128; mentioned:  p. 147", "url": "http://www.jstor.org/stable/25152307"}, {"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. 411", "url": "https://archive.org/details/CMAHandbook1978/page/n431"}, {"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland, OH; Cleveland Museum of Art, 1981.", "page_number": "Mentioned: p. 16, p. 60; Reproduced: p. 17", "url": null}, {"citation": "Henry John Drewal. <em>African Art: A Brief Guide to the Collection : the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1989.", "page_number": "fig. 17", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "p. 153", "url": ""}, {"citation": "Connell, Timothy C., and Jackson J. Spielvogel. <em>World Art Transparencies</em>. Cincinnati: West Educational Pub, 1998.", "page_number": "Acetate 43", "url": ""}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned and Reproduced:  pp.67-8. no. 70; listed: p. 118.", "url": ""}, {"citation": "Donley, Gregory M., \"A New Face for African Art\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 04, April 2002", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2002-04/page/n5"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 5, p. 40 - 41", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 09, November 2003", "page_number": "Reproduced: cover", "url": "https://archive.org/details/CMAMM2003-09"}, {"citation": "Petridis, Constantine. \"A New Installation for African Art in Cleveland.\" <em>Tribal: the Magaine of Tribal Art</em>. 9 (3) no. 36 (Autumn-Winter 2004): 68-73.", "page_number": "", "url": ""}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art; London, Scala Publishers Ltd, 2012.", "page_number": "pp. 288-9.", "url": ""}, {"citation": "Basquiat, Jean-Michel, Sam Keller, and Iris Hasler. Basquiat: The Modena Paintings.Berlin : Hatje Cantz ; Riehen/Basel : Fondation Beyeler, 2023.", "page_number": "Mentioned and reproduced: p. 35, fig. 2", "url": ""}], "url": "https://clevelandart.org/art/1969.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.2/1969.2_web.jpg", "width": "600", "height": "900", "filesize": "117240", "filename": "1969.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.2/1969.2_print.jpg", "width": "2267", "height": "3400", "filesize": "966765", "filename": "1969.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.2/1969.2_full.tif", "width": "4096", "height": "6144", "filesize": "151023476", "filename": "1969.2_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt0_web.jpg", "width": "604", "height": "893", "filesize": "285889"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt0_print.jpg", "width": "2321", "height": "3400", "filesize": "3496226"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt0_full.tif", "width": "3413", "height": "5000", "filesize": "51210696"}}, {"date_created": "2009-11-03T15:23:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt1_web.jpg", "width": "595", "height": "893", "filesize": "273113"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt1_print.jpg", "width": "2267", "height": "3400", "filesize": "3768208"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt1_full.tif", "width": "4096", "height": "6144", "filesize": "75529648"}}, {"date_created": "2009-11-03T15:24:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt2_web.jpg", "width": "595", "height": "893", "filesize": "259287"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt2_print.jpg", "width": "2267", "height": "3400", "filesize": "3676604"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt2_full.tif", "width": "4096", "height": "6144", "filesize": "75528060"}}, {"date_created": "2009-11-03T15:35:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt3_web.jpg", "width": "646", "height": "893", "filesize": "278307"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt3_print.jpg", "width": "2461", "height": "3400", "filesize": "4080017"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.2/1969.2_alt3_full.tif", "width": "4096", "height": "5658", "filesize": "69556112"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144495, "creators": [], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Bushcow Headdress", "Bush Cow Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:01:40.364000"}, {"id": 142298, "accession_number": "1966.13", "share_license_status": "CC0", "tombstone": "Antiochus and Stratonice, c. 1838. Jean-Auguste-Dominique Ingres (French, 1780\u20131867). Oil on linen; framed: 74.5 x 91.5 x 11 cm (29 5/16 x 36 x 4 5/16 in.); unframed: 48.1 x 63.9 cm (18 15/16 x 25 3/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1966.13", "current_location": "202 French Neoclassical Decorative Arts", "title": "Antiochus and Stratonice", "creation_date": "c. 1838", "creation_date_earliest": 1833, "creation_date_latest": 1843, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on linen", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 74.5 x 91.5 x 11 cm (29 5/16 x 36 x 4 5/16 in.); Unframed: 48.1 x 63.9 cm (18 15/16 x 25 3/16 in.)", "dimensions": {"framed": {"height": 0.745, "width": 0.915, "depth": 0.11}, "unframed": {"height": 0.481, "width": 0.639}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 361190, "title": "Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections", "description": "<i>Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections</i>. Fogg Art Museum/Harvard University, Cambridge, MA (organizer) (February 12-April 9, 1967).", "opening_date": "1967-02-12T05:00:00"}, {"id": 198256, "title": "The Last Days of Pompeii: Decadence, Apocalypse, Resurrection", "description": "<i>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</i>. Getty Villa, Pacific Palisades, CA (September 12, 2012-January 7, 2013); The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-July 7, 2013).", "opening_date": "2012-09-03T00:00:00"}], "legacy": [{"description": "London, New Burlington Galleries. Exhibition of Masters of French 19th Century Painting (1936), no. 1, lent by Alphonse Kann.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Cambridge, Mass., Fogg Art Museum. Ingres Centennial Exhibition 1867-1967 (1967), no. 78, 79 (repr.).", "opening_date": "1967-01-01T00:00:00"}, {"description": "New York, Frick Collection. Ingres and the Comtesse d'Haussonville (1985-86), no. 55, 72-76 (repr.).", "opening_date": "1985-01-01T00:00:00"}, {"description": "Getty Villa (9/12/2012 - 1/7/2013), The Cleveland Museum fo Art (2/24/2013 - 5/19/2013), Mus\u00e9e des Beaux-Arts, Qu\u00e9bec (6/13/2013 - 9/8/2013):  \"The Last Days of Pompeii: Decadence, Apocalypse, Resurrection\"", "opening_date": "2012-09-12T00:00:00"}, {"description": "The Cleveland Museum of Art (09/ 12/2012 - 01/07/2013 Getty Villa Malibu, CA; 02/24/2013 - 07/07/2013 Cleveland Museum of Art); \"The Last Days of Pompeii: Decadence, Apocalypse, Resurrection\"", "opening_date": "2013-01-07T00:00:00"}]}, "provenance": [{"description": "Ingres estate sale, Paris, Drouot, 27 April 1867 (lot 6), Stratonice, R\u00e9p\u00e9tition presque termin\u00e9e du m\u00eame sujet [Stratonice], 1834, ff 4,220. Mme Ingres. Louis Bazille, Montpellier (1870). Pierre Leenhardt, Paris sale, Georges Petit, 4 May 1922 (lot 29, repr.), Stratonice, ou la maladie d'Antiochus. Alphonse Kann, Paris. Seized by the Germans in 1941. Recovered after WWII. Sold by Kann's heirs. Anonymous sale, Paris, Galerie Charpentier, 12 May 1950 (lot 30, repr.), Stratonice, ou la maladie d'Antiochus. Jacques Seligmann, New York. Purchased by the cma on 3 January 1966.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Struck by a mysterious illness, Antiochus lies in bed near death. His grieving father, who has recently taken Stratonice as his wife, summons a doctor. Noticing that the sight of the young woman quickens Antiochus\u2019s pulse and that passion causes his sickness, the doctor describes the youth\u2019s predicament to his father, who selflessly offers Stratonice to his son. The subject, both a love story and an example of parental devotion, enjoyed considerable popularity well into the 1800s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469545"], "internet_archive": ["https://archive.org/details/clevelandart-1966.13-antiochus-and-strato"]}, "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. 165", "url": "https://archive.org/details/CMAHandbook1966/page/n189"}, {"citation": "Cleveland Museum of Art, \u201cGolden Anniversary Acquisition,\u201d 1966, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr1434"}, {"citation": "Stechow, Wolfgang. \"Cleveland's Golden Anniversary Acquisitions.\" <em>Artnews</em> 65, no. 5 (September 1966): 30-64.", "page_number": "Reproduced: p. 41; Mentioned p. 62-63", "url": null}, {"citation": "Lee, Sherman E. \u201cGolden Anniversary Acquisitions: September 10 through October 16.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 7 (September 1966): 181\u2013284.", "page_number": "Reproduced: p. 233; Mentioned: p. 280, no. 62", "url": "http://www.jstor.org/stable/25152110"}, {"citation": "Francis, Henry S. \u201cJean Auguste Dominique Ingres: Antiochus and Stratonice.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 4 (April 1968): 103\u2013112.", "page_number": "Reproduced: Cover; Mentioned: p. 103-106", "url": "http://www.jstor.org/stable/25152209"}, {"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. 165", "url": "https://archive.org/details/CMAHandbook1969/page/n189"}, {"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. 204", "url": "https://archive.org/details/CMAHandbook1978/page/n224"}, {"citation": "Real, William A. \u201cExploring New Applications for Infrared Reflectography.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 8 (December 1985): 390\u2013412.", "page_number": "Mentioned and reproduced: p. 404-406, figs. 16-18b", "url": "http://www.jstor.org/stable/25159923"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 364-369, Vol. II, no. 128", "url": ""}, {"citation": "Vigne, Georges. \"Stratonice, Le Belle Silencieuse d'Ingres.\" In <em>Ingres: l'Artiste et Ses Princes </em>edited by Mathieu Deldicque and Nicole Garnier-Pelle, 108-133. Exh. cat. Paris: In Fine, 2023.", "page_number": "Reproduced: p. 122, fig. 7.", "url": ""}], "url": "https://clevelandart.org/art/1966.13", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_web.jpg", "width": "900", "height": "674", "filesize": "169721", "filename": "1966.13_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_print.jpg", "width": "3400", "height": "2547", "filesize": "2274586", "filename": "1966.13_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.13/1966.13_full.tif", "width": "7519", "height": "5633", "filesize": "127086812", "filename": "1966.13_full.tif"}}, "alternate_images": [{"date_created": "2007-01-18T19:56:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt0_web.jpg", "width": "1196", "height": "893", "filesize": "694436"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt0_print.jpg", "width": "3400", "height": "2539", "filesize": "5281833"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt0_full.tif", "width": "5127", "height": "3828", "filesize": "58910228"}}, {"date_created": "2013-11-12T11:58:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt1_web.jpg", "width": "900", "height": "670", "filesize": "140371"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt1_print.jpg", "width": "3400", "height": "2531", "filesize": "2578352"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt1_full.tif", "width": "7892", "height": "5874", "filesize": "139096072"}}, {"date_created": "2013-11-12T12:01:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt2_web.jpg", "width": "900", "height": "679", "filesize": "230053"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt2_print.jpg", "width": "3400", "height": "2564", "filesize": "3449742"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt2_full.tif", "width": "7807", "height": "5888", "filesize": "137926104"}}, {"date_created": "2013-11-12T10:33:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt3_web.jpg", "width": "900", "height": "728", "filesize": "229876"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt3_print.jpg", "width": "3400", "height": "2749", "filesize": "2532445"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.13/1966.13_alt3_full.tif", "width": "6832", "height": "5524", "filesize": "113248404"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 142298, "creators": [{"id": 1685, "description": "Jean-Auguste-Dominique Ingres (French, 1780\u20131867)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leading exponent of French neoclassicism and the academic tradition, Jean-Auguste-Dominique Ingres was born in Montauban in 1780. At the age of ten he began studying art and music in Toulouse. In 1797 he entered the Paris studio of David (q.v.), where he became a favorite pupil and assistant. Barely a year later a dispute prompted Ingres to leave the studio and enroll in the \u00c9cole des Beaux-Arts. In 1801 he won the Prix de Rome, but lack of funds prevented him from departing for Italy until 1806. During fourteen years in Rome and four in Florence, Ingres painted romantic troubadour themes and became an admirer of Raphael. In 1824 he returned to Paris and exhibited at the Salon, where a fierce debate erupted between his supporters and those of Delacroix (q.v.). The controversial Salon of 1824 signaled Ingres's emergence as the leader of the neoclassical movement in France. At that point he effectively assumed the role of his former teacher David, now in exile. In 1833 the French government appointed Ingres vice president of the \u00c9cole des Beaux-Arts and president the following year. In 1834 he accepted the directorship of the French Academy in Rome and spent the next seven years painting and studying antique art in Italy. In 1841 he returned to Paris, where his paintings were greeted with thunderous critical acclaim. A major retrospective at the Exposition Universelle of 1855 confirmed his reputation but also aroused the hostility of young artists opposed to academic rules and conventions. During his later years Ingres continued his bitter rivalry with Delacroix, successfully blocking the latter's admission to the academy until 1857. Ingres died in 1867, leaving behind a circle of followers and a remarkable drawing style that was to inspire later artists, including Degas (q.v.) and Pablo Picasso (1881-1973).", "name_in_original_language": null, "birth_year": "1780", "death_year": "1867", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-01-03T00:00:00", "sortable_date": 1833, "date_added_to_oa": null, "date_text": "c. 1838", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Antiochus and Stratonice (The Sickness of Antiochus)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:45.434000"}, {"id": 108544, "accession_number": "1926.25", "share_license_status": "CC0", "tombstone": "Orpheus, c. 1903\u201310. Odilon Redon (French, 1840\u20131916). Pastel on brown paper; sheet: 68.8 x 56.8 cm (27 1/16 x 22 3/8 in.). The Cleveland Museum of Art, Gift from J. H. Wade, 1926.25", "current_location": null, "title": "Orpheus", "creation_date": "c. 1903\u201310", "creation_date_earliest": 1898, "creation_date_latest": 1915, "artists_tags": ["male"], "culture": ["France"], "technique": "pastel on brown paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 68.8 x 56.8 cm (27 1/16 x 22 3/8 in.)", "dimensions": {"sheet": {"height": 0.688, "width": 0.568}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in black pastel: ODILON REDON", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616624, "title": "Fifty Years of French Art", "description": "<i>Fifty Years of French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29-November 29, 1926).", "opening_date": "1926-10-29T05:00:00"}, {"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312428, "title": "Expressionism and Related Movements", "description": "<i>Expressionism and Related Movements</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 26-February 28, 1939).", "opening_date": "1939-01-26T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 311904, "title": "Odilon Redon (1840-1916): Pastels and Drawings", "description": "<i>Odilon Redon (1840-1916): Pastels and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (November 29, 1951-January 20, 1952); Walker Art Center, Minneapolis, MN (February 1-March 1, 1952).", "opening_date": "1951-10-22T04:00:00"}, {"id": 300904, "title": "Fifty Years of Modern Art", "description": "<i>Fifty Years of Modern Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-July 31, 1966).", "opening_date": "1966-06-15T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"id": 361099, "title": "La Reverie Esthetique: Symbolist Works on Paper", "description": "<i>La Reverie Esthetique: Symbolist Works on Paper</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (March 29-May 22, 1988).", "opening_date": "1988-03-29T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 203744, "title": "Themes and Variations: Musical Drawings and Prints", "description": "<i>Themes and Variations: Musical Drawings and Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>International Exhibition of Modern Art</em>. Armory of the Sixty-Ninth Infantry, New York (February 17 - March 15, 1913); Art Institute of Chicago (March 24 - April 16, 1913); Copley Society, Boston (April 23 - May 14, 1913).", "opening_date": "1913-02-17T00:00:00"}, {"description": "<em>Loan Exhibition of Impressionist and Post-Impressionist Paintings</em>. Metropolitan Museum of Art, New York (May 3 - September 15, 1921).", "opening_date": "1921-05-03T00:00:00"}, {"description": "<em>Odilon Redon</em>. Museum of French Art, New York (April 3 - May 1, 1922).", "opening_date": "1922-04-03T00:00:00"}, {"description": "<em>Fifty Years of French Art</em>. Cleveland Museum of Art, Cleveland, OH (October 29 - November 28, 1926).", "opening_date": "1926-10-29T00:00:00"}, {"description": "<em>\"The Noble Buyer\": John Quinn, Patron of the Avant-Garde</em>. Washington, DC: Hirshhorn Museum and Sculpture Garden (1978).", "opening_date": "1978-01-01T00:00:00"}]}, "provenance": [{"description": "purchased by Henri Matisse [1869\u20131954] for his father, \u00c9mile Hippolyte Matisse [1840\u20131910]", "citations": [], "footnotes": ["<div><!--block-->According to Walter Pach, \"...among the pictures which Matisse bought for his father were some by Redon, to whose color he gave the most eager study. He would have liked to retain the works himself when settling the estate. But it was too hard to distribute among the family, and so he sent the Redons to America for sale. One of them is the magnificent <em>Head of Orpheus</em> now in the Cleveland Museum, which acquired it from the heirs of John Quinn, that great collector having bought the work and others from the Matisse family.\" See <em>Queer Thing, Painting: Forty Years in the World of Art </em>(New York: Harper &amp; Brothers, 1938), p. 166.</div>"], "date": "after 1903-1910", "sortorder": 1}, {"description": "Wilhelm Uhde [1874-1947], Paris", "citations": [], "footnotes": null, "date": "? - by 1915", "sortorder": 2}, {"description": "(Carroll Galleries, New York, sold to John Quinn, New York)", "citations": [], "footnotes": null, "date": "1915 - 1917", "sortorder": 3}, {"description": "John Quinn [1870-1924], New York, purchased from his estate by the Cleveland Museum of Art through Joseph Brummer", "citations": [], "footnotes": null, "date": "1917-1924", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Another version of this pastel (now in the collection of the Mus\u00e9e Fabre de Montpellier) was part of a group of later works by Redon shown at the 1913 International Exhibition of Modern Art\u2014better known as the Armory Show\u2014which introduced the artist to American audiences.", "description": "Drawn in vivid layers of pastel crayon, this work depicts the head of the poet and musician Orpheus. The story of the god of music, whose music carried on after his death through his lyre and head, fascinated Redon, who related to Orpheus's dedication to his art. The subject also aligned with Redon's broader interest in dreams and spirituality around this time and he represented Orpheus several times throughout his career, in various media. Here, the god's head floats as if in stasis while Mount Parnassus\u2014the home of Apollo and the Muses\u2014soars from behind.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60745842"], "internet_archive": ["https://archive.org/details/clevelandart-1926.25-orpheus"]}, "citations": [{"citation": "<em>Catalogue of International Exhibition of Modern Art: Association of American Painters and Sculptors : at the Armory of the Sixty-Ninth Infantry, Lexington Avenue, Twenty-Fifth and Twenty-Sixth Streets, New York, from February Fifteenth to March Fifteenth, Nineteen Hundred and Thirteen from Ten a.M. to Ten P.M. (Sundays Included)</em>. New York: Vreeland Advertising Press, 1913.", "page_number": "Mentioned: p. 32, no. 307", "url": null}, {"citation": "<em>Loan Exhibition of Impressionist and Post-Impressionist Paintings</em>. New York: Metropolitan Museum of Art, 1921.", "page_number": "Mentioned and reproduced: no. 96", "url": null}, {"citation": "Watson, Margaret W. \"Odilon Redon, A Great French Lyricist.\" <em>The Arts</em> 2, no. 5 (1922): 273-276.", "page_number": "Reproduced: p. 275", "url": null}, {"citation": "Pach, Walter. <em>The Masters of Modern Art</em>. New York: B.W. Huebsch, 1924.", "page_number": "Mentioned and reproduced: no. 14", "url": null}, {"citation": "<em>John Quinn, 1870-1925: Collection of Paintings, Water Colors, Drawings &amp; Sculpture</em>. Huntington, NY: Pidgeon Hill, 1926.", "page_number": "Mentioned: p. 14; Reproduced: p. 107", "url": null}, {"citation": "Milliken, W. M. \"Orpheus, by Odilon Redon.\" <em>Bulletin of the Cleveland Museum of Art</em> 13, no. 6 (June 1926): 139-141.", "page_number": "Mentioned: pp. 139-141.", "url": null}, {"citation": "\"Cleveland Museum Buys a Redon.\" <em>The Art News</em> (January 1, 1927): 1-2.", "page_number": "Mentioned: p. 2", "url": null}, {"citation": "\"Cleveland's New Redon.\" <em>Art Digest</em> 1, no. 5 (January 1, 1927): 12.", "page_number": "Mentioned: p. 12", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 39", "url": "https://archive.org/details/CMAHandbook1928/page/n43"}, {"citation": "Wilenski, R.H. <em>French Painting</em>. Boston: Hale, Cushman &amp; Flint, 1931.", "page_number": "Mentioned: p. 332; Reproduced: pl. 141", "url": null}, {"citation": "Pach, Walter. <em>Queer Thing, Painting: Forty Years in the World of Art</em>. New York: Harper &amp; Brothers, 1938.", "page_number": "Mentioned: p. 166", "url": null}, {"citation": "Holme, Bryan. <em>Master Drawings</em>. New York: The Studio, 1943.", "page_number": "Reproduced: pl. 114", "url": null}, {"citation": "Francis, Henry Sayles and Ary Leblond. <em>Odilon Redon, 1840-1916: Pastels and Drawings.</em> Cleveland: Cleveland Museum of Art, 1951.", "page_number": "Mentioned and reproduced: no. 17", "url": null}, {"citation": "Sandstr\u00f6m, Sven. <em>Le monde imaginaire d'Odilon Redon</em>. Lund: CWK Gleerup, 1955.", "page_number": "Mentioned: p. 177; Reproduced: p. 175", "url": null}, {"citation": "Rewald, John. \"Quelques notes et documents sur Odilon Redon.\" <em>Gazette des Beaux-Arts</em> 48 (November 1956): 81-124.", "page_number": "Reproduced: p. 114", "url": null}, {"citation": "Berger, Klaus. \"The Pastels of Odilon Redon.\" <em>College Art Journal</em> 16, no. 1 (Autumn 1956): 23-33.", "page_number": "Mentioned: p. 32; Reproduced: p. 33", "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. 512", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "Berger, Klaus. <em>Odilon Redon: Fantasy and Colour</em>. Trans. Michael Bullock. New York: McGraw-Hill, 1965.", "page_number": "Mentioned: p. 208, no. 365; Reproduced p. 35", "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. 181", "url": "https://archive.org/details/CMAHandbook1966/page/n205"}, {"citation": "Henning, Edward B. <em>Fifty Years of Modern Art, 1916-1966</em>. Cleveland: Cleveland Museum of Art, 1966.", "page_number": "Mentioned: p. 7, 206; Reproduced: p. 7", "url": null}, {"citation": "Hamilton, George Heard. <em>Painting and Sculpture in Europe, 1880 to 1940</em>. London: Penguin Books, 1967.", "page_number": "Mentioned: p. 47; Reproduced: pl. 23B", "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. 181", "url": "https://archive.org/details/CMAHandbook1969/page/n205"}, {"citation": "Muehsam, Gerd. <em>French Painters and Paintings from the Fourteenth Century to Post-Impressionism</em>. New York: Frederick Ungar Publishing Co., 1970.", "page_number": "Mentioned: pp. 490-491; Reproduced: p. 490", "url": null}, {"citation": "Berman, Greta. \"The Paradox of Odilon Redon.\" <em>Konsthistorisk Tidskrift</em>. 39, no. 1-2 (May 1970): 70-79.", "page_number": "Reproduced: p. 78.", "url": null}, {"citation": "Selz, Jean. <em>Odilon Redon</em>. Lugano: Uffici Press, 1971.", "page_number": "Mentioned: p. 68; Reproduced: p. 54", "url": null}, {"citation": "Cassou, Jean. <em>Odilon Redon</em>. Milan: Fratelli Fabbri, 1972.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "Lucie-Smith, Edward. <em>Symbolist Art</em>. London: Thames and Hudson, 1972.", "page_number": "Mentioned: p. 78; Reproduced: p. 70", "url": null}, {"citation": "Hobbs, Richard. <em>Odilon Redon</em>. London: Studio Vista, 1977.", "page_number": "Reproduced: p. 150", "url": null}, {"citation": "Christian, John. <em>Symbolists and Decadents</em>. London: Thames and Hudson, 1977.", "page_number": "Mentioned: p. 14, no. 4; Reproduced: p. 15", "url": null}, {"citation": "Keay, Carolyn, ed. <em>Odilon Redon. </em>London: Academy Editions, 1977.", "page_number": "Reproduced: p. 19", "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. 224", "url": "https://archive.org/details/CMAHandbook1978/page/n244"}, {"citation": "Wilson, Michael. <em>Nature and Imagination: The Work of Odilon Redon</em>. Oxford: Phaidon, 1978.", "page_number": "Mentioned: pp. 56, 58; Reproduced: p. 57", "url": null}, {"citation": "Zilczer, Judith. <em>\"The Noble Buyer\": John Quinn, Patron of the Avant-Garde</em>. Washington, DC: Hirshhorn Museum and Sculpture Garden, 1978.", "page_number": "Mentioned: p. 180", "url": null}, {"citation": "Canaday, John. <em>Mainstreams of Modern Art</em>. 2nd ed. New York: Holt, Rinehart and Winston, 1981.", "page_number": "Mentioned: p. 370; Reproduced: p. 373", "url": null}, {"citation": "Coustet, Robert. <em>L'Univers d'Odilon Redon</em>. Paris: Carnets de Dessins, 1984.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Nobuo Abe. Rudon = Redon. To\u0304kyo\u0304: Shu\u0304eisha, 1986.", "page_number": "Reproduced: no. 34", "url": null}, {"citation": "Bacou, Roseline. <em>Odilon Redon: Pastels</em>. Trans. Beatrice Rehl. New York: George Braziller, 1987.", "page_number": "Mentioned: pp. 18, 122, no. 41; Reproduced: p. 123", "url": null}, {"citation": "Cleveland Museum of Art. <em>Images of the Mind.</em> Cleveland, Ohio: Cleveland Museum of Art, 1987.", "page_number": "Reproduced: front cover", "url": ""}, {"citation": "Zelanski, Paul and Mary Pat Fisher. <em>The Art of Seeing</em>. New Jersey: Prentice-Hall, 1988.", "page_number": "Mentioned: p. 90; Reproduced: p. 91", "url": null}, {"citation": "\"'La R\u00eaverie esth\u00e9tique': Symbolist Works on Paper.\" <em>Allen Memorial Art Museum Bulletin</em> 43, no. 1 (Summer 1988): 3-47.", "page_number": "Mentioned: p. 34, no. 40; Reproduced: p. 45", "url": null}, {"citation": "Kosinski, Dorothy M. <em>Orpheus in Nineteenth-Century Symbolism</em>. Ann Arbor, MI: UMI Research Press, 1989.", "page_number": "Mentioned and reproduced: p. 199", "url": null}, {"citation": "Mindell, Arnold. <em>Coma: Key to Awakening</em>. Boston: Shambhala, 1989.", "page_number": "Reproduced on cover", "url": null}, {"citation": "Robinson, William H. \"Puvis De Chavannes's \"Summer\" and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Reproduced and Mentioned: p. 14", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Strickland, Carol and John Boswell. <em>The Annotated Mona Lisa: A Crash Course in Art History from Prehistoric to Post-Modern</em>. Kansas City: Andrews and McMeel, 1992.", "page_number": "Mentioned and reproduced: p. 125", "url": null}, {"citation": "Wildenstein, Alec. <em>Odilon Redon, catalogue raisonn\u00e9 de l'oeuvre peint et dessin\u00e9</em>. Paris: Wildenstein Institute, 1992.", "page_number": "Mentioned: vol. II, pp. 69-70, no. 885; Reproduced: p. 70", "url": null}, {"citation": "Kapos, Martha, ed. <em>The Post-Impressionists: A Retrospective</em>. New York: Hugh Lauter Levin, 1993.", "page_number": "Reproduced: p. 165", "url": null}, {"citation": "\"Abschied vom Traum einer Heilen Welt.\" <em>Art, </em>no. 7 (July 1994): 14-17.", "page_number": "Mentioned: p. 16; Reproduced: p. 17", "url": null}, {"citation": "Druick, Douglas W., et al. <em>Odilon Redon: Prince of Dreams, 1840-1916</em>.Chicago: Art Institute of Chicago, 1994.", "page_number": "Mentioned: p. 230; Reproduced: p. 233", "url": null}, {"citation": "Jarrass\u00e9, Dominique. <em>Odilon Redon, le r\u00eave</em>. Paris: Herscher, 1996.", "page_number": "Mentioned: p. 46; Reproduced: p. 47", "url": null}, {"citation": "Orizet, Jean, ed. <em>Anthologie de la po\u00e9sie fran\u00e7aise: les po\u00e8tes et les oeuvres, les mouvements et les \u00e9coles</em>. Paris: Larousse, 1998.", "page_number": "Reproduced on cover", "url": null}, {"citation": "Dempsey, Amy. <em>Styles, Schools and Movements: An Encyclopaedic Guide to Modern Art</em>. London: Thames &amp; Hudson, 2002.", "page_number": "Mentioned and reproduced: p. 43", "url": null}, {"citation": "Bamford, Christopher. <em>An Endless Trace: The Passionate Pursuit of Wisdom in the West</em>. New Paltz, NY: Codhill Press, 2003.", "page_number": "Reproduced on cover", "url": null}, {"citation": "Janson, H.W. and Anthony Janson. <em>History of Art: The Western Tradition</em>. Rev 6th ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2004.", "page_number": "Mentioned and reproduced: p. 778", "url": null}, {"citation": "Stefano, Eva di. \"Il colore fiorisce.\" <em>Art e Dossier </em>(2005): 33-46.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "Sturgis, Alexander, Rupert Christiansen, Lois Oliver, and Michael Wilson. <em>Rebels and Martyrs: The Image of the Artist in the Nineteenth Century</em>. London: National Gallery, 2006.", "page_number": "Mentioned and reproduced: p. 25", "url": null}, {"citation": "Robinson, William. \"World Tour Comes to Cleveland.\" <em>Cleveland Art :</em> <em>Cleveland Museum of Art Members Magazine</em> (October 2007): 3-5.", "page_number": "Mentioned and reproduced: p. 5", "url": null}, {"citation": "Robinson, William, \"World Tour Comes to Cleveland\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 08, October 2007", "page_number": "Mentioned & reproduced: p. 5", "url": "https://archive.org/details/CMAMM2007-08/page/4"}, {"citation": "Prettejohn, Elizabeth, Peter Trippi, Robert Upstone, and Patty Wageman. <em>J.W. Waterhouse: The Modern Pre-Raphaelite</em>. Groningen: Groninger Museum, 2008.", "page_number": "Mentioned: p. 59; Reproduced: p. 61", "url": null}, {"citation": "Yamamoto, Atsuko, and Akiya Takahashi. Motto shiritai rudon: sho\u0304gai to sakuhin. To\u0304kyo\u0304: To\u0304kyo\u0304bijutsu, 2011.", "page_number": "Mentioned and reproduced: p. 64", "url": null}, {"citation": "Chevrier, Jean-Fran\u00e7ois. <em>L'Hallucination artistique de William Blake \u00e0 Sigmar Polke</em>. Paris: L'Arachneen, 2012.", "page_number": "Reproduced.", "url": null}, {"citation": "Lemonedes, Heather. \"Themes and Variations: Works on Paper from the Museum's Collection with a Musical Motif.\" <em>Cleveland Art :</em> <em>Cleveland Museum of Art Members Magazine</em> (January/February 2015): 4-5.", "page_number": "Reproduced: p. 4", "url": "http://clevelandart.org/magazine/cleveland-art-2015-highlights/themes-and-variations"}, {"citation": "Illiano, Roberto, ed. <em>Music and Figurative Arts in the Twentieth Century.</em> Turnhout: Brepols, 2016.", "page_number": "Reproduced: Appendix, no.4", "url": ""}, {"citation": "Homburg, Cornelia, \"Redon's Femmes aux Fleurs: Variations on a Theme.\" In <em>Odilon Redon: Literature and Music</em>, edited by Cornelia Homburg,175-95. Exh. Cat. Otterlo: Kr\u00f6ller-M\u00fcller Museum, 2018.", "page_number": "Mentioned: 184, 207, no. 183; Reproduced: p. 184", "url": null}, {"citation": "Henning, Edward B. <em>The Spirit of Surrealism</em>. Cleveland: The Cleveland Museum of Art, 1979.", "page_number": "Mentioned: p. 44-45, 185; Reproduced: p.44, fig. 4; colorplate II", "url": null}, {"citation": "Salsbury, Britany. \u201cCollecting Dreams: An exhibition of the museum's outstanding collection of works by Odilon Redon.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 3 (Summer 2021): 12-15.", "page_number": "Reproduced: p. 12; Mentioned: p. 14-15", "url": "https://archive.org/details/cmamm2021-03_202304/page/n11/mode/2up"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 188-191, no. 40", "url": ""}, {"citation": "Lemonedes, Heather. \u201cThemes and Variations: Works on paper from the museum's collection with a musical motif.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 1 (January/February 2015): Cover, 4-5.", "page_number": "Reproduced: p. 4; Mentioned: p. 5", "url": "https://archive.org/details/CMAMM2015-01"}], "catalogue_raisonne": "Wildenstein 885", "url": "https://clevelandart.org/art/1926.25", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.25/1926.25_web.jpg", "width": "744", "height": "900", "filesize": "235146", "filename": "1926.25_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.25/1926.25_print.jpg", "width": "2812", "height": "3400", "filesize": "3366933", "filename": "1926.25_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.25/1926.25_full.tif", "width": "11795", "height": "14260", "filesize": "504617072", "filename": "1926.25_full.tif"}}, "alternate_images": [{"date_created": "2013-10-15T10:48:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.25/1926.25_alt0_web.jpg", "width": "735", "height": "893", "filesize": "125139"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.25/1926.25_alt0_print.jpg", "width": "1536", "height": "1872", "filesize": "2498462"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.25/1926.25_alt0_full.tif", "width": "1536", "height": "1872", "filesize": "8629356"}}], "creditline": "Gift from J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108544, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-02-18T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "c. 1903\u201310", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:07:29.113000"}, {"id": 173641, "accession_number": "1915.722", "share_license_status": "CC0", "tombstone": "Rest, 1879. William Adolphe Bouguereau (French, 1825\u20131905). Oil on fabric; framed: 204 x 156 x 15 cm (80 5/16 x 61 7/16 x 5 7/8 in.); unframed: 164.5 x 117.8 cm (64 3/4 x 46 3/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.722", "current_location": "219 19th Century European", "title": "Rest", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "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: 204 x 156 x 15 cm (80 5/16 x 61 7/16 x 5 7/8 in.); Unframed: 164.5 x 117.8 cm (64 3/4 x 46 3/8 in.)", "dimensions": {"framed": {"height": 2.04, "width": 1.56, "depth": 0.15}, "unframed": {"height": 1.645, "width": 1.178}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: W. Bouguereau 1879\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 444774, "title": "William-Adolphe Bouguereau", "description": "<i>William-Adolphe Bouguereau</i>. The New York Cultural Center, New York, NY (organizer) (December 13, 1974-January 26, 1975).", "opening_date": "1974-12-13T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 307305, "title": "Bouguereau & America", "description": "<i>Bouguereau & America</i>. Milwaukee Art Museum, Milwaukee, WI (February 14-May 12, 2019); Memphis Brooks Museum of Art, Memphis, TN (organizer) (June 22-September 22, 2019).", "opening_date": "2019-02-14T05:00:00"}], "legacy": [{"description": "New York Cultural Center. William-Adolphe Bouguereau (1975), no. 15, pl. 15.", "opening_date": "1975-01-01T00:00:00"}, {"description": "Gifu (Japan), Museum of Fine Arts; Kamakura, Museum of Modern Art. Paris autour de 1882 (1982-83), no. 13, pl. 13.", "opening_date": "1982-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Petit Palais; Montreal Museum of Fine Arts; Hartford, Wadsworth Atheneum. William Bouguereau 1825-1905 (1984-85), 64, 108, no. 90 (repr.).", "opening_date": "1905-01-01T00:00:00"}, {"description": "Norfolk, Chrysler Museum; Philadelphia, Pennsylvania Academy of the Fine Arts; Memphis Brooks Museum of Art. Paris 1889: American Artists at the Universal Exposition (1989-90), 237-38 (repr.).", "opening_date": "1989-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["432.1915"], "did_you_know": null, "description": "One of the most celebrated academic painters of his time, Bouguereau underscores the moral virtues of the Italian peasants in this painting by depicting the dome of St. Peter's in the distance. The idealized figures and their triangular grouping recall the Holy Family paintings by Renaissance master Raphael 400 years earlier. The painting was purchased directly from the artist by Cleveland banker and philanthropist Hinman B. Hurlbut in July 1879.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230251", "https://www.wikidata.org/wiki/Q36495969"], "internet_archive": ["https://archive.org/details/clevelandart-1915.722-rest"]}, "citations": [{"citation": "\u201cExhibitions.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 3, no. 4 (October 1916): 1\u20133.", "page_number": "Mentioned: p. 3", "url": "http://www.jstor.org/stable/25136053"}, {"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. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.<br>Published as: <em>Mother and Children.</em>", "page_number": "Reproduced: p. 212", "url": "https://archive.org/details/CMAHandbook1978/page/n232"}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 05, May 1996", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM1996-05/page/n7"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 80-82, Vol. I, no. 31", "url": ""}, {"citation": "Ross, Frederick C., and Kara Lysandra Ross. <em>William Bouguereau: The Essential Works</em>. Woodbridge, Suffolk, England: ACC Art Books, 2018.", "page_number": "Reproduced: p. 8, 201; Mentioned: p. 34, 171, 176", "url": null}, {"citation": "Paul, Tanya and Stanton Thomas, eds. <em>Bouguereau &amp; America.</em> Milwaukee, WI: Milwaukee Art Museum; Memphis, TN: Memphis Brooks Museum of Art ; New Haven, CT: Yale University Press, 2019.", "page_number": "Reproduced p. 2, p. 127, cat. 22; Mentioned: pp.37,43, 126", "url": null}, {"citation": "Cleveland Museum of Art. <em>Motherhood across Time</em>. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned and reproduced: p. 5", "url": ""}, {"citation": "Rikhof, Maaike. 2022. \u201cFortunata, an Italienne c\u00e9l\u00e8bre: Identifying the Model in Th\u00e9r\u00e8se Schwartze\u2019s Young Italian Woman With Puck the Dog\u201d. <em>The Rijksmuseum Bulletin</em> 70 (3):244-57.", "page_number": "p. 252", "url": "https://doi.org/10.52476/trb.12832"}, {"citation": "<em>Dessin Anciens &amp; Du XIXe Si\u00e8cle</em>. Paris: Artcurial, 2025, 107.", "page_number": "Reproduced: p. 107", "url": ""}], "url": "https://clevelandart.org/art/1915.722", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.722/1915.722_web.jpg", "width": "640", "height": "900", "filesize": "183452", "filename": "1915.722_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.722/1915.722_print.jpg", "width": "2416", "height": "3400", "filesize": "1688319", "filename": "1915.722_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.722/1915.722_full.tif", "width": "4452", "height": "6266", "filesize": "83719020", "filename": "1915.722_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt0_web.jpg", "width": "630", "height": "893", "filesize": "393605"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt0_print.jpg", "width": "1084", "height": "1536", "filesize": "1131847"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt0_full.tif", "width": "1084", "height": "1536", "filesize": "4997012"}}, {"date_created": "2009-10-05T18:28:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt1_web.jpg", "width": "668", "height": "893", "filesize": "428442"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "5342740"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt1_full.tif", "width": "4992", "height": "6668", "filesize": "99894236"}}, {"date_created": "2009-10-05T18:36:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt2_web.jpg", "width": "668", "height": "893", "filesize": "385203"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt2_print.jpg", "width": "2545", "height": "3400", "filesize": "5685688"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt2_full.tif", "width": "4992", "height": "6668", "filesize": "99893484"}}, {"date_created": "2009-10-05T18:41:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt3_web.jpg", "width": "640", "height": "893", "filesize": "432554"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt3_print.jpg", "width": "2438", "height": "3400", "filesize": "6962774"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.722/1915.722_alt3_full.tif", "width": "4625", "height": "6450", "filesize": "89526428"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 173641, "creators": [{"id": 1571, "description": "William Adolphe Bouguereau (French, 1825\u20131905)", "extent": null, "qualifier": null, "role": "artist", "biography": "William Adolphe Bouguereau started drawing at an early age but did not take lessons until 1834, his first year in college in Pons, where his instructor was Louis Sage, who had been a pupil of Ingres (q.v.). In 1841 Bouguereau's father, a wine merchant, moved the family to Bordeaux. The following year he was allowed to attend the \u00c9cole Municipale de Dessin et de Peinture, where he studied under Jean-Paul Alaux. Bouguereau became a bookkeeper for another wine merchant in order to meet the cost of the school. By 1844 he had won the first prize for figure painting, which further encouraged him to pursue his art career. He lived with his uncle in Mortagne from 1845 until 1846, painted portraits of the local landowners, and saved enough money to move to Paris. In 1846 he entered the \u00c9cole des Beaux-Arts and studied under Fran\u00e7ois-\u00c9douard Picot (1786-1868). After several attempts, he finally won the Premier Grand Prix de Rome in 1850. He lived at the Villa Medici in Rome and studied Raphael, Andrea del Sarto, Giotto's Paduan frescos, and those at San Francesco in Assisi. The impact of these works appeared in Bouguereau's oeuvre in the form of classical poses, restraint, and a high degree of finish. After his return to France, Bouguereau exhibited regularly at the Salon, concentrating on classical, genre, and religious themes. In 1858 he was commissioned to decorate his first public building-the Chapel of St. Louis in St. Clotilde Church in Paris. Other public commissions followed, including the chapels of St. Pierre-Paul and St. Jean-Baptiste at St. Augustin Church in Paris, the cupola decorations in the cathedral in La Rochelle, and the ceiling of the Grand Theater of Bordeaux. Bouguereau remained in France during the Franco-Prussian War (1870-71), fighting in the National Guard. Afterward he taught at the Acad\u00e9mie Julian in Paris. In 1876 he fulfilled a lifelong goal, being elected to the Acad\u00e9mie des Beaux-Arts de l'Institut de France. He received the Legion of Honor in 1878 and was a professor at the \u00c9cole des Beaux-Arts in Paris in 1888. Bouguereau's support of the academy and his interest in classicism caused a fall in his popularity at the end of his life. Nevertheless, he died a successful, wealthy artist.", "name_in_original_language": null, "birth_year": "1825", "death_year": "1905", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mother and Children"], "is_highlight": false, "updated_at": "2026-03-27 00:06:07.152000"}, {"id": 128072, "accession_number": "1950.89", "share_license_status": "CC0", "tombstone": "Reading, 1873. Berthe Morisot (French, 1841\u20131895). Oil on canvas; framed: 74.3 x 100.3 x 12.1 cm (29 1/4 x 39 1/2 x 4 3/4 in.); unframed: 46 x 71.8 cm (18 1/8 x 28 1/4 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1950.89", "current_location": "004 Special Exhibition Gallery", "title": "Reading", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 74.3 x 100.3 x 12.1 cm (29 1/4 x 39 1/2 x 4 3/4 in.); Unframed: 46 x 71.8 cm (18 1/8 x 28 1/4 in.)", "dimensions": {"framed": {"height": 0.743, "width": 1.003, "depth": 0.121}, "unframed": {"height": 0.46, "width": 0.718}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: [black:] B [in red:] erthe M[in black:] orisot Remnants of a signature lower left: B \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 519253, "title": "Manet, Degas, Cassatt, and Berthe Morisot", "description": "<i>Manet, Degas, Cassatt, and Berthe Morisot</i>. The Baltimore Museum of Art, Baltimore, MD (organizer) (April 17-June 3, 1962).", "opening_date": "1962-04-17T05:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Baltimore Museum of Art (organizer) (October 10, 1999-January 30, 2000); Museum of Fine Arts, Houston (March 25-May 7, 2000); The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 220881, "title": "R\u00e9trospective Berthe Morisot (1841-1895)", "description": "<i>R\u00e9trospective Berthe Morisot (1841-1895)</i>. Palais des Beaux Arts de Lille, Lille, France (organizer) (March 8-June 9, 2002); Fondation Pierre Gianadda, Martigny, Switzerland (June 20-November 19, 2002).", "opening_date": "2002-03-08T00:00:00"}, {"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": 222021, "title": "Berthe Morisot, Woman of our Time", "description": "<i>Berthe Morisot, Woman of our Time</i>. Mus\u00e9e Marmottan Monet, 75016,  Paris, France (organizer) (March 7-July 1, 2012).", "opening_date": "2012-03-07T00:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 207482, "title": "Unfinished: Thoughts Left Visible", "description": "<i>Unfinished: Thoughts Left Visible</i>. The Met Breuer, New York, NY (March 18-September 4, 2016).", "opening_date": "2016-03-18T04:00:00"}, {"id": 295873, "title": "Berthe Morisot, Woman, Impressionist", "description": "<i>Berthe Morisot, Woman, Impressionist</i>. Mus\u00e9e national des beaux-arts du Qu\u00e9bec (organizer) (June 21-September 23, 2018); The Barnes Foundation, Philadelphia, PA (October 20, 2018-January 14, 2019); The Dallas Museum of Art (February 24-May 26, 2019); Mus\u00e9e d'Orsay, Paris, France (June 17-September 22, 2019); Museum of Fine Arts, Houston, Houston, TX (October 20, 2019-January 20, 2020).", "opening_date": "2018-06-21T04:00:00"}, {"id": 520718, "title": "Paris 1874: Inventing Impressionism", "description": "<i>Paris 1874: Inventing Impressionism</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (co-organizer) (March 25-July 12, 2024) https://www.musee-orsay.fr/en/whats-on/exhibitions/paris-1874-inventing-impressionism; National Gallery of Art, Washington, D.C. (September 8, 2024-January 20, 2025).", "opening_date": "2024-03-25T04:00:00"}, {"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (October 11, 2025-February 15, 2026) https://www.famsf.org/exhibitions/manet-morisot; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": [{"description": "<em>Premi\u00e8re Exposition</em>. Soci\u00e9t\u00e9 Anonyme. 35 Boulevard des Capucines, Paris, France (1874).", "opening_date": null}, {"description": "<em>Vom Kaiserreich zur Republik: eine franzo\u0308sische Kulturgeschichte des 19. Jahrhunderts</em>. Possibly, Kunsthaus Z\u00fcrich, Switzerland (1917).", "opening_date": "1917-01-01T00:00:00"}, {"description": "<em>Exposition d'oeuvres de Berthe Morisot</em>. Bernheim-Jeune, Paris, France (1917).", "opening_date": "1917-01-01T00:00:00"}, {"description": "<em>Exposition d'oeuvres de Berthe Morisot</em>. Bernheim-Jeune, Paris, France (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>French Painting 1100-1900</em>. Carnegie Institute, Pittsburgh, PA (October 18-December 2, 1951).", "opening_date": "1951-10-18T00:00:00"}]}, "provenance": [{"description": "\u00c9douard  Daliphard, Poissy", "citations": [], "footnotes": ["<div><!--block-->Daliphard, a landscape painter, was born in Rouen and studied with Gustave Morin and Joseph Quinaux.&nbsp; Salon catalogues throughout the 1860s and 1870s give his place of residence as Poissy.&nbsp; Little is known about his collection, and once the Morisot came into his possession, it appears to have disappeared from public view until the twentieth century.&nbsp; Sales of works in Daliphard\u2019s collection on April 6, 1875 and March 4, 1876 do not contain the Morisot.&nbsp;</div>"], "date": "?", "sortorder": 1}, {"description": "Gabriel Thomas (1851-1932), Paris", "citations": [], "footnotes": ["<div><!--block-->A 1929 exhibition lists Gabriel Thomas, Morisot\u2019s first cousin, as the painting\u2019s current owner.&nbsp; Thomas died in 1932, but he is still cited as the painting\u2019s owner in Angoulvent\u2019s 1933 catalogue of Morisot\u2019s oeuvre.</div>"], "date": "By 1929-1932", "sortorder": 2}, {"description": "\u00c9douard Molyneux [1891-1974], Paris", "citations": [], "footnotes": null, "date": "?", "sortorder": 3}, {"description": "(C\u00e9sar de Hauke, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "Until 1950", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1950-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Impressionists were mostly men with a few notable exceptions, including Berthe Morisot. While Morisot's work includes many of the hallmarks of Impressionism, such as her loose brushwork, the subject matter of her paintings often reflects the social constraints of her gender. Her paintings often depicted domestic tableaux or images of her friends and family, such as this painting of her sister.", "description": "Morisot\u2019s sister, Edma, posed for this painting of a woman seated on her shawl in a field, her eyes on the pages of a book, with a parasol and fan discarded on the grass. Her white dress reflects the light and shadows of the outdoor setting; its delicate floral pattern echoes the meadow\u2019s wildflowers.<br><br>X-ray examination reveals that Morisot revised Edma\u2019s eyes, which previously looked directly at the beholder, in a manner more typical of Manet\u2019s figures (see The Railway on view in this gallery). Whereas women in Manet\u2019s paintings often return the viewer\u2019s look, Morisot\u2019s figures are usually absorbed in tasks or private reflection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515791"], "internet_archive": ["https://archive.org/details/clevelandart-1950.89-reading"]}, "citations": [{"citation": "Bodelsen, Merete.  \u201cEarly Impressionist Sales 1874-94 in the light of some unpublished \u2018proc\u00e8s-verbaux\u2019,\u201d <em>Burlington Magazine </em>CX, no. 783 (June 1968): 335.", "page_number": null, "url": null}, {"citation": "Lindsay, Suzanne Glover.  \u201cBerthe Morisot: Nineteenth-Century Woman as Professional,\u201d <em>Perspectives on Morisot.  </em>New York: Hudson Hills Press, 1990.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Clairet, Alain, Delphine Montalant, and Yves Rouart.  <em>Berthe Morisot: 1841-1895 : Catalogue Raisonne\u0301 de l'oeuvre peint</em>. Montolivet: CERA-nrs e\u0301d, 1998.", "page_number": null, "url": null}, {"citation": "Bataille, Marie Louise, and Georges Wildenstein. <em>Berthe Morisot: catalogue des peintures, pastels et aquarelles</em>. Paris: Les Beaux-Arts, 1961.", "page_number": null, "url": null}, {"citation": "Angoulvent, Monique. <em>Berthe Morisot</em>. [Paris]: A. Morance\u0301, 1933.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Bataille, Marie Louise, and Georges Wildenstein. <em>Berthe Morisot: catalogue des peintures, pastels et aquarelles</em>. Paris: Les Beaux-Arts, 1961.", "page_number": null, "url": null}, {"citation": "Clairet, Alain, Delphine Montalant, and Yves Rouart.  <em>Berthe Morisot: 1841-1895 : Catalogue Raisonne\u0301 de l'oeuvre peint</em>. Montolivet: CERA-nrs e\u0301d, 1998.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Clairet, Alain, Delphine Montalant, and Yves Rouart.  <em>Berthe Morisot: 1841-1895 : Catalogue Raisonne\u0301 de l'oeuvre peint</em>. Montolivet: CERA-nrs e\u0301d, 1998.", "page_number": null, "url": null}, {"citation": "Boehn, Max von. <em>Vom Kaiserreich zur Republik: eine franzo\u0308sische Kulturgeschichte des 19. Jahrhunderts</em>. 1917.", "page_number": "Reproduced: no. 142", "url": null}, {"citation": "Fourreau, Armand. <em>Berthe Morisot</em>. Paris, France: F. Rieder, 1925.", "page_number": "Reproduced: fig. 4", "url": null}, {"citation": "Fourreau, Armand, and Hubert Wellington. <em>Berthe Morisot</em>. New York, NY: Dodd, Mead and Company, 1925.", "page_number": "Reproduced: p. 39, fig. 4", "url": null}, {"citation": "Angoulvent, Monique. <em>Berthe Morisot</em>. Paris, France: A. Morance\u0301, 1933.", "page_number": null, "url": null}, {"citation": "Francis, Henry S. \"\"Sur la Falaise aux Petites Dales (Mme. Pontillon, Sister of the Artist).\" The Bulletin of The Cleveland Museum of Art XXXVII, no. 10 (December 1950): 205-211.", "page_number": "Reproduced: p. 207-210", "url": null}, {"citation": "Carnegie Institute. <em>French Painting, 1100-1900</em>. Pittsburgh, PA, 1951.", "page_number": "Reproduced: p. 107", "url": null}, {"citation": "Milliken, William M. \"Report for the Year 1950.\" The Bulletin of The Cleveland Museum of Art XXXVIII, no. 6 (June 1951): 153.", "page_number": "Mentioned: p. 153", "url": null}, {"citation": "\"Exhibition of Masterpieces Honoring Hazel Barker King\" <em>Allen Memorial Art Museum Bulletin </em>9, Oberlin, OH (1952<em>). </em>", "page_number": "Reproduced: no. 6", "url": null}, {"citation": "Palais des beaux-arts (Brussels, Belgium). <em>La femme dans l'art franc\u0327ais, [Exposition] mars-mai</em>, <em>1953. </em>", "page_number": "Reproduced: no. 95", "url": null}, {"citation": "Muse\u0301e de l'Orangerie. <em>De David a\u0300 Toulouse-Lautrec; chefs-d'\u0153uvres des collections ame\u0301ricaines</em>. Paris, france: [Presses artistiques], 1955.", "page_number": "Reproduced: p. 20, no. 43, pl. 45", "url": null}, {"citation": "Cleveland Museum of Art, \u201cCleveland Owned Paintings Will Go to France,\u201d April 20, 1955, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4556"}, {"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. 504", "url": "https://archive.org/details/CMAHandbook1958/page/n93"}, {"citation": "Bataille, Marie Louise, and Georges Wildenstein. <em>Berthe Morisot: catalogue des peintures, pastels et aquarelles</em>. Paris, France: Les Beaux-Arts, 1961.", "page_number": "Reproduced: no. 14", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism</em>. New York, NY: Museum of Modern Art, 1961.", "page_number": "Reproduced: p. 325", "url": null}, {"citation": "Bataille, Marie Louise, and Georges Wildenstein. <em>Berthe Morisot: catalogue des peintures, pastels et aquarelles</em>. Paris, France: Les Beaux-Arts, 1961.", "page_number": null, "url": null}, {"citation": "Baltimore Museum of Art. <em>Paintings, Drawings and Graphic Works by Manet, Degas, Berthe Morisot and Mary Cassatt</em>. Baltimore, MD: The Museum, 1962.", "page_number": "Reproduced: no. 81", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "Minneapolis Institute of Arts. <em>The Past Rediscovered: French Painting, 1800-1900</em>. Minneapolis, MN, 1969.", "page_number": "Reproduced: no. 63", "url": null}, {"citation": "Muehsam, Gerd. <em>French Painters and Paintings from the Fourteenth Century to Post-Impressionism</em>. New York, NY: Ungar, 1970.", "page_number": "Reproduced: p. 523", "url": null}, {"citation": "Petersen, Karen, and J. J. Wilson. <em>Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century</em>. New York, NY: Harper and Row, 1976.", "page_number": "Reproduced: p. 91", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 215", "url": "https://archive.org/details/CMAHandbook1978/page/n235"}, {"citation": "Monneret, Sophie. <em>L'impressionnisme et son e\u0301poque: dictionnaire international illustre\u0301</em>. Paris, France: Denoe\u0308l, 1978.", "page_number": "Reproduced:  p. 1297, vol. 2", "url": null}, {"citation": "<em>Phaidon Encyclopedia of Art and Artists</em>. Oxford, United Kingdom: Phaidon, 1978. N31 .P48 1978", "page_number": "Reproduced: p. 460", "url": null}, {"citation": "Kelder, Diane. <em>The Great Book of French Impressionism</em>. New York, NY: Abbeville Press, 1980.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Rey, Jean Dominique. <em>Berthe Morisot</em>. Norwalk, CT: Easton Press, 1982.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Moffett, Charles S. <em>The New Painting, Impressionism, 1874-1886: An Exhibition Organized by the Fine Arts Museums of San Francisco with the National Gallery of Art, Washington</em>. Geneva, Switzerland: R. Burton, 1986.", "page_number": "Reproduced: p. 121, no. 105, Mentioned: p. 132", "url": null}, {"citation": "Charles F. Stuckey, William P. Scott, and Suzanne G. Lindsay. <em>Berthe Morisot, Impressionist</em>. New York, N : Hudson Hills Press: Distributed in the U.S. by Rizzoli International Publications, 1987.", "page_number": "Mentioned: 55-59; Reproduced: p. 61", "url": null}, {"citation": "Lucie-Smith, Edward. <em>Impressionist Women</em>. London: London, United Kingcom: Weidenfeld and Nicolson, 1989. .", "page_number": "Reproduced: p. 37, fig. 26", "url": null}, {"citation": "Cachin, Franc\u0327oise, and E\u0301douard Manet. <em>Manet</em>. Paris, France: Che\u0302ne, 1990. .", "page_number": "Reproduced: in reverse", "url": null}, {"citation": "Witzling, Mara Rose. <em>Voicing Our Visions: Writings by Women Artists</em>. New York, NY: Universe, 1991. .", "page_number": "Reproduced: p. 56", "url": null}, {"citation": "Nemett, Barry. <em>Images, Objects, and Ideas: Viewing the Visual Arts</em>. Fort Worth, TX: Harcourt Brace Jovanovich College Publishers, 1992..", "page_number": "Reproduced: p. 115, fig. 148", "url": null}, {"citation": "Takahashi, Akiya, and Chikashi Kitazaki. <em>1874 nen -- Pari: (dai ikkai insho\u0304ha ten) to sono jidai = Paris en 1874 : l'anne\u0301e de l'impressionnisme</em>. To\u0304kyo\u0304, Japan: Yomiuri Shimbunsha, 1994.", "page_number": "Reproduced: no. 33", "url": null}, {"citation": "Berson, Ruth. <em>The New painting: impressionism, 1874-1886 : documentation</em>. 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Paris, France : \u00c9ditions Hazan, 2012.", "page_number": "Reproduced: p. 23, fig. 5; p. 75, fig. 10", "url": null}, {"citation": "Rubin, James Henry. <em>How to Read Impressionism: Ways of Looking</em>. Antwerp, Belgium: Ludion ; New York, NY: Abrams, 2013. .", "page_number": "Reproduced: p. 229", "url": null}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55 : \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8e Kur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Reproduced: p. 132", "url": null}, {"citation": "To\u0304kyo\u0304 Kokuritsu Hakubutsukan, Frederick E. Bidwell, and Masato Matsushima. <em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em>. Tokyo, Japan: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014. .", "page_number": "Reproduced: p. 132, fig. 6", "url": null}, {"citation": "Wat, Pierre. \"Procession des '-ismes' ou parade des individus? Comment s'ecrit l'histoire de l'art du XIX siecle.\" In <em>L'art du XIXe sie\u0300cle: l'heure de la modernite\u0301 1789-1914. </em>Bertrand Tillier, 21-76. Paris: Citadelles &amp; Mazenod, 2016.", "page_number": "Reproduced: p. 60", "url": null}, {"citation": "Klein, Jacques-Sylvain. <em>L'impressionnisme se le\u0300ve en Normandie: 1820-1886.</em> Rennes: Ouest-France, 2016.", "page_number": "Reproduced: p. 130", "url": null}, {"citation": "Camplin, Jamie, and Maria Ranauro. <em>The Art of Reading: An Illustrated History of Books in Paint. </em>Los Angeles, CA: Getty Publications, 2018.", "page_number": "Reproduced & Mentioned: p. 177", "url": null}, {"citation": "<em>Berthe Morisot: Woman Impressionist.</em> New York, NY: Rizzoli Electa; Philadelphia, Pennsylvania: In association with the Barnes Foundation; Dallas, TX: Dallas Museum of Art; Qu\u00e9bec, Canada: Mus\u00e9e national des beaux-arts du Qu\u00e9bec, 2018.", "page_number": "Reproduced: p. 70, cat. no. 20", "url": null}, {"citation": "Michael, Cora. \"Gauguin in the the Buckeye and Hoosier States: Portrait of Teuraheimata and its Midwestern Collectors.\" In <em>Paul Gauguin: Teuraheimata a Potoru, a Rediscovery, </em>11-19. New York: Jill Newhouse Gallery; [Akron, Ohio]: Thomas French Fine Art, 2019.", "page_number": "Mentioned: P. 14", "url": ""}, {"citation": "Toscano, Franca. \"Previews &amp; Reviews: Not-to-be-missed Shows this Month.\" <em>Modern Painters: A Quarterly Journal of the Fine Arts </em>32, no. 6 (Summer 2019)<em>: 94-96. </em>", "page_number": "Reproduced: p. 95", "url": null}, {"citation": "Patry, Sylvie. <em>Berthe Morisot</em>. Paris: Flammarion: Mus\u00e9e d\u2019Orsay, 2019.", "page_number": "Reproduced: P. 60, no. 21", "url": null}, {"citation": "Cotentin, Re\u0301gis. <em>Wonder Women: Ni Muses, Ni Mode\u0300les: Artistes! </em>Paris: E\u0301ditions de la Re\u0301union des muse\u0301es nationaux-Grand Palais, 2021.", "page_number": "Mentioned and reproduced: P. 44-45", "url": ""}, {"citation": "Morisot, Berthe. <em>Berthe Morisot</em>. Lyon: Fage Editions, 2019.", "page_number": "Reproduced: P. 9", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 37, 38", "url": "https://archive.org/details/CMAPaintings1952"}, {"citation": "Patry, Sylvie, Anne Robbins, Kimberly A. Jones, Mary G. Morton, Muse\u0301e d\u2019Orsay, and National Gallery of Art (U.S.). <em>Paris 1874: The Impressionist Moment</em>. Paris, Washington: Muse\u0301e d\u2019Orsay; National Gallery of Art, 2024.", "page_number": "Reproduced: p. 158, no. 119", "url": ""}, {"citation": "\"Les 150 Ans de l'Impressionnisme.\" <em>\u85dd\u8853\u5bb6.Yi shu jia </em>588 (May 2024): 82-95.", "page_number": "Reproduced: p. 93", "url": ""}, {"citation": "Overmars, Sterre. \"Het Begin van het Moderne.\" <em>Tableau</em> 46, nr. 2 (Summer 2024): 26-31.", "page_number": "Reproduced: p. 26-27; Mentioned p. 28-29", "url": ""}, {"citation": "Beeny, Emily A. \"Manet &amp; Morisot.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 11-71. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 54; Reproduced: p. 4, 113, no. 33", "url": ""}], "url": "https://clevelandart.org/art/1950.89", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.89/1950.89_web.jpg", "width": "900", "height": "575", "filesize": "246885", "filename": "1950.89_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.89/1950.89_print.jpg", "width": "3400", "height": "2174", "filesize": "2864695", "filename": "1950.89_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.89/1950.89_full.tif", "width": "13576", "height": "8679", "filesize": "353507400", "filename": "1950.89_full.tif"}}, "alternate_images": [{"date_created": "2007-10-15T19:24:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt0_web.jpg", "width": "1263", "height": "800", "filesize": "720468"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt0_print.jpg", "width": "3400", "height": "2154", "filesize": "5263022"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt0_full.tif", "width": "6064", "height": "3841", "filesize": "69908932"}}, {"date_created": "2016-10-17T09:59:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt1_web.jpg", "width": "900", "height": "569", "filesize": "213461"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt1_print.jpg", "width": "3400", "height": "2150", "filesize": "3040950"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt1_full.tif", "width": "14985", "height": "9478", "filesize": "426113016"}}, {"date_created": "2024-02-02T12:47:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt2_web.jpg", "width": "900", "height": "671", "filesize": "258443"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt2_print.jpg", "width": "3400", "height": "2534", "filesize": "2591707"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt2_full.tif", "width": "11318", "height": "8436", "filesize": "286465472"}}, {"date_created": "2024-02-02T13:27:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt3_web.jpg", "width": "900", "height": "577", "filesize": "283919"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt3_print.jpg", "width": "3400", "height": "2181", "filesize": "3705456"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt3_full.tif", "width": "14032", "height": "9003", "filesize": "379018640"}}, {"date_created": "2024-02-02T12:27:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt4_web.jpg", "width": "900", "height": "711", "filesize": "322222"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt4_print.jpg", "width": "3400", "height": "2685", "filesize": "3325744"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.89/1950.89_alt4_full.tif", "width": "11152", "height": "8808", "filesize": "294711304"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 128072, "creators": [{"id": 1865, "description": "Berthe Morisot (French, 1841\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a prosperous family, Berthe Morisot was encouraged at an early age to become an amateur artist. Along with her sister Edma, she began her studies with Geoffroy-Alphonse Chocarne (act. 1838-1857), a painter trained in the neoclassical tradition. In 1858 the sisters entered the studio of Joseph-Beno\u00eet Guichard (1806-1880), a student of Ingres (q.v.) and Delacroix (q.v.). Through Guichard they met Corot (q.v.) in 1861, under whose encouragement they began to paint out of doors near Pontoise as well as in Normandy and Brittany. Berthe Morisot exhibited at the Salon from 1864 until 1873. Fantin-Latour (q.v.) introduced her to Manet (q.v.) around 1867. They developed a close friendship, and Morisot modeled for him many times (see Manet, Berthe Morisot, no. 141). In 1874 she married his brother, Eug\u00e8ne, and that same year began participating in the impressionist exhibitions, never to show at the Salon again. Four years after their marriage, the couple's only child, Julie, was born on 14 November 1878 and would become a main source of artistic inspiration. Morisot matured as a central member of the group of impressionists. Her home became a meeting place for painters and writers alike, including Renoir (q.v.), Degas (q.v.), Mary Cassatt (1845-1926), and St\u00e9phane Mallarm\u00e9. She participated in the Drouot sale of 1875, where the artists were ridiculed extensively. Her paintings, however, fetched slightly higher prices than those of Renoir, Monet (q.v.), and Sisley (q.v.). Morisot made pastels and watercolors as well as oil paintings, and during the final years of her life she experimented with lithography and drypoint etching.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-03-16T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "During the most recent 2023 conservation treatment, yellowed varnish coatings were removed allowing the artist\u2019s original colors and tonality to become visible. Advanced imaging including infrared reflectography (IRR) revealed changes Morisot made within the composition. This includes the sitter, Edma, initially being painted with her eyes open toward the viewer.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["The Artist's Sister, Mme. Pontillon, Seated on the Grass"], "is_highlight": false, "updated_at": "2026-04-09 17:31:59.690000"}, {"id": 146416, "accession_number": "1972.119", "share_license_status": "CC0", "tombstone": "Noah:  The Eve of the Deluge, 1848. John Linnell (British, 1792\u20131882). Oil on canvas; framed: 168.5 x 242.5 x 9.5 cm (66 5/16 x 95 1/2 x 3 3/4 in.); unframed: 146 x 221 cm (57 1/2 x 87 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1972.119", "current_location": "203B British Painting and Decorative Arts", "title": "Noah:  The Eve of the Deluge", "creation_date": "1848", "creation_date_earliest": 1848, "creation_date_latest": 1848, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 168.5 x 242.5 x 9.5 cm (66 5/16 x 95 1/2 x 3 3/4 in.); Unframed: 146 x 221 cm (57 1/2 x 87 in.)", "dimensions": {"framed": {"height": 1.685, "width": 2.425, "depth": 0.095}, "unframed": {"height": 1.46, "width": 2.21}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: j. linnell / 1848 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 220951, "title": "Landscape of the Bible: Sacred Scenes in European Master Paintings", "description": "<i>Landscape of the Bible: Sacred Scenes in European Master Paintings</i>. Israel Museum, 91710 Jerusalem, Israel (organizer) (September 5, 2000-January 31, 2001).", "opening_date": "2000-09-05T00:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "Royal Academy, London, United Kingdom (1848).", "opening_date": null}, {"description": "Mechanic's Institute, Bradford, England (1873).", "opening_date": null}, {"description": "<em>Exhibition of Works by the Old Masters and by Deceased Masters of the British School.</em> Royal Academy, London, United Kingdom (1883).", "opening_date": null}]}, "provenance": [{"description": "Sold to Joseph Gillott [1799-1872], Birmingham, United Kingdom, May 1847,  before the work was completed.", "citations": [], "footnotes": [], "date": "1847-1872", "sortorder": 1}, {"description": "(Christie's, London, United Kingdom, April 19-20 and 26-27, and May 3-4, 1872,  sale, lot 137, sold to J. Rhodes for Angus, 1st Lord Holden)", "citations": [], "footnotes": [], "date": "1872", "sortorder": 2}, {"description": "Angus 1st Lord Holden [1833-1912], Nun Appleton House, Bolton Percy, England", "citations": [], "footnotes": [], "date": "1872-1913", "sortorder": 3}, {"description": "(Christie's, London, United Kingdom, July 18, 1913, Holden Sale, lot 64, sold to Bale. Mrs. C. Hunter)", "citations": [], "footnotes": null, "date": "1913", "sortorder": 4}, {"description": "(Sotheby's, London Belgravia sale, February 22, 1972,  lot 98, sold to Jeremy Maas, with Herner Wengraf, London)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 5}, {"description": "(Herner Wengraf, London, United Kingdom, 1972, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Linnell was an extremely versatile artist who worked in oils and watercolors, painted miniatures on ivory, and was skilled as an engraver.", "description": "This painting powerfully illustrates changes in taste over time. Before it was even completed, the painting was purchased for the considerable sum of \u00a31,000 by a newly wealthy industrialist who admired John Linnell\u2019s modern approach to religious subjects. In 1913, however, the painting was sold at auction for only \u00a3130. Victorian painting had fallen out of favor among collectors who did not appreciate Linnell\u2019s hotly colored landscapes that combined biblical stories and poetry (in this case Milton\u2019s <em>Paradise Lost</em>) with close study of the English landscape. Linnell was also known for financially supporting the destitute and elderly William Blake, whose mesmerizing painting of Saint Matthew is in the museum's collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472087"], "internet_archive": ["https://archive.org/details/clevelandart-1972.119-noah-the-eve-of-the"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (March 1973): 63\u2013115.", "page_number": "Reproduced: p. 82; Mentioned: p. 109, no. 121", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Firestone, Evan R. \u201cJohn Linnell: The Eve of the Deluge.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 4 (April 1975): 131\u201339.", "page_number": "Mentioned and reproduced: p. 131-132, fig. 1", "url": "http://www.jstor.org/stable/25152586"}, {"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. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "Talbot, William S. \u201cA Victorian Portrait by Frederick Sandys.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 10 (December 1980): 299\u2013309.", "page_number": "Mentioned and reproduced: p. 298, fig. 1", "url": "http://www.jstor.org/stable/25159700"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 399-401, Vol. II, no. 138", "url": ""}], "url": "https://clevelandart.org/art/1972.119", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.119/1972.119_web.jpg", "width": "1263", "height": "831", "filesize": "716287", "filename": "1972.119_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.119/1972.119_print.jpg", "width": "3400", "height": "2237", "filesize": "4795800", "filename": "1972.119_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.119/1972.119_full.tif", "width": "6000", "height": "3948", "filesize": "71095936", "filename": "1972.119_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 146416, "creators": [{"id": 2968, "description": "John Linnell (British, 1792\u20131882)", "extent": null, "qualifier": null, "role": "artist", "biography": "The precocious son of a Bloomsbury frame maker, John Linnell entered the Royal Academy schools in 1805 at the same time that he began studying with influential watercolor painter and drawing master John Varley (1778-1842). Under Varley's tutelage, but primarily in the company of fellow student William Mulready (1786-1863), Linnell mastered plein-air landscape painting. His studies at the Kensington gravel pits (ca. 1812) and other locales in and around London are remarkable for the intensity and novelty of their naturalistic observation. From 1807 Linnell was a regular contributor of landscape and portrait paintings at the Royal Academy, the British Institution, and the Society of Painters in Watercolours. His conversion to the Baptist faith in 1811 intensified his conviction that meticulous landscape realism was a moral act pursued as a duty to God's creation. Primarily for financial reasons, Linnell painted his first miniature portrait in 1816, after which portraiture in all media tended to dominate his professional production for several decades. In 1818 he befriended William Blake (1757-1827), virtually supporting that irascible genius during his last years with important commissions, including The Book of Job engravings and the 102 watercolor illustrations to Dante's Divine Comedy. Linnell's commitment to landscape painting as a spiritual art profoundly influenced the visionary early work of his pupil and future son-in-law, Samuel Palmer (1805-1881). In the 1840s, but especially after 1851, when he moved his family to Redhill in Surrey, Linnell resumed landscape painting. Many of his later pictures had literal or implied religious subject matter, and although they were not always successful commercially, they established Linnell as one of the masters of the pastoral landscape tradition in the nineteenth century.", "name_in_original_language": null, "birth_year": "1792", "death_year": "1882", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-07-31T00:00:00", "sortable_date": 1848, "date_added_to_oa": null, "date_text": "1848", "collapse_artists": false, "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": ["The Eve of the Deluge"], "is_highlight": false, "updated_at": "2026-03-27 00:07:43.023000"}, {"id": 130457, "accession_number": "1953.212", "share_license_status": "CC0", "tombstone": "Under the Trees (from \"The Public Gardens\"), 1894. \u00c9douard Vuillard (French, 1868\u20131940). Distemper on fabric; framed: 229.9 x 113 x 11.4 cm (90 1/2 x 44 1/2 x 4 1/2 in.); unframed: 214.2 x 96.3 cm (84 5/16 x 37 15/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1953.212", "current_location": "223 20th Century Avant-Garde", "title": "Under the Trees (from \"The Public Gardens\")", "creation_date": "1894", "creation_date_earliest": 1894, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "distemper on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 229.9 x 113 x 11.4 cm (90 1/2 x 44 1/2 x 4 1/2 in.); Unframed: 214.2 x 96.3 cm (84 5/16 x 37 15/16 in.)", "dimensions": {"framed": {"height": 2.299, "width": 1.13, "depth": 0.114}, "unframed": {"height": 2.142, "width": 0.963}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: E. Vuillard 94\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300318, "title": "Work of Edouard Vuillard", "description": "<i>Work of Edouard Vuillard</i>. The Cleveland Museum of Art, Cleveland, OH (January 27-March 14, 1954).", "opening_date": "1954-01-27T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 302007, "title": "Paths of Abstract Art", "description": "<i>Paths of Abstract Art</i>. The Cleveland Museum of Art, Cleveland, OH (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 191838, "title": "Object in Focus:  Under the Trees (Sous les arbres) by Edouard Vuillard", "description": "<i>Object in Focus:  Under the Trees (Sous les arbres) by Edouard Vuillard</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 29-November 29, 1998).", "opening_date": "1998-09-29T00:00:00"}, {"id": 216734, "title": "Beyond the Easel: Decorative Painting by Bonnard, Vuillard, Denis, Roussel, 1890-1930", "description": "<i>Beyond the Easel: Decorative Painting by Bonnard, Vuillard, Denis, Roussel, 1890-1930</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 21-May 16, 2001); The Metropolitan Museum of Art, New York, NY (June 18-September 9, 2001).", "opening_date": "2001-02-21T00:00:00"}, {"id": 177023, "title": "Edouard Vuillard", "description": "<i>Edouard Vuillard</i>. National Gallery of Art, Landover, MD (organizer) (January 19-April 20, 2003); Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (May 15-August 24, 2003).", "opening_date": "2003-01-19T00:00:00"}, {"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": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021).", "opening_date": "2021-07-01T04:00:00"}], "legacy": [{"description": "Paris, Bernheim-Jeune. Vuillard (1906), no. 26 (according to Jacques Salomon, who is preparing a catalogue raisonn\u00e9).", "opening_date": "1906-01-01T00:00:00"}, {"description": "Paris, Galerie des Beaux-Arts. Les \u00e9tapes de l'art contemporain II: Gauguin, ses amis, L'\u00c9cole de Pont-Aven et l'Acad\u00e9mie Julian (1934), no. 165 (according to Salomon, unpub.).", "opening_date": "1934-01-01T00:00:00"}, {"description": "Paris, Les Cadres. Peintres de la Revue blanche (1936), no. 79 (according to Salomon, unpub.).", "opening_date": "1936-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e des Arts D\u00e9coratifs. Exposition \u00c9. Vuillard (1938), no. 34b, Sous les arbres, 214 x 97 cm, \u00e0 Henri Blum (repr.).", "opening_date": "1938-01-01T00:00:00"}, {"description": "cma; New York, Museum of Modern Art. \u00c9douard Vuillard (1954), 20, 34 (repr.), 101.", "opening_date": "1954-01-01T00:00:00"}, {"description": "cma. Paths of Abstract Art (1960), no. 10, pl. II, 9 (repr.).", "opening_date": "1960-01-01T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario; San Francisco, California Palace of the Legion of Honor; Art Institute of Chicago. \u00c9douard Vuillard 1868-1940 (1971-72), 39 (repr.), 49-50, 225.", "opening_date": "1940-01-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 29 - November 29, 1998.  \"Object in Focus:  Under the Trees (Sous les arbres) by Edouard Vuillard.\"", "opening_date": "1998-09-29T00:00:00"}, {"description": "The Art Institute of Chicago (2/21-5/27/01);  NY: The Metropolitan Museum of Art (6/18 - 9/9/01); \"Beyond the Easel: Decorative Painting by Bonnard, Vuillard, Denis, Roussel, 1890-1930\"exh. cat. no. 33, pp. 120-121.", "opening_date": "2001-09-09T00:00:00"}, {"description": "The National Gallery of Art, Washington, DC (1/19/2003-4/20/2003), Museum of Fine Arts, Montreal (5/15/2003-8/24/2003): \"Edouard Vuillard\", exh.cat.no. 118, p. 172-173.", "opening_date": "2003-01-19T00:00:00"}, {"description": "CMA (organizer). Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2007-10-21T00:00:00"}]}, "provenance": [{"description": "Alexandre Natanson [1867-1936], Paris", "citations": [], "footnotes": ["<div><!--block-->This painting is one of nine canvases that Alexandre Natanson, director of <em>La Revue blanche, </em>commissioned from Vuillard in 1893 for his home in the Avenue du Bois de Boulogne.&nbsp; The decorative cycle, entitled <em>Jardins publics </em>(<em>Public Gardens</em>) was dismantled when the Natanson family moved to the Avenue des Champs-Elys\u00e9es, where it was reinstalled in 1908.&nbsp; Natanson\u2019s collection was sold at auction in 1929, and the cycle was dispersed: five paintings are now in the Mus\u00e9e d\u2019Orsay; the pendant to the CMA painting is at the Mus\u00e9es Royaux des Beaux-Arts de Belgique; one panel is in the collection of the Houston Museum of Fine Arts; and the current location of the ninth panel is unknown</div>"], "date": "1894-1929", "sortorder": 1}, {"description": "(Natanson sale, H\u00f4tel Drouot, Paris, May 16, 1929, lot 122, sold to Georges B\u00e9nard)", "citations": [], "footnotes": [], "date": "1929", "sortorder": 2}, {"description": "Georges B\u00e9nard, Paris", "citations": [], "footnotes": [""], "date": "1929-1933", "sortorder": 3}, {"description": "(B\u00e9nard sale, H\u00f4tel Drouot, Paris, June 9, 1933, lot 90, sold to Henri Blum)", "citations": [], "footnotes": ["<div><!--block-->The Cleveland painting was sold together with <em>La promenade </em>(no. 89)<em>, </em>also from the <em>Jardins public</em> cycle, to Henri Blum.&nbsp; Modigliani's <em>Portrait of a Woman </em>(CMA 1951.358) also appeared in the B\u00e9nard sale (no. 67).</div>"], "date": "1933", "sortorder": 4}, {"description": "Henri Blum, Paris", "citations": [], "footnotes": ["<div><!--block-->Blum, a collector of Impressonist works who was active in Paris throughout the 1930s and 1940s, lent the CMA painting to a 1938 Vuillard exhibition at the Mus\u00e9e des Arts D\u00e9coratifs.</div>"], "date": "1933-", "sortorder": 5}, {"description": "(C\u00e9sar de Hauke, New York, sold to Knoedler & Co.)", "citations": [], "footnotes": ["<div><!--block-->This sale may have been brokered by Parisian dealer, Paul Brame.&nbsp; Galerie Hector Brame, at which Paul Brame worked, appears in the painting\u2019s provenance in the Salamon/Cogeval Vuillard catalogue raisonn\u00e9.&nbsp; However, according to the gallery, there is no reference to the painting in their stock books.&nbsp; Paul Brame and C\u00e9sar de Hauke were close acquaintances and often made purchases in conjunction with one another. &nbsp; The Knoedler inventory card, which makes no mention of Brame, does not specify the date de Hauke sold the painting (stock no. A5278) to Knoedler, but CMA records indicate the transaction took place in May 1953.&nbsp;</div>"], "date": "Until 1953", "sortorder": 6}, {"description": "(Knoedler & Co., New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1953", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vuillard's social circle included actors and directors. He often contributed to their theatrical pursuits by designing costumes, programs, and set pieces. In this panel from a nine-part series, a patterned landscape recalls scenery for the stage.", "description": "This painting is from a nine-panel decorative series showing children playing in two of Paris\u2019s most spacious parks: the Tuileries Gardens and the Bois de Boulogne. It depicts a game of hide-and-seek in which a girl conceals herself behind a tree. The stillness of the women resting on green chairs at the right is countered by children running at the left. Rather than a realistic rendering of the subject, \u00c9douard Vuillard arranged the composition in bands of colorful, decorative patterns so that the painting seems like a tapestry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516343"], "internet_archive": ["https://archive.org/details/clevelandart-1953.212-under-the-trees-from"]}, "citations": [{"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan: Skira, 2003.", "page_number": null, "url": null}, {"citation": "Salomon, Jacques. <em>Vuillard</em>. [Paris]: A. Michel, 1945.", "page_number": null, "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan: Skira, 2003.", "page_number": null, "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan: Skira, 2003.", "page_number": null, "url": null}, {"citation": "<em>Exposition E. Vuillard: mai-juillet 1938</em>. [Paris]: Muse\u0301e des arts de\u0301coratifs, 1938.", "page_number": null, "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan: Skira, 2003.", "page_number": null, "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan: Skira, 2003.", "page_number": null, "url": null}, {"citation": "\u00c9douard Vuillard, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 140, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 30, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan: Skira, 2003.", "page_number": null, "url": null}, {"citation": "\u00c9douard Vuillard, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 166, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes, aquarelles, pastels, dessins, lithographies</em>. May 16, 1929.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes, aquarelles, gouaches, pastels. </em>June 9, 1933<em>.</em>", "page_number": null, "url": null}, {"citation": "Francis, Henry. \"Edouard Vuillard.\" <em>The Bulletin of the Cleveland Museum of Art </em>41, no. 1 (January 1954): 6-7.", "page_number": "Reproduced: p. 2; Mentioned: p. 6", "url": "https://www.jstor.org/stable/25141927"}, {"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. 514", "url": "https://archive.org/details/CMAHandbook1958/page/n95"}, {"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. 182", "url": "https://archive.org/details/CMAHandbook1966/page/n206"}, {"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. 182", "url": "https://archive.org/details/CMAHandbook1969/page/n206"}, {"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. 225", "url": "https://archive.org/details/CMAHandbook1978/page/n245"}, {"citation": "Robinson, William H. \"Vuillard's <em>Under the Trees</em> from the Nabi Cycle <em>The Public Gardens</em>.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 4 (1992): 111-27.", "page_number": "Reproduced: cover, p. 112, 119; Mentioned: p. 111-27", "url": "https://www.jstor.org/stable/25161356"}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 08, October 1998", "page_number": "Mentioned & reproduced: p. 2", "url": "https://archive.org/details/CMAMM1998-08/page/n1"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 626-630, Vol. II, no. 219", "url": ""}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard: The Inexhaustible Glance: Critical Catalogue of Paintings and Pastels.</em> Milan: Skira, 2003.", "page_number": "Mentioned and reproduced: vol. 1, p. 394-396", "url": null}, {"citation": "Cahn, Isabelle. \"The Nabis: Decorative Painting and the New Sensibility.\" In J<em>apanese Connections: The Birth of Modern Deco</em>r, pp. 44-55. Isabelle Cahn, ed. Beirut: Kaph Books 2018.", "page_number": "Mentioned: p. 51; Reproduced: p. 53", "url": null}, {"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 225-226; Reproduced: P. 242, no. 154", "url": ""}], "url": "https://clevelandart.org/art/1953.212", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.212/1953.212_web.jpg", "width": "407", "height": "900", "filesize": "253047", "filename": "1953.212_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.212/1953.212_print.jpg", "width": "1538", "height": "3400", "filesize": "2042618", "filename": "1953.212_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.212/1953.212_full.tif", "width": "6302", "height": "13936", "filesize": "263499396", "filename": "1953.212_full.tif"}}, "alternate_images": [{"date_created": "2008-02-25T14:50:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt0_web.jpg", "width": "398", "height": "893", "filesize": "303672"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt0_print.jpg", "width": "1514", "height": "3400", "filesize": "3982770"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt0_full.tif", "width": "2693", "height": "6049", "filesize": "48905216"}}, {"date_created": "2021-01-08T09:52:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt1_web.jpg", "width": "453", "height": "900", "filesize": "153394"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt1_print.jpg", "width": "1713", "height": "3400", "filesize": "1004536"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt1_full.tif", "width": "7082", "height": "14058", "filesize": "298700764"}}, {"date_created": "2021-01-06T16:48:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt2_web.jpg", "width": "494", "height": "900", "filesize": "262377"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt2_print.jpg", "width": "1865", "height": "3400", "filesize": "2235151"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.212/1953.212_alt2_full.tif", "width": "7579", "height": "13820", "filesize": "314251488"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 130457, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-06-17T00:00:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "1894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:21.705000"}, {"id": 118490, "accession_number": "1939.524", "share_license_status": "Copyrighted", "tombstone": "The Drive, Central Park, c. 1905. William Glackens (American, 1870\u20131938). Oil on canvas; framed: 84.1 x 99.4 x 9.5 cm (33 1/8 x 39 1/8 x 3 3/4 in.); unframed: 64.5 x 81 cm (25 3/8 x 31 7/8 in.); former: 84 x 99 x 11.5 cm (33 1/16 x 39 x 4 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1939.524", "current_location": "208 American Gilded Age and Realism", "title": "The Drive, Central Park", "creation_date": "c. 1905", "creation_date_earliest": 1900, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["America, early 20th Century"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 84.1 x 99.4 x 9.5 cm (33 1/8 x 39 1/8 x 3 3/4 in.); Unframed: 64.5 x 81 cm (25 3/8 x 31 7/8 in.); Former: 84 x 99 x 11.5 cm (33 1/16 x 39 x 4 1/2 in.)", "dimensions": {"framed": {"height": 0.841, "width": 0.994, "depth": 0.095}, "unframed": {"height": 0.645, "width": 0.81}, "former": {"height": 0.84, "width": 0.99, "depth": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  W. Glackens", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312153, "title": "The Eight", "description": "<i>The Eight</i>. The Cleveland Museum of Art, Cleveland, OH (February 9-March 4, 1944).", "opening_date": "1944-02-09T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 520061, "title": "Modern American Painting 1915", "description": "<i>Modern American Painting 1915</i>. San Diego Museum of Art (organizer) (December 7, 1962-January 6, 1963).", "opening_date": "1962-12-07T05:00:00"}, {"id": 304210, "title": "What Was the Armory Show?", "description": "<i>What Was the Armory Show?</i>. The Cleveland Museum of Art, Cleveland, OH (June 27-September 15, 1963).", "opening_date": "1963-06-27T04:00:00"}, {"id": 515965, "title": "Retrospective of Work by Richard Glackens", "description": "<i>Retrospective of Work by Richard Glackens</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (November 18-December 31, 1966); Smithsonian American Art Museum, Washington, DC (February 1-April 2, 1967); Whitney Museum of American Art, New York, NY (April 25-June 11, 1967).", "opening_date": "1966-11-16T05:00:00"}, {"id": 516390, "title": "The Art of William Glackens", "description": "<i>The Art of William Glackens</i>. Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (organizer) (January 10-February 10, 1967).", "opening_date": "1967-01-10T05:00:00"}, {"id": 445649, "title": "The American Scene 1900 - 1970", "description": "<i>The American Scene 1900 - 1970</i>. Indiana University Art Museum, Bloomington, IN (organizer) (April 5-May 17, 1970).", "opening_date": "1970-04-05T05:00:00"}, {"id": 442840, "title": "American Paintings 1825 - 1915 from the Cleveland Museum of Art", "description": "<i>American Paintings 1825 - 1915 from the Cleveland Museum of Art</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979).", "opening_date": "1979-07-07T04:00:00"}, {"id": 223204, "title": "Visions of America: Urban Realism 1900-1945", "description": "<i>Visions of America: Urban Realism 1900-1945</i>. Columbus Museum of Art (January 5-March 3, 1996); Museo de Arte Moderno, Mexico City (April 5-June 2, 1996); The Butler Institute of American Art (organizer) (June 30-August 18, 1996).", "opening_date": "1996-01-05T00:00:00"}, {"id": 227084, "title": "Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]", "description": "<i>Made in U.S.A., l'art am\u00e9ricain, 1908-1943, entre nationalisme et internationalisme [FRAME]</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (October 5-December 31, 2001); Mus\u00e9e des Beaux-Arts de Rennes, Rennes, France (January 17-March 31, 2002); Mus\u00e9e Fabre, Montpellier, France (April 10-June 25, 2002).", "opening_date": "2001-10-05T00:00:00"}, {"id": 232210, "title": "William Glackens; Sensuous Modernism", "description": "<i>William Glackens; Sensuous Modernism</i>. Museum of Art, Fort Lauderdale, Fort Lauderdale, FL (organizer) (February 23-June 1, 2014); Parrish Art Museum, Water Mill, NY (July 19-October 12, 2014); The Barnes Foundation, Philadelphia, PA (November 8, 2014-February 16, 2015).", "opening_date": "2014-02-23T00:00:00"}], "legacy": [{"description": "New York, The Metropolitan Museum of Art, La Pintura Contempor\u00e1nea Norteamericana (1941); traveled to Buenos Aires, Museo Nacional de Bellas Artes, (3 July-31 July 19410; to Montevideo, Galeria del Teatro Solis, (18 August-19 September 1941); to Rio de Janeiro, Museo de Bellas Artes (8 November-9 December 1941), illus. p. 51.", "opening_date": "1941-07-03T00:00:00"}, {"description": "Philadelphia, Philadelphia Museum of Art, Artists of the Philadelphia Press (14 October-18 November 1945), cat. no. 4, see The Philadelphia Museum Bulletin (November, 1945), vol. XLI, no. 207 for catalogue.", "opening_date": "1945-10-14T00:00:00"}, {"description": "New York, Kraushaar Galleries, Paintings and Drawings by William Glackens (3-29 January 1949), cat. no. 3.", "opening_date": "1949-01-03T00:00:00"}, {"description": "Dayton, Dayton Art Institute, American and Impressionism (19 October-11 November 1951); traveled to Columbus, Columbus Gallery of Fine Arts (18 November-16 December 1951).", "opening_date": "1951-10-19T00:00:00"}, {"description": "Philadelphia, Pennsylvania Academy of the Fine Arts, The One Hundred and Fiftieth Anniversary Exhibition (15 January-13 March 1955), cat. no. 208, pp. 124-129, illus. p. 125.", "opening_date": "1955-01-15T00:00:00"}, {"description": "Sent from the Pennsylvania Academy of Fine Arts on a good-will tour through the U.S. Information Agency, Washington, D.C. to: Madrid, Sala de la Direccion General de Belles Artes, (21 April-8 May 1955), illus. cat. no. 73, p. 43.", "opening_date": "1955-04-21T00:00:00"}, {"description": "Florence, Palazzo Strozzi, l'Esposizione per il 150 Anniversario della Pennsylvania Academy of the Fine Arts di Filadelfia (June 1955), illus. cat. no 73, p. 43; Innsbruck, Ferdinandeum Museum (16 July-20 August 1955), illus. cat. no. 73.", "opening_date": "1955-07-16T00:00:00"}, {"description": "Ghent, Belgium, The Ghent Museum (3 September-2 October 1955), illus. cat. no. 81.", "opening_date": "1955-09-03T00:00:00"}, {"description": "Stockholm, Royal Academy of the Free Arts, (4-27 November 1955), illus. cat. no. 83, p. 24.", "opening_date": "1955-11-04T00:00:00"}, {"description": "San Diego, The Fine Arts Gallery of San Diego, Modern American Painting: 1915 (6 December 1962-6 January 1963), cat. no. 11.", "opening_date": "1962-12-06T00:00:00"}, {"description": "St. Louis, City Art Museum of Saint Louis, William Glackens in Retrospect (18 November-31 December 1966); traveled to Washington, D.C., National Collection of Fine Arts, Smithsonian Institution (1 February-2 April 1967); to New York, Whitney Museum of American Art (25 April-11 June 1967), illus. cat. no. 16.", "opening_date": "1966-11-18T00:00:00"}, {"description": "Bloomington, IN, Indiana University Art Museum, The American Scene 1900-1970: An Exhibition of Twentieth Century Painting Held in Honor of the Sesquicentennial of Indiana University (6 April-17 May 1970), illus. cat. no. 47.", "opening_date": "1970-04-06T00:00:00"}, {"description": "Coshocton, OH, The Johnson-Humrickhouse Memorial Museum, American Paintings 1825-1915 from The Cleveland Museum of Art (7 July-1 November 1979), illus. p. 11, fig. 14, listed p. 13.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Tokyo, The National Museum of Modern Art, Japanese Artists Who Studied in U.S.A. and the American Scene (24 July-5 September 1982); traveled to Kyoto, The National Museum of Modern Art, (14 September-11 October 1982), cat. no. 65, pp. 93-94, illus. p. 94.", "opening_date": "1982-07-24T00:00:00"}, {"description": "Wilmington, DE, Delaware Art Museum, William Glackens: Illustrator in New York, 1897-1919 (15 March-28 April 1985); traveled to State College, PA, Pennsylvania State University Museum of Art (30 June-8 September 1985); to Yonkers, NY, Hudson River Museum (15 September-24 November 1985), cat. no. 3, illus.", "opening_date": "1985-03-15T00:00:00"}, {"description": "Kalamazoo, MI, Kalamazoo Institute of Arts, A Century of Caring: One Hundred Years of American Realism (18 May-3 August 1986), illus. p. 16, listed p. 49.", "opening_date": "1986-05-18T00:00:00"}]}, "provenance": [{"description": "Mrs. William J. Glackens, widow of the artist; (C. W. Kraushaar Art Gallery)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [{"id": 127065, "description": "The Drive, Central Park, c. 1905. William Glackens (American, 1870\u20131938). Gouache over pencil; sheet: 18.5 x 25.9 cm (7 5/16 x 10 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. William J. Glackens 1949.4", "relationship": null}], "former_accession_numbers": [], "did_you_know": "Glackens\u2019s lifelong nickname \u201cButts\u201d was acquired when he wore a coat with prominent brass buttons.", "description": "Glackens derived much inspiration from New York\u2019s Central Park, painting it several times during his early career. In this canvas he recorded the weekday ritual of wealthy Manhattanites parading through the park in their elegant horse-drawn carriages. This tradition drew spectators eager to witness the pageantry, and for all involved, it was an opportunity to see and be seen.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q19967594"], "internet_archive": ["https://archive.org/details/clevelandart-1939.524-the-drive-central-pa"]}, "citations": [{"citation": "Francis, Henry S. \u201cAn Oil by William Glackens.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 27, no. 3 (March 1940): 35\u201336.", "page_number": "Mentioned and reproduced: p. 35-36", "url": "http://www.jstor.org/stable/25138083"}, {"citation": "Prasse, Leona. \"A Drawing by William Glackens.\" <em>The Bulletin of the Cleveland Museum of Art </em>36, no. 6 (June 1949): 103-104.", "page_number": "Mentioned: p. 103", "url": "https://www.jstor.org/stable/25141561"}, {"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. 544", "url": "https://archive.org/details/CMAHandbook1958/page/n101"}, {"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. 189", "url": "https://archive.org/details/CMAHandbook1966/page/n213"}, {"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. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 26, no. 67", "url": "http://www.jstor.org/stable/25152465"}, {"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. 235", "url": "https://archive.org/details/CMAHandbook1978/page/n255"}, {"citation": "Corriveau, Bethany. \"The Art of Storytelling.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 1 (January/February 2016): 21.", "page_number": "Reproduced and Mentioned: p. 21.", "url": "https://archive.org/details/CMAMM2016-01/page/20/mode/2up"}, {"citation": "Chassey, Eric de. Made in USA: l'art ame\u0301ricain, 1908-1947 : Bordeaux, Muse\u0301e des beaux-arts, 10 octobre-31 de\u0301cembre 2001, Renne, Muse\u0301e des beaux-arts, 18 janvier-31 mars 2002, Montpellier, Muse\u0301e Fabre, 12 avril-23 juin 2001. Paris: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "illus. p. 44.", "url": null}], "url": "https://clevelandart.org/art/1939.524", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 118490, "creators": [{"id": 3086, "description": "William Glackens (American, 1870\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "c. 1905", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:50.812000"}, {"id": 142734, "accession_number": "1966.443", "share_license_status": "CC0", "tombstone": "Flower Study of a Lily of the Valley, c. 1885\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Pearls, diamonds, jade, rock crystal, silver, gold; overall: 12.1 x 3.1 cm (4 3/4 x 1 1/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.443", "current_location": "211 Faberg\u00e9", "title": "Flower Study of a Lily of the Valley", "creation_date": "c. 1885\u20131915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "pearls, diamonds, jade, rock crystal, silver, gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 12.1 x 3.1 cm (4 3/4 x 1 1/4 in.)", "dimensions": {"overall": {"height": 0.121, "width": 0.031}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 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": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 202597, "title": "Imagining the Garden", "description": "<i>Imagining the Garden</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24, 2015-March 6, 2016).", "opening_date": "2015-10-24T00:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Faberg\u00e9\u2019s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "This flower study resembles a stem of lily-of-the-valley. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Small and delicate, Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760986"], "internet_archive": ["https://archive.org/details/clevelandart-1966.443-flower-study-of-a-li"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Reproduced: p. 77; Mentioned: p. 79, cat. 36", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: pp. 110-111, cat. 91.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Swezey, Marilyn Pfeifer, Caroline de Guitaut, and Joyce Lasky Reed. <em>Faberge\u0301 Flowers</em>. New York: Harry N. Abrams, Publishers, 2004.", "page_number": "Mentioned and reproduced: pp. 74-75.", "url": "https://ingallslibrary.on.worldcat.org/oclc/54046274"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: pp. 180-181, cat 72.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.443", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.443/1966.443_web.jpg", "width": "680", "height": "900", "filesize": "147610", "filename": "1966.443_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.443/1966.443_print.jpg", "width": "2567", "height": "3400", "filesize": "1104974", "filename": "1966.443_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.443/1966.443_full.tif", "width": "4460", "height": "5907", "filesize": "79059800", "filename": "1966.443_full.tif"}}, "alternate_images": [{"date_created": "2008-05-28T18:18:38", "annotation": "", "web": 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Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\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": "2026-03-27 00:01:06.525000"}, {"id": 143775, "accession_number": "1968.212", "share_license_status": "CC0", "tombstone": "Terpsichore Lyran (Muse of Lyric Poetry), 1816. Antonio Canova (Italian, 1757\u20131822). Marble; overall: 177.5 x 78.1 x 61 cm (69 7/8 x 30 3/4 x 24 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1968.212", "current_location": "200 Rotunda", "title": "Terpsichore Lyran (Muse of Lyric Poetry)", "creation_date": "1816", "creation_date_earliest": 1816, "creation_date_latest": 1816, "artists_tags": ["male"], "culture": ["Italy, 19th century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 177.5 x 78.1 x 61 cm (69 7/8 x 30 3/4 x 24 in.)", "dimensions": {"overall": {"height": 1.775, "width": 0.781, "depth": 0.61}, "No Extent Specified": {"height": 1.781, "width": 0.784, "depth": 0.613}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on front of column:  \"Terpsichore Lyran\" [Terpsichore as the Muse of lyric poetry]; inscribed at base of column:  \"Canova Fact: 1816\"", "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": 450409, "title": "Canova: Sketching in Clay", "description": "<i>Canova: Sketching in Clay</i>. National Gallery of Art, Washington, DC (organizer) (June 11-October 9, 2023) https://www.nga.gov/exhibitions/2023/canova-sketching-in-clay.html.", "opening_date": "2023-06-11T04:00:00"}], "legacy": [{"description": "Royal Academy, London, United Kingdom (1817).", "opening_date": null}]}, "provenance": [{"description": "Simon H. Clarke, 9th Bt., 1764-1832 (Oak Hill, East Barnet, England);", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Alfred de Rothschild, 1842-1918 (Halton, Buckinghamshire, England), by inheritance to his nephew, Lionel de Rothschild, 1918;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Lionel Nathan de Rothschild, 1882-1942 (Exbury, Hampshire, England), 1918-1942, by inheritance to his first son, Edmund Leopold de Rothschild, 1942;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Edmund Leopold de Rothschild, born 1916 (Exbury, Hampshire, England), sold to Wildenstein & Co., 1963;", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Wildenstein & Co. (New York, New York), sold to the Cleveland Museum of Art, 1968.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Trained by his grandfather, an Italian stonemason, Canova began modeling clay and carving marble sculptures before age ten.", "description": "In Greek mythology, Terpsichore was one of the nine Muses, or goddesses of creative inspiration. The lyre, the Greek inscription on the short column, and the caduceus (entwined snakes) on the side identify the figure as Terpsichore Lyran, muse of lyric poetry. This sculpture began with a commission from Napoleon's brother, Lucien, for an idealized portrait of his wife, Alexandrine. Antonio Canova made this version for a British aristocrat and exhibited it in 1817 at the Royal Academy in London to great acclaim.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780833"], "internet_archive": ["https://archive.org/details/clevelandart-1968.212-terpsichore-lyran-mu"]}, "citations": [{"citation": "Teotochi Albrizzi, Isabella, Leopoldo Cicognara, and Henry Moses. <em>The Works of Antonio Canova: In Sculpture and Modelling</em>. London: S. Prowett, 1824.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1968.\" <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 1 (1969): 3-50.", "page_number": null, "url": "http://www.jstor.org/stable/25152250."}, {"citation": "Honour, Hugh. \"Canova's Statue of a Dancer.\" <em>The National Gallery of Canada Bulletin</em> Vol. 6, no. 1 (November 1968): 4-31.", "page_number": "Reproduced: p. 7, fig. 4", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 164", "url": "https://archive.org/details/CMAHandbook1969/page/n188"}, {"citation": "<em>The Bulletin of the Cleveland Museum of Art</em> LVI (September 1969): 287-302.", "page_number": "Reproduced: pp. 288-290, 292, 295", "url": null}, {"citation": "<em>L'opera completa del Canova</em>. Milano, Italy: Rizzoli, 1976.", "page_number": "Reproduced: p.119, no. 212", "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. 203", "url": "https://archive.org/details/CMAHandbook1978/page/n223"}, {"citation": "Licht, Fred, and David Finn. <em>Canova</em>. New York, New York: Abbeville Press, 1983.", "page_number": "Mentioned and reproduced: pp. 210-213", "url": null}, {"citation": "Borowitz, Helen O. <em>The Impact of Art on French Literature: From De Scude\u0301ry to Proust</em>. Newark, Delaware: University of Delaware Press, 1985.", "page_number": "Mentioned: p. 57; Reproduced: p. 58", "url": null}, {"citation": "Donley, Gregory M, \"A Discerning Eye\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 05, May 1999", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM1999-05/page/n5"}, {"citation": "Weisser, Silja Mareke. <em>Der Tanz als Darstellungsproblem der Skulptur im 19. Jahrhundert: unter besonderer Beru\u0308cksichtigung der Interdependenz zwischen Ballett und Skulptur</em>. Frankfurt am Main: P. Lang, 2000.", "page_number": "Mentioned: p. 281; Reproduced: p. 301", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland, Ohio: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: p. 56; Mentioned: p. 117", "url": null}, {"citation": "Franklin, David. <em>Director's Choice: The Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, 2012.", "page_number": "Reproduced and mentioned: pp. 50-51", "url": null}, {"citation": "<em>Treasures of the Cleveland Museum of Art</em>. London, United Kingdom: Scala Books, 2012.", "page_number": "Mentioned and reproduced: pp. 224-225", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 286", "url": ""}, {"citation": "Dickerson, C. D., Antonio Canova, Emerson Bowyer, Anthony Sigel, and Elyse Nelson. Canova: Sketching in Clay. Washington : National Gallery of Art ; [Chicago, Illinois] : The Art Institute of Chicago, 2023.", "page_number": "Mentioned; pp. 46-47; Reproduced; p. 46, Fig. 26; pl. 41", "url": ""}], "url": "https://clevelandart.org/art/1968.212", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.212/1968.212_web.jpg", "width": "601", "height": "900", "filesize": "169070", "filename": "1968.212_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.212/1968.212_print.jpg", "width": "2269", "height": "3400", "filesize": "800191", "filename": "1968.212_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.212/1968.212_full.tif", "width": "8581", "height": "12860", "filesize": "331083676", "filename": "1968.212_full.tif"}}, "alternate_images": [{"date_created": "2009-08-24T18:10:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.212/1968.212_alt0_web.jpg", "width": "668", 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Hanna Jr. Fund", "image_credit": null, "sketchfab_id": "6827af1276ab407ebbfa1e7d0a4b9a19", "sketchfab_url": "https://sketchfab.com/models/6827af1276ab407ebbfa1e7d0a4b9a19", "gallery_donor_text": "Monte and Usha Ahuja Founders Rotunda", "athena_id": 143775, "creators": [{"id": 5801, "description": "Antonio Canova (Italian, 1757\u20131822)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1757", "death_year": "1822", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-10-30T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "1816", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Terpsichore, Muse of Choral Song and Dance", "Terpsichore"], "is_highlight": true, "updated_at": "2026-04-10 07:01:52.874000"}, {"id": 142738, "accession_number": "1966.447", "share_license_status": "CC0", "tombstone": "Parrot on a Perch , 1896\u20131903. House of Faberg\u00e9 (Russian, 1842\u20131918), Mikhail Evlampievich Perkhin (Russian, 1860\u20131903). Silver, enamel, jasper, agate, emeralds; overall: 15.3 x 7.4 cm (6 x 2 15/16 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Christie's, London, November 25, 1958, lot 152)", "citations": [], "footnotes": null, "date": "?-1958", "sortorder": 1}, {"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1958-1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Tsar Nicholas and his cousins in the British royal family kept parrots and parakeets throughout their many palaces.", "description": "In creating luxurious accessories for a desk or tabletop, Faberg\u00e9 often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Faberg\u00e9 and his craftsmen brought them to life, turning milky agate into a begging poodle or green and black jasper into this parrot sitting on a perch. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60751811"], "internet_archive": ["https://archive.org/details/clevelandart-1966.447-parrot-on-a-perch"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 14-5, cat. 3.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 109, cat. 88", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Faberge\u0301, Peter Carl, and Deborah E. Horowitz. <em>The Faberge\u0301 Menagerie</em>. London: Philip Wilson Pub, 2003.", "page_number": "Mentioned and reproduced: p. 130, cat. 64.", "url": "https://ingallslibrary.on.worldcat.org/oclc/196795062"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 185, cat. 82.", "url": ""}, {"citation": "Henry Hawley, <em>Faberg\u00e9 and His Contemporaries </em>(Cleveland: The Cleveland Museum of Art, 1967), 14.", "page_number": "14", "url": null}], "url": "https://clevelandart.org/art/1966.447", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.447/1966.447_web.jpg", "width": "647", "height": "900", "filesize": "153538", "filename": "1966.447_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.447/1966.447_print.jpg", "width": "2445", "height": "3400", "filesize": "839126", "filename": "1966.447_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.447/1966.447_full.tif", "width": "5992", "height": "8331", "filesize": "149782884", "filename": "1966.447_full.tif"}}, "alternate_images": [{"date_created": "2007-08-06T19:33:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt0_web.jpg", "width": "900", "height": "675", "filesize": "71834"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "532095"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt0_full.tif", "width": "5440", "height": "4080", "filesize": "66608528"}}, {"date_created": "2007-08-06T17:39:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt1_web.jpg", "width": "900", "height": "675", "filesize": "165755"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "795627"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt1_full.tif", "width": "5440", "height": "4080", "filesize": "66616508"}}, {"date_created": "2021-09-08T20:04:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt2_web.jpg", "width": "640", "height": "900", "filesize": "152184"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt2_print.jpg", "width": "2417", "height": "3400", "filesize": "838120"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt2_full.tif", "width": "5927", "height": "8339", "filesize": "148300628"}}, {"date_created": "2021-09-08T21:46:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt3_web.jpg", "width": "640", "height": "900", "filesize": "155078"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt3_print.jpg", "width": "2419", "height": "3400", "filesize": "850986"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt3_full.tif", "width": "5927", "height": "8329", "filesize": "148122932"}}, {"date_created": "2021-09-08T20:24:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt4_web.jpg", "width": "643", "height": "900", "filesize": "148685"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt4_print.jpg", "width": "2430", "height": "3400", "filesize": "795106"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447/1966.447_alt4_full.tif", "width": "5927", "height": "8293", "filesize": "147482620"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142738, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896\u20131903", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:07.632000"}, {"id": 148297, "accession_number": "1975.263", "share_license_status": "CC0", "tombstone": "The Large Tree, 1891. Paul Gauguin (French, 1848\u20131903). Oil on fabric; framed: 92.4 x 112.7 x 6.4 cm (36 3/8 x 44 3/8 x 2 1/2 in.); unframed: 74 x 92.8 cm (29 1/8 x 36 9/16 in.). The Cleveland Museum of Art, Gift of Barbara Ginn Griesinger, 1975.263", "current_location": null, "title": "The Large Tree", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "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: 92.4 x 112.7 x 6.4 cm (36 3/8 x 44 3/8 x 2 1/2 in.); Unframed: 74 x 92.8 cm (29 1/8 x 36 9/16 in.)", "dimensions": {"framed": {"height": 0.924, "width": 1.127, "depth": 0.064}, "unframed": {"height": 0.74, "width": 0.928}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: P Gauguin 91 \r\nInscribed lower left: Te raau rahi\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"id": 212256, "title": "Degas to Picasso:  The Painter, the Sculptor and the Camera\r\n", "description": "<i>Degas to Picasso:  The Painter, the Sculptor and the Camera\r\n</i>. San Francisco Museum of Modern Art, San Francisco, CA (organizer) (October 1, 1999-January 4, 2000); The Dallas Museum of Art, Dallas, TX (February 1-May 7, 2000); Museo Guggenheim Bilbao, 48001 Bilbao, Spain (June 12-September 10, 2000).", "opening_date": "1999-10-01T00:00:00"}, {"id": 222616, "title": "Verso l'Arte Moderna, da Puvis de Chavannes a Matisse e Picasso", "description": "<i>Verso l'Arte Moderna, da Puvis de Chavannes a Matisse e Picasso</i>. Palazzo Grassi spa, 30124 Venice, Italy (organizer) (February 10-June 16, 2002).", "opening_date": "2002-02-10T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 231243, "title": "Gauguin and Polynesia: South Pacific Encounters", "description": "<i>Gauguin and Polynesia: South Pacific Encounters</i>. Seattle Art Museum, Seattle, WA (February 14-April 29, 2012).", "opening_date": "2011-09-24T00:00:00"}, {"id": 228199, "title": "Van Gogh Repetitions lend-back", "description": "<i>Van Gogh Repetitions lend-back</i>. 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Reinhardt Galleries, New York, NY (1927).", "opening_date": "1927-01-01T00:00:00"}, {"description": "<em>French Art since 1800</em>. Cleveland Museum of Art, Cleveland, OH (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Paul Gauguin.</em> Wildenstein Gallery, New York, NY (1946).", "opening_date": "1946-01-01T00:00:00"}]}, "provenance": [{"description": "(Reinhardt Gallery, New York, NY, 1927)", "citations": [], "footnotes": [], "date": "1927-1929", "sortorder": null}, {"description": "(Leicester Galleries, London, United Kingdom, 1929, sold to Mr. Frank H. Ginn)", "citations": [], "footnotes": [], "date": "1929", "sortorder": 2}, {"description": "Mr. Frank H. Ginn [1868-1938], Gates Mills,  OH, by descent to this daughter, Barbara Ginn", "citations": [], "footnotes": [], "date": "1929-", "sortorder": 3}, {"description": "Mr. and Mrs. Frank Griesinger (Barabara Ginn), Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1976", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1976-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2550.29"], "did_you_know": "Gauguin positions four women in a friezelike sequence seeking shelter under the dark green leaves of a large tree while the leaves of the second tree add a decorative pattern to the pink thatched roof. With his brush, he captures contrasting elements of the tropical climate, sending the viewer into the cool shade to escape the hot sun.", "description": "Disgusted with the materialism of European society, Gauguin abandoned his family and career as a stockbroker and departed for Tahiti in 1891. This canvas is among the first paintings he completed on the island. Its rich colors and stylized figures were intended to be both symbolic and mysterious, evoking private thoughts and emotions. \u201cI obtain symphonies,\u201d he wrote, \u201charmonies that represent nothing real in the absolute sense of the word.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472839"], "internet_archive": ["https://archive.org/details/clevelandart-1975.263-the-large-tree"]}, "citations": [{"citation": "Bulliet, C. J. <em>Apples &amp; Madonnas; Emotional Expression in Modern Art</em>. Chicago, IL: P. Covici, Inc, 1927.", "page_number": "Reproduced: p. 98", "url": null}, {"citation": "\"Notes on the Color Plates.\" <em>ARTnews </em>25 (May 14, 1927): 50-64.", "page_number": "Mentioned: p. 50; reproduced: 61", "url": null}, {"citation": "Pemberton, Murdock. <em>Picture Book</em>. New York, NY: A.A. Knopf, 1930.", "page_number": "Reproduced: pl. 14", "url": null}, {"citation": "Malingue, Maurice. <em>Lettres de Gauguin a\u0300 Sa Femme et a\u0300 Ses Amis, Recueillies et Pre\u0301face\u0301es par Maurice Malingue.</em> Paris: B. Grasset, 1946.", "page_number": "Mentioned: p. 236", "url": null}, {"citation": "Scherman, Harry, ed. <em>Book-of-the-Month Club News </em>(May 1948): cover.", "page_number": "Reproduced: Cover", "url": null}, {"citation": "<em>Catalogue of Colour Reproductions of Painting from 1860 to 1949.</em> Paris: Unesco, 1949.", "page_number": "Reproduced: p. 77, no. 102", "url": null}, {"citation": "Coe, Nancy. T<em>he History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol.2, p. 58", "url": null}, {"citation": "Rewald, John. <em>Post-Impressionism: From Van Gogh to Gauguin</em>. New York, NY: Museum of Modern Art, 1956.", "page_number": "Reproduced: p, 505", "url": null}, {"citation": "Wildenstein, Georges. <em>Gauguin.</em> Paris: Les Beaux-Arts, E\u0301ditions d'E\u0301tudes et de Documents, 1964.", "page_number": "Mentioned and reproduced: vol. 1, p. 172-173", "url": null}, {"citation": "Mandel, Gabriele Mandel. <em>L'opera completa di Gauguin</em>. Milano, Iitaly: Rizzoli, 1972.", "page_number": "Reproduced: p. 255", "url": null}, {"citation": "Field, Richard S. <em>Paul Gauguin: The Paintings of the First Voyage to Tahiti</em>. New York, NY: Garland Pub, 1977.", "page_number": "Reproduced: p. 71, no. 16; Mentioned: p. 58", "url": null}, {"citation": "Henning, Edward B. \"Woman in the Waves.\" <em>ARTnews </em>83 (March 1984): 104-106.", "page_number": "Reproduced: p. 106", "url": null}, {"citation": "Griffin, Jonathan. <em>Noa Noa: Gauguin's Tahiti</em>. Oxford, UK: Phaidon, 1985.", "page_number": "Reproduced: p. 19, fig. 8", "url": null}, {"citation": "Hoog, Michel. <em>Paul Gauguin, Life and Work</em>. New York, NY: Rizzoli, 1987.", "page_number": "Reproduced: p. 192, pl. 133", "url": null}, {"citation": "Prather, Marla, and Charles F. Stuckey. <em>Gauguin: A Retrospective</em>. New York, NY: H.L. Levin Associates, 1987.", "page_number": "Reproduced: pl. 60", "url": null}, {"citation": "Barskai\ufe20a\ufe21, A. G., and M. A. Bessonova. <em>Paul Gauguin in Soviet Museums</em>. Leningrad, USSR: Aurora Art Publishers, 1988.", "page_number": "Reproduced: p. 99", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art LXXVIII, </em>no.", "page_number": "Reproduced: p. 87", "url": null}, {"citation": "Schneeberger, Pierre-Francis. <em>Gauguin, Tahiti</em>. Paris, FR: Bibliothe\u0300que des Arts, 1991.", "page_number": "Reproduced: p. 16-17", "url": null}, {"citation": "Robinson, William H. \"Puvis De Chavannes's \"Summer\" and the Symbolist Avant-Garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 1 (1991): 2-27.", "page_number": "Mentioned and Reproduced: p. 21-22", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Hinson, Tom E. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 87", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Metken, Gu\u0308nter. <em>Gauguin in Tahiti: The First Journey : Paintings 1891-1893</em>. New York, NY: Norton, 1992.", "page_number": "Reproduced: no. 5", "url": null}, {"citation": "Smith, Nigel J. H. <em>Tropical Forests and Their Crops.</em> Ithaca: Cornell Univ. Pr, 1992.", "page_number": "Reproduced: p. 299, fig. 6.7", "url": null}, {"citation": "Coven, Jeffrey, and Dore Ashton. <em>Baudelaire's Voyages: The Poet and His Painters</em>. Boston, MA: Little, Brown and Co, 1993.", "page_number": "Reproduced: p. 134", "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. 82", "url": null}, {"citation": "Zingg, Jean-Pierre. <em>Les e\u0301ventails de Paul Gauguin</em>. Paris, FR: Editions Avant &amp; Apre\u0300s, 1996.", "page_number": "Reproduced: o. 57; Mentioned: p. 56", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del Impresionismo.</em> Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Mentioned and reproduced: p. 90-93", "url": null}, {"citation": "Kosinski, Dorothy M. <em>The Artist and the Camera: Degas to Picasso</em>. Dallas, TX: Dallas Museum of Art, 1999.", "page_number": "Reproduced: p. 134, no. 122", "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: v. 1, p. 280-282, no. 101", "url": null}, {"citation": "Salvesen, Britt. <em>Gauguin</em>. Chicago, IL: Art Institute of Chicago, 2001.", "page_number": "Reproduced: p. 63, fig. 24", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso: Toward Modern Art</em>. Milano, IT: Bompiani, 2002.", "page_number": "Reproduced: p. 332, fig. 37", "url": null}, {"citation": "Greub, Suzanne. <em>Gauguin, Polynesia</em>. Munich, Germany: Hirmer, 2011.", "page_number": "Reproduced: p. 195, fig. 169", "url": null}, {"citation": "Childs, Elizabeth C. <em>Vanishing Paradise: Art and Exoticism in Colonial Tahiti</em>. Berkeley, CA : University of California Press,2013.", "page_number": "Reproduced: pl. 7", "url": null}, {"citation": "National Gallery of Australia, and Museum of Fine Arts, Houston. <em>Gauguin\u2019s World: To\u0304Na Iho, To\u0304Na Ao.</em> Edited by Henri Loyrette. Parkes, ACT, The Rocks, NSW: National Gallery of Australia; Art Exhibitions Australia Limited, 2024.", "page_number": "Reproduced: p. 199", "url": ""}], "url": "https://clevelandart.org/art/1975.263", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.263/1975.263_web.jpg", "width": "900", "height": "713", "filesize": "336188", "filename": "1975.263_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.263/1975.263_print.jpg", "width": "3400", "height": "2695", "filesize": "4656287", "filename": "1975.263_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.263/1975.263_full.tif", "width": "14503", "height": "11494", "filesize": "500125892", "filename": "1975.263_full.tif"}}, "alternate_images": [{"date_created": "2008-09-05T15:32:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt0_web.jpg", "width": "1116", "height": "893", "filesize": "854206"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt0_print.jpg", "width": "3400", "height": "2721", "filesize": "8088524"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt0_full.tif", "width": "5792", "height": "4635", "filesize": "80576012"}}, {"date_created": "2017-08-03T09:52:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt1_web.jpg", "width": "900", "height": "680", "filesize": "315547"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt1_print.jpg", "width": "3400", "height": "2568", "filesize": "4275960"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt1_full.tif", "width": "15865", "height": "11982", "filesize": "570313388"}}, {"date_created": "2017-08-03T10:06:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt2_web.jpg", "width": "900", "height": "676", "filesize": "329428"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt2_print.jpg", "width": "3400", "height": "2552", "filesize": "4339859"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt2_full.tif", "width": "15944", "height": "11968", "filesize": "572484204"}}, {"date_created": "2017-08-03T10:18:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt3_web.jpg", "width": "900", "height": "665", "filesize": "364900"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt3_print.jpg", "width": "3400", "height": "2512", "filesize": "4751126"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt3_full.tif", "width": "15985", "height": "11808", "filesize": "566285004"}}, {"date_created": "2018-10-15T10:01:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt4_web.jpg", "width": "900", "height": "723", "filesize": "190562"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt4_print.jpg", "width": "3400", "height": "2732", "filesize": "2828446"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.263/1975.263_alt4_full.tif", "width": "6670", "height": "5359", "filesize": "107263928"}}], "creditline": "Gift of Barbara Ginn Griesinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148297, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:56.868000"}, {"id": 159838, "accession_number": "1997.15", "share_license_status": "CC0", "tombstone": "The Sleeping Faun, modeled 1864, carved c. 1870. Harriet Goodhue Hosmer (American, 1830\u20131908). Marble; overall: 127 cm (50 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.15", "current_location": "206 American Landscape", "title": "The Sleeping Faun", "creation_date": "modeled 1864, carved c. 1870", "creation_date_earliest": 1864, "creation_date_latest": 1870, "artists_tags": ["female", "LGBTQ+ (after 1900)"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 127 cm (50 in.)", "dimensions": {"overall": {"height": 1.27, "length": 1.524}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and inscribed on base: \"H HOSMER Fecit -- Romae\"; titled on base: \"THE SLEEPING FAUN\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 228305, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Universale ed Eterna", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Universale ed Eterna</i>. Scuderie del Quirinale, Rome, Italy (organizer) (March 5-June 29, 2003).", "opening_date": "2003-03-05T00:00:00"}], "legacy": [{"description": "The Art Museum, Princeton University, Princeton, NJ, 1989-1996.", "opening_date": "1989-01-01T00:00:00"}, {"description": "Scudiere del Quirinale (3/5/2003 - 6/29/2003): \"Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Il Mito Classico e Christiano\", figure XII.10, p. 275.", "opening_date": "2003-03-05T00:00:00"}]}, "provenance": [{"description": "Prince of Wales", "citations": [], "footnotes": null, "date": "1870s   ", "sortorder": null}, {"description": "Jacob Wakefield", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Kendal Museum, Kendal, Cumbria, England", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Sotheby's, London, sale, March 16, 1977", "citations": [], "footnotes": null, "date": "1977    ", "sortorder": null}, {"description": "Christopher Forbes, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "[Hirschl & Adler Galleries, Inc., New York]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hosmer said, \"I honor every woman who has strength enough to step out of the beaten path. . . .\"", "description": "Hosmer is the best known female member of a large group of American artists working in Italy during the mid-1800s. <em>The Sleeping Faun</em>, a depiction of a pointed-eared woodland spirit, demonstrates her mastery of the neoclassical style, which was inspired by the art of ancient Greece and Rome. Hosmer\u2019s playful sense of humor infuses the composition: a half-human, half-goat satyr mischievously ties the unwitting faun\u2019s animal skin garment to a tree stump.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762325"], "internet_archive": ["https://archive.org/details/clevelandart-1997.15-the-sleeping-faun"]}, "citations": [{"citation": "Ausherman, Maria, <em>Masters of Shape: The Lives and Art of American Women Sculptors. </em>(Novato, CA: Goff Books, 2022).", "page_number": "Mentioned and reproduced p. 65.", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cMajor Neoclassical Marble, Rare Korean Sculpture, Other Recent CMA Acquisitions Now on View,\u201d April 16, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4117"}, {"citation": "Hawley, Henry H. \"Hosmer's Marble Faun.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 37, no. 10 (December 1997): 4-6.", "page_number": "Mentioned and reproduced: p. 4-6", "url": "https://archive.org/details/CMAMM1997-10/page/4/mode/2up"}, {"citation": "<em>Maest\u00e1 di Roma: Universale ed Eterna,Capitale delle Arte</em>. Electa: Rome, 2003.", "page_number": "Fig. XII.10, p. 275.", "url": null}, {"citation": "Whiteley, Jon and Linda Whiteley. \"Majesty of Rome.\" <em>The Burlington Magazine </em>1205 (Aug. 2003), fig. 83, p. 610, repr. p. 610.", "page_number": "610", "url": null}, {"citation": "Adams, Henry. <em>What's American about American Art? A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland, Cleveland Museum of Art, 2008. pg. 84-86.", "page_number": "84-86", "url": null}, {"citation": "Cole, Mark. \"New Spaces in the Cleveland Museum of Art,\" <em>American Art</em> 24, no. 2 (Summer 2010).illus. p. 16.", "page_number": "16", "url": null}, {"citation": "Cole, Mark. \"The Sleeping Faun.\" In <em>Treasures from the Cleveland Museum of Art, </em>edited by David Franklin and C. Griffith Mann. Cleveland: The Cleveland Museum of Art; London: Scala, 2012. p. 264; illus. p. 265.", "page_number": "264, illus. 265", "url": null}, {"citation": "Dabakis, Melissa. <em>A Sisterhood of Sculptors: American Artists in Nineteenth-Century Rome</em>. University Park: Pennsylvania State University Press, 2014. p. 237, note 76.", "page_number": "237", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced: P. 20", "url": ""}], "url": "https://clevelandart.org/art/1997.15", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.15/1997.15_web.jpg", "width": "1100", "height": "893", "filesize": "339572", "filename": "1997.15_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.15/1997.15_print.jpg", "width": "3400", "height": "2759", "filesize": "3346003", "filename": "1997.15_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.15/1997.15_full.tif", "width": "5000", "height": "4057", "filesize": "60887636", "filename": "1997.15_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt0_web.jpg", "width": "1263", "height": "887", "filesize": "356179"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt0_print.jpg", "width": "3400", "height": "2389", "filesize": "2519784"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt0_full.tif", "width": "5000", "height": "3513", "filesize": "52723284"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt1_web.jpg", "width": "724", "height": "893", "filesize": "374527"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt1_print.jpg", "width": "2755", "height": "3400", "filesize": "4793699"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt1_full.tif", "width": "4052", "height": "5000", "filesize": "60800180"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt2_web.jpg", "width": "1097", "height": "893", "filesize": "244923"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt2_print.jpg", "width": "3400", "height": "2768", "filesize": "2318352"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt2_full.tif", "width": "5000", "height": "4071", "filesize": "61097748"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt3_web.jpg", "width": "719", "height": "893", "filesize": "212495"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt3_print.jpg", "width": "2738", "height": "3400", "filesize": "2765730"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.15/1997.15_alt3_full.tif", "width": "4027", "height": "5000", "filesize": "60425180"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 159838, "creators": [{"id": 6683, "description": "Harriet Goodhue Hosmer (American, 1830\u20131908)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1830", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "modeled 1864, carved c. 1870", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:19.453000"}, {"id": 156855, "accession_number": "1992.70", "share_license_status": "CC0", "tombstone": "Tall Clock, c. 1880. Tiffany & Co. (America, New York, est. 1837). Mahogany, teak with dial faces of gilded and patinated metal, glass; overall: 247.3 x 66 x 36.5 cm (97 3/8 x 26 x 14 3/8 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 1992.70", "current_location": "208 American Gilded Age and Realism", "title": "Tall Clock", "creation_date": "c. 1880", "creation_date_earliest": 1875, "creation_date_latest": 1885, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "mahogany, teak with dial faces of gilded and patinated metal, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 247.3 x 66 x 36.5 cm (97 3/8 x 26 x 14 3/8 in.)", "dimensions": {"overall": {"height": 2.473, "width": 0.66, "depth": 0.365}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower dial face inscribed:  Tiffany & Co., Makers.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311552, "title": "Selected Acquisitions", "description": "<i>Selected Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-April 11, 1993).", "opening_date": "1993-02-09T05:00:00"}, {"id": 220613, "title": "Passion for the Exotic: Lockwood de Forest, Frederic Church", "description": "<i>Passion for the Exotic: Lockwood de Forest, Frederic Church</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (organizer) (December 12, 2014-February 29, 2016).", "opening_date": "2014-12-12T00:00:00"}, {"id": 220618, "title": "Passion for the Exotic: Lockwood de Forest and Louis Comfort Tiffany", "description": "<i>Passion for the Exotic: Lockwood de Forest and Louis Comfort Tiffany</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (organizer) (March 4-September 25, 2016).", "opening_date": "2016-03-04T00:00:00"}], "legacy": [{"description": "CMA, 1993:  \"Selected Acquisitions,\" Bulltin 80 (Feb. 1993), p. 67, repr. p. 61.", "opening_date": "1993-02-01T00:00:00"}, {"description": "Cooper-Hewitt National Design Museum, Smithsomian Institution, New York, NY (12/12/2014 - 9/1/2015):  \"Passion for the Exotic: Lockwood de Forest, Frederic Church\"", "opening_date": "2014-12-12T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Associated Artists assembled this clock using imported carved wood panels from India. For an American owner, the motifs suggested decorative styles from faraway places.", "description": "In 1879, Louis Comfort Tiffany joined several other artisans to create an interior decoration firm called Associated Artists. The firm was very influential in advocating a rejection of historical styles in favor of the new fashion from more eclectic sources of inspiration, including the Islamic world and Japan. One of Tiffany's partners, Lockwood De Forest, traveled extensively in India to find carved wood and other decorative accessories that could be used in their designs. This clock's design was one result of this collaboration. The heavily carved panels on the clock were likely purchased in India during this time and assembled with a clock mechanism from Tiffany's father's shop, Tiffany and Co., whose name appears on the clock face.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761033"], "internet_archive": ["https://archive.org/details/clevelandart-1992.70-tall-clock"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1992.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (1993): 38-79.", "page_number": "Reproduced: p. 61; Mentioned: p. 67", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "Hawley, Henry. \"An Indo-American Tall Clock.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 4 (1993): 170-73.", "page_number": "Reproduced: p. 171; Mentioned: p. 170-73", "url": "https://www.jstor.org/stable/25161408"}], "url": "https://clevelandart.org/art/1992.70", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.70/1992.70_web.jpg", "width": "474", "height": "893", "filesize": "231096", "filename": "1992.70_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.70/1992.70_print.jpg", "width": "1805", "height": "3400", "filesize": "3446071", "filename": "1992.70_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.70/1992.70_full.tif", "width": "3384", "height": "6374", "filesize": "64740920", "filename": "1992.70_full.tif"}}, "alternate_images": [{"date_created": "2007-09-19T15:21:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt0_web.jpg", "width": "428", "height": "893", "filesize": "219777"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt0_print.jpg", "width": "1631", "height": "3400", "filesize": "3227958"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt0_full.tif", "width": "3016", "height": "6286", "filesize": "56907608"}}, {"date_created": "2007-09-19T15:18:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt1_web.jpg", "width": "513", "height": "893", "filesize": "243547"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt1_print.jpg", "width": "1954", "height": "3400", "filesize": "3602630"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt1_full.tif", "width": "3664", "height": "6374", "filesize": "70095152"}}, {"date_created": "2007-09-19T15:16:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt2_web.jpg", "width": "563", "height": "893", "filesize": "420344"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt2_print.jpg", "width": "2142", "height": "3400", "filesize": "5579398"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.70/1992.70_alt2_full.tif", "width": "4152", "height": "6589", "filesize": "82111692"}}], "creditline": "The Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 156855, "creators": [{"id": 7431, "description": "Tiffany & Co. (America, New York, est. 1837)", "extent": "manufactured by", "qualifier": null, "role": "manufacturer", "biography": null, "name_in_original_language": null, "birth_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-05-18T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:00.411000"}, {"id": 155871, "accession_number": "1991.173", "share_license_status": "CC0", "tombstone": "A Eunuch's Dream, 1874. Jean Lecomte du Nou\u00ff (French, 1842\u20131923). Oil on wood; framed: 54 x 74.5 x 5.5 cm (21 1/4 x 29 5/16 x 2 3/16 in.); unframed: 39.3 x 65.4 cm (15 1/2 x 25 3/4 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Mrs. Noah L. Butkin, 1991.173", "current_location": "219 19th Century European", "title": "A Eunuch's Dream", "creation_date": "1874", "creation_date_earliest": 1874, "creation_date_latest": 1874, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 54 x 74.5 x 5.5 cm (21 1/4 x 29 5/16 x 2 3/16 in.); Unframed: 39.3 x 65.4 cm (15 1/2 x 25 3/4 in.)", "dimensions": {"framed": {"height": 0.54, "width": 0.745, "depth": 0.055}, "unframed": {"height": 0.393, "width": 0.654}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed center left: Lecomte du Nou\u00ff / 1874\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 227636, "title": "From Homer to the Harem: The Art of Jean Lecomte du Nou\u00ff", "description": "<i>From Homer to the Harem: The Art of Jean Lecomte du Nou\u00ff</i>. Dahesh Museum of Art, New York, NY (organizer) (June 22-September 19, 2004).", "opening_date": "2004-06-22T00:00:00"}, {"id": 226126, "title": "European Orientalists: From Delacroix to Kandinsky", "description": "<i>European Orientalists: From Delacroix to Kandinsky</i>. Mus\u00e9e Royaux des Beaux-Arts, Brussels, Belgium (October 15, 2010-January 9, 2011); Kunsthalle der Hypo-Kulturstiftung, Munich, Germany (organizer) (January 29-May 1, 2011); Mus\u00e9e des Beaux-Arts, Marseille, Marseille, France (May 20-August 21, 2011).", "opening_date": "2010-10-15T00:00:00"}], "legacy": [{"description": "Memorial Art Gallery of the University of Rochester, N.Y.; Neuberger Museum, State University of New York, College at Purchase. Orientalism: The Near East in French Painting 1800-1880 (1982), no. 55, 81 (repr.), 83.", "opening_date": "1982-01-01T00:00:00"}, {"description": "Dahesh Museum of Art (6/22/2004 - 9/19/2004): \"From Homer to the Harem: The Art of Jean Lecomte du Nou\u00ff\"", "opening_date": "2004-06-22T00:00:00"}, {"description": "Mus\u00e9e Royaux des Beaux-Arts, Brussels (10/15/2010 - 1/9/2011), Kunsthalle der Hypo-Kulturstiftung [organizer] (1/29/2011 - 5/1/2011), and Mus\u00e9e des Beaux-Arts, Marseille (5/20/2011 - 8/21/2011):  \"European Orientalists: From Delacroix to Kandinsky\", ex. cat. no. 148, p. 181.", "opening_date": "2010-10-15T00:00:00"}]}, "provenance": [{"description": "(Sale, Sotheby Parke-Bernet, New York, April 28, 1977, lot 209, possibly sold to Noah L. and Muriel Butkin)", "citations": [], "footnotes": ["<div><!--block-->The consignor to this auction is not specified in the catalogue, which lists the Lecomte de Nou\u00ff under the \u201cproperty of various owners.\u201d The catalogue does not include a price list, but the Butkins made many purchases around this time, so it is possible that they were the buyers of the painting at this sale.&nbsp; The earlier provenance of this painting is unclear.&nbsp; A painting by Lecomte de Nou\u00ff entitled \u201cLe Kieff du Sch\u00e9riff (Souvenir d'Orient)\u201d appeared in the H\u00f4tel Drouot sale of the \u201cF.J.\u201d collection on March 23, 1877 (no. 37).&nbsp; However, it seems unlikely that this painting is the Cleveland picture, because while the description provided in the catalogue of the man in the painting matches that of the Cleveland picture, the female figure, so important to the composition, is not mentioned.&nbsp; Furthermore, another version of this composition (see Roger Diederen, <em>From Homer to the Harem: The Art of Jean Lecomte du Nou\u00ff</em>, no. 86) but without the female figure or knife-wielding cherub, appears in Montgailhard\u2019s 1906 monograph on Lecomte du Nou\u00ff under the title \u201cLe kief du Sch\u00e9riff.\u201d This painting\u2019s current location is unknown.&nbsp; What we do know is that the Cleveland painting was likely intended by the artist for direct sale to a private collector: the painting\u2019s content \u2013 more graphic than that of the other versions of the composition - may have been considered inappropriate for public display. &nbsp;</div>"], "date": "1977", "sortorder": 1}, {"description": "(Noah L. and Muriel S. Butkin, Cleveland, Ohio, given by Muriel S. Butkin to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "Possibly 1977-1991", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1991-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Much of Jean Lecomte du Nou\u00ff's artwork was inspired by travelling to Egypt as a young man.", "description": "This painting, inspired by Charles Montesquieu's Persian Letters (published in 1721), depicts a eunuch who wanted to marry a harem slave. He experienced a vision of her while smoking his opium pipe, but her little companion holding a knife dripping with blood reminds us that the eunuch's anatomy precludes the fulfillment of his dream. The outline of a hand next to the signature is a khamsa, a symbol used to ward off evil.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476671"], "internet_archive": ["https://archive.org/details/clevelandart-1991.173-a-eunuch-s-dream"]}, "citations": [{"citation": "Sotheby Parke Bernet Inc. 1<em>9th Century European Paintings</em>. April 28, 1977.", "page_number": null, "url": null}, {"citation": "Diederen, Roger. <em>From Homer to the Harem: The Art of Jean Lecomte Du Nouy\u0308</em>. New York: Dahesh Museum of Art, 2004.", "page_number": null, "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1992.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (1993): 38-79.", "page_number": "Reproduced: p. 60; Mentioned: p. 66", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 385-387, Vol. II, no. 134", "url": ""}, {"citation": "Bergez, Daniel, and Kate Deimling. <em>Painting the Dream: From the Biblical Dream to Surrealism</em>. New York; London: Abbeville Press Publishers, 2018.", "page_number": "Reproduced: P. 110, no. 77", "url": null}, {"citation": "Bergez, Daniel.<em> Peindre le re\u0302ve: des re\u0302ves bibliques au surre\u0301alisme.</em> <br>Paris : Citadelles &amp; Mazenod, 2017.", "page_number": "Reproduced and mentioned: p. 110.", "url": null}, {"citation": "Watson, A.M. \"Paul Durand-Ruel and James Duncan of Benmore.\" The Burlington Magazine 160, no.1384(July 2018): 558-571.", "page_number": "Reproduced: p. 564, fig. 10", "url": null}, {"citation": "Dialer, Corinne. <em>Oneirische Oszillation: Zum Neuzeitlichen Bildthema des Ku\u0308nstlertraums</em>. Hildesheim: Olms; [Mu\u0308nchen]: UB, Universita\u0308tsbibliothek Ludwig-Maximilians-Universita\u0308t Mu\u0308nchen, 2022.", "page_number": "Mentioned: P. 166, abb. 128; Reproduced: P. 273, abb. 128", "url": ""}, {"citation": "Kola\u0301r\u030cova\u0301, Petra, Na\u0301rodni\u0301 galerie v Praze, and Veletrz\u030cni\u0301 Pala\u0301c v Praze. V Krouz\u030cC\u00edch Dy\u0301Mu : Portre\u030cT Modern\u00edho Ume\u030cLce. [Praha]: N\u00e1rodn\u00ed galerie v Praze, 2023.", "page_number": "Reproduced: p. 71", "url": ""}], "url": "https://clevelandart.org/art/1991.173", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.173/1991.173_web.jpg", "width": "1263", "height": "757", "filesize": "669660", "filename": "1991.173_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.173/1991.173_print.jpg", "width": "3400", "height": "2037", "filesize": "5125324", "filename": "1991.173_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.173/1991.173_full.tif", "width": "6356", "height": "3808", "filesize": "72646372", "filename": "1991.173_full.tif"}}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 155871, "creators": [{"id": 1793, "description": "Jean Lecomte du Nou\u00ff (French, 1842\u20131923)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jean Lecomte du Nou\u00ff was the descendant of a noble Piedmontese family that settled in France in the fourteenth century. In 1861, at age nineteen, he entered the studio of Charles Gleyre (1808-1874) and two years later trained under the guidance of \u00c9mile Signol (1804-1892). With his fascination for historical and exotic subjects in mind, Lecomte du Nou\u00ff entered the studio of G\u00e9r\u00f4me (q.v.) in 1864. Lecomte du Nou\u00ff began exhibiting at the Salon in 1863 and received his first critical approval two years later for Le sentinel grec (1865), based on the tragedy Oresteia (458 BC) by Aeschylus. One year later he won a gold medal for another classical subject, Invocation de Neptune (1866, Mus\u00e9e des Beaux Arts, Lille), which exempted him from jury approval for future Salons. In 1865 G\u00e9r\u00f4me encouraged him to join F\u00e9lix Cl\u00e9ment (1826-1888) on a trip to Egypt, as the latter had received a commission to decorate the Choubrah Palace of Prince Halim near Cairo. The Franco-Prussian War (1870-71) meant hardship for many artists, including Lecomte du Nou\u00ff who struggled to get by without commissions. In 1872 he won the Second Prix de Rome and received a good deal of attention at the Salon with Les porteurs de mauvaises nouvelles (Minist\u00e8re de Affaires Culturelles, Tunis), which was bought by the state for the Mus\u00e9e du Luxembourg. That same year the French government asked him to go to Venice to copy The Marriage of St. Ursula by Carpaccio for the \u00c9cole des Beaux-Arts. Three years later he painted an altarpiece for the chapel of St.-Vincent-de-Paul in the church of La Trinit\u00e9 in Paris. He traveled throughout his life and, in 1875, embarked on an extensive voyage to Greece, Egypt, Turkey, and Asia Minor. Twenty years later, on his way to Constantinople, he stopped in Bucharest in order to visit his brother, Andr\u00e9 Lecomte du Nou\u00ff (1844-1914), who was a court architect. He ended up staying several years, as he received commissions for portraits of members of the royal family and frescoes in Romanian churches. Throughout his career, Lecomte du Nou\u00ff painted many religious and history paintings; he was also a prolific portraitist and sculptor. In 1875 he married Mlle Peign\u00e9-Cr\u00e9mieux, who died soon afterward; in 1891 he married Caroline Evrard.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1923", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-12-16T00:00:00", "sortable_date": 1874, "date_added_to_oa": null, "date_text": "1874", "collapse_artists": false, "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": "2026-03-27 00:07:17.057000"}, {"id": 142716, "accession_number": "1966.432", "share_license_status": "CC0", "tombstone": "Hinds House Window, c. 1900. Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Leaded glass; unframed: 227.3 x 114.3 cm (89 1/2 x 45 in.). The Cleveland Museum of Art, Gift of Mrs. Robert M. Fallon, 1966.432", "current_location": "209 Tiffany", "title": "Hinds House Window", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "leaded glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Unframed: 227.3 x 114.3 cm (89 1/2 x 45 in.)", "dimensions": {"unframed": {"height": 2.273, "width": 1.143}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 358650, "title": "Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany", "description": "<i>Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 20, 2019-October 4, 2020).", "opening_date": "2019-10-20T04:00:00"}], "legacy": []}, "provenance": [{"description": "Howell Hinds, [1857-1926], Cleveland, OH, by descent to his daughter Mrs. Robert M. Fallon (formerly Alice W. Hinds, 1893\u20131967), the daughter of Howell Hinds and Nellie Price Hinds", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Mrs. Robert M. Fallon [1893-1967], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This window incorporates layered pieces of glass, producing shadows and creating a multidimensional quality.", "description": "In this window commissioned for the Howell Hinds house around 1900, thousands of richly colored glass pieces have been arranged and layered to paint an idyllic three-dimensional scene that would have warmly glowed in the afternoon sunlight. Located at 2200 Overlook Road in Cleveland, Ohio, the house was demolished in 1930 in a similar fate as other nearby estates. Photographs show the placement of the window in the drawing room next to the fireplace as well as the opulent interiors Louis Comfort Tiffany designed for the library and dining room.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60820012"], "internet_archive": ["https://archive.org/details/clevelandart-1966.432-hinds-house-window"]}, "citations": [{"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. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"citation": "Saks, Judith. \"Tiffany's Household Decoration: A Landscape Window.\" <em>The Bulletin of the Cleveland Museum of Art </em>63, no. 8 (October 1976): 226-235.", "page_number": "Reproduced: P. 226, 232, fig. 6; Mentioned: P. 227-234", "url": ""}, {"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. 235", "url": "https://archive.org/details/CMAHandbook1978/page/n255"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino.<em> Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. Cleveland, OH: Cleveland Museum of Art in association with, New Haven, CT: Yale University Press, 2008.", "page_number": "Reproduced: p. 275; Discussed: p. 274; Mentioned: Pg. 340 (Cat. No. 285)", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"citation": "Bidwell, Frederick E., and Leslie Cade. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with New York, NY: Scala Arts Publishers, 2014.", "page_number": "Reproduced & Discussed: p. 143", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=857403600"}, {"citation": "\"King Louis\". <em>Antique Collecting </em>58, no. 7 (December/January 2023-24): 36-40.", "page_number": "Reproduced: p. 37", "url": ""}], "url": "https://clevelandart.org/art/1966.432", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.432/1966.432_web.jpg", "width": "455", "height": "900", "filesize": "233286", "filename": "1966.432_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.432/1966.432_print.jpg", "width": "1717", "height": "3400", "filesize": "1831369", "filename": "1966.432_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.432/1966.432_full.tif", "width": "6062", "height": "12004", "filesize": "218332664", "filename": "1966.432_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.432/1966.432_alt0_web.jpg", "width": "456", "height": "900", "filesize": "262872"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.432/1966.432_alt0_print.jpg", "width": "1038", "height": "2048", "filesize": "2011500"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.432/1966.432_alt0_full.tif", "width": "1038", "height": "2048", "filesize": "6379996"}}, {"date_created": "2007-10-30T15:43:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.432/1966.432_alt1_web.jpg", "width": "451", "height": "893", "filesize": "429680"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.432/1966.432_alt1_print.jpg", "width": "1717", "height": "3400", "filesize": "4830255"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.432/1966.432_alt1_full.tif", "width": "2525", "height": "5000", "filesize": "37900956"}}], "creditline": "Gift of Mrs. Robert M. Fallon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ruth and Charles Mauer Gallery", "athena_id": 142716, "creators": [{"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": "made by", "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscape with a Greek Temple"], "is_highlight": true, "updated_at": "2026-03-27 00:04:35.277000"}, {"id": 143898, "accession_number": "1968.284", "share_license_status": "CC0", "tombstone": "Ancestral Altar Tusk, c. 1820. Nigeria, Benin Kingdom, \u1eb8do peoples, members of the Igbesanmwan (wood and ivory carvers) guild. Elephant ivory; overall: 197.4 cm (77 11/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1968.284", "current_location": "108A African", "title": "Ancestral Altar Tusk", "creation_date": "c. 1820", "creation_date_earliest": 1815, "creation_date_latest": 1825, "artists_tags": [], "culture": ["Nigeria, Benin Kingdom, \u1eb8do peoples, members of the Igbesanmwan (wood and ivory carvers) guild"], "technique": "Elephant ivory", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 197.4 cm (77 11/16 in.)", "dimensions": {"overall": {"height": 1.974}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": [{"description": "<em>African Tribal Images: The Katherine White Reswick Collection</em>. The Cleveland Museum of Art, Cleveland, OH (July 10 \u2013 September 1, 1968)", "opening_date": "1968-09-01T00:00:00"}]}, "provenance": [{"description": "Commissioned by \u1eccba \u1eccs\u1eb9mw\u1eb9d\u1eb9 [r. 1815\u201350] from the Igbesanmwan", "citations": [], "footnotes": ["<div><!--block-->\u2022 Blackmun, Barbara Winston. 1994. \"History and Statecraft on a Tusk from Old Benin\". The Bulletin&nbsp;<br>of the Cleveland Museum of Art. 81 (4): 87-115. (p. 92-3)&nbsp;<br><br></div>"], "date": "1820s", "sortorder": 1}, {"description": "\u1eccba \u1eccs\u1eb9mw\u1eb9d\u1eb9 [r. 1815\u201350], Royal Palace, Benin City, by descent to Ov\u1ecdnramw\u1eb9n (Ov\u1ecdnramw\u1eb9n Nogbaisi [c. 1857\u20131914, r. 1888\u201397]", "citations": [], "footnotes": null, "date": "after 1850", "sortorder": 2}, {"description": "Brought to England (or Europe) following the Siege of Benin", "citations": [], "footnotes": ["<div><!--block-->\u2022 Blackmun, Barbara Winston. 1994. \"History and Statecraft on a Tusk from Old Benin\". The Bulletin&nbsp;<br>of the Cleveland Museum of Art. 81 (4): 87-115. (p. 92)</div>"], "date": "1897", "sortorder": 3}, {"description": "Katherine (Merkel) White Reswick [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Letter dated January 28, 1961 from KWR (then Katherine Merkel) to John Wise referencing and&nbsp;<br>describing the tusk/relating it to a pairing with a CMA work; Dallas Museum of Art John Wise&nbsp;<br>Archives (photocopy in Curatorial File)&nbsp;<br>\u2022 Photographs c. 1950s-mid-1960s from KWM in curatorial file<br>**Katherine W. Merkel, Katherine C. White, and Katherine White Reswick (1929-1980) are the&nbsp;<br>same woman</div>"], "date": "by at least 1961\u20131968", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->Acquired at accession meeting January 22, 1969 (see registrar files)&nbsp;<br>\u2022 Exhibited/published 1968 African Tribal Images: The Katherine White Reswick Collection, cat. No.&nbsp;<br>144, reproduced&nbsp;<br>\u2022 Published in \u201cYear in Review 1968\u201d CMA Bulletin LVI (Jan. 1969), Reproduced: p. 43, mentioned p. 46, no. 56.</div>"], "date": "1968\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1033.68"], "did_you_know": "Originally, this carved tusk was placed on an ancestral altar as part of an ensemble of objects made to memorialize a deceased \u1eccba (ruler).", "description": "\u1eccba \u1eccs\u1eb9mw\u1eb9d\u1eb9 commissioned the carving of this tusk to connect with his ancestors and symbolize his strength. It is covered with royal figures wearing elaborate regalia and scenes of power, ritual, and violence. While Benin royal symbols may look similar across centuries, their meanings can shift. \u1eccs\u1eb9mw\u1eb9d\u1eb9\u2019s reign was prosperous due to trade with the Dutch; however, 16th-century Portuguese men are carved on the lower tusk. By the 1800s they represented <em>any</em> European traders. This tusk\u2019s surface likely became worn and cracked from frequent washing, bleaching, and the applying of a white clay (<em>orhue</em>) linked to peace, purity, and prosperity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60747069"], "internet_archive": ["https://archive.org/details/clevelandart-1968.284-ancestral-altar-tusk"]}, "citations": [{"citation": "Fricke, Berthold, ed. The Cleveland Museum of Art. Ahrbeck/Hannover: Knorr &amp; Hirth Verlag GmbH, 1975, p. 102.", "page_number": "", "url": ""}, {"citation": "Drewal, Henry John. African Art: A Brief Guide to the Collection. Cleveland: Cleveland Museum of Art, 1989, fig.6.", "page_number": "", "url": ""}, {"citation": "Judith Perani and Fred T. Smith, The Visual Arts of Africa: Gender, Power, and Life Cycle Rituals, (Prentice Hall, NJ, 1998), fig. 6.7, pp. 175-176.", "page_number": "", "url": ""}, {"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection</em>. [Cleveland]: Cleveland Museum of Art, 1968, no. 144.", "page_number": "Reproduced:  cat. No. 144", "url": ""}, {"citation": "Lee, Sherman E. \"The Year in Review for 1968.\" <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 1 (1969): 3-50.", "page_number": "Reproduced: p. 43; mentioned: p. 46, no. 56", "url": "http://www.jstor.org/stable/25152250"}, {"citation": "Blackmun, Barbara Winston. 1994. \"History and Statecraft on a Tusk from Old Benin\". <em>The Bulletin of the Cleveland Museum of Art. </em>81 (4): 87-115.", "page_number": "Mentioned and reproduced: p. 88, fig. 2", "url": "https://www-jstor-org.ingallslibrary.idm.oclc.org/stable/25161449"}, {"citation": "Young-Sanchez, Margaret, \"A Royal Plaque\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 07, September 1999", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM1999-07/page/8"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 26, p. 82 - 83", "url": ""}, {"citation": "Windmuller-Luna, Kristen. \u201cArt from the Benin Kingdom.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 34-35.", "page_number": "Reproduced: P. 34-35; Mentioned: P. 34.", "url": ""}, {"citation": "<em>Digital Benin, </em>Markk Museum Am Rothenbaum Kulturen und Kunste der Welt<em>, (</em>Last Updated: 2021-02-13)", "page_number": "ID 143898", "url": "https://digitalbenin.org/catalogue/8_143898"}], "url": "https://clevelandart.org/art/1968.284", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.284/1968.284_web.jpg", "width": "900", "height": "874", "filesize": "163951", "filename": "1968.284_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.284/1968.284_print.jpg", "width": "3400", "height": "3303", "filesize": "882745", "filename": "1968.284_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.284/1968.284_full.tif", "width": "8185", "height": "7951", "filesize": "195260108", "filename": "1968.284_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T13:01:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.284/1968.284_alt0_web.jpg", "width": "977", "height": "893", "filesize": "148687"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.284/1968.284_alt0_print.jpg", "width": "3400", "height": "3108", "filesize": "3642942"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.284/1968.284_alt0_full.tif", "width": "8719", "height": "7969", "filesize": "208476584"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143898, "creators": [], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1815, "date_added_to_oa": null, "date_text": "c. 1820", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Carved Tusk", "Altar Tusk"], "is_highlight": false, "updated_at": "2026-03-27 00:09:17.143000"}, {"id": 169187, "accession_number": "2011.110", "share_license_status": "CC0", "tombstone": "Indian Combat, 1868. Edmonia Lewis (American, c. 1844\u20131907). Marble; overall: 76.2 x 48.3 x 36.5 cm (30 x 19 x 14 3/8 in.). The Cleveland Museum of Art, American Painting and Sculpture Sundry Purchase Fund and Purchase from the J. H. Wade Fund, 2011.110", "current_location": null, "title": "Indian Combat", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["female", "Black American Artists"], "culture": ["America"], "technique": "marble", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 76.2 x 48.3 x 36.5 cm (30 x 19 x 14 3/8 in.)", "dimensions": {"overall": {"height": 0.762, "width": 0.483, "depth": 0.365}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The base of the sculpture is inscribed: \"EDMONIA LEWIS / FECIT A ROME 1868\"\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}, {"id": 685928, "title": "Edmonia Lewis: Said in Stone", "description": "<i>Edmonia Lewis: Said in Stone</i>. Peabody Essex Museum, Salem, MA (organizer) (February 14-June 7, 2026) https://www.pem.org/exhibitions/edmonia-lewis-said-in-stone; Georgia Museum of Art, Athens, GA (August 8, 2026-January 3, 2027); North Carolina Museum of Art, Raleigh, NC (April 3-July 11, 2027).", "opening_date": "2026-02-14T05:00:00"}], "legacy": []}, "provenance": [{"description": "[Unidentified antique/estate consignment shop, Newton, MA]", "citations": [], "footnotes": [], "date": "1950s", "sortorder": 1}, {"description": "William (1916-2006) and Betty (1926-2010) Bresnick, Weston, MA", "citations": [], "footnotes": null, "date": "1950s-2010", "sortorder": 2}, {"description": "[Gabriel's Auctioneers and Appraisers, Norwood, MA]", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "[Gerald Peters Gallery, New York]", "citations": [], "footnotes": null, "date": "2010-2011", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Growing up in her Ojibwe community, Lewis went by a name that translates as \"Wildfire.\"", "description": "A spiraling composition with three intertwined figures, <em>Indian Combat </em>ranks as Edmonia Lewis\u2019s most dynamic and complex creation. Although her Native American subjects typically exist in multiple versions, this example appears to be unique. Of Indigenous (Ojibwe) and African American ancestry, Edmonia Lewis studied at Oberlin College and apprenticed with a sculptor in Boston before moving to Rome in 1866. Her sculptures were readily purchased by patrons on both sides of the Atlantic.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780965"], "internet_archive": ["https://archive.org/details/clevelandart-2011.110-indian-combat"]}, "citations": [{"citation": "Ausherman, Maria, <em>Masters of Shape: The Lives and Art of American Women Sculptors. </em>(Novato, CA: Goff Books, 2022).", "page_number": "Mentioned and reproduced, p. 71.", "url": ""}, {"citation": "Wilder, Jesse Bryant, <em>Art History for Dummies.</em> 2nd edition. (Hoboken, NJ: John Wiley &amp; Sons, 2022).", "page_number": "Mentioned and reproduced, p. 272.", "url": ""}, {"citation": "\"Teach to Learn,\" <em>Cleveland Art</em> 59 (May/June 2019).", "page_number": "Mentioned and reproduced, p. 5.", "url": ""}, {"citation": "Richmond-Moll, Jeffrey, Shawnya L. Harris, et al. <em>Edmonia Lewis : Said in Stone</em>. Chicago: University of Chicago Press, 2026.", "page_number": "Mentioned, pp. 31-32, 103, 115, and 216.  Reproduced, p. 156.", "url": ""}, {"citation": "Richmond-Moll, Jeffrey, \"Edmonia Lewis: Said in Stone,\" <em>American Art Review</em> (February-April 2026).", "page_number": "Reproduced, p. 76.", "url": ""}, {"citation": "Huidekoper, Alfred. <em>Glimpses of Europe in 1851 and 1867-8</em>. Meadeville, Pa.: Printed for the Author, 1882.<br>Published as: <em>Indians Wrestling</em>", "page_number": "Mentioned: P. 184", "url": "https://catalog.hathitrust.org/api/volumes/oclc/30719924.html"}, {"citation": "Gerdts, William H. \"Celebrities of the Grand Tour: The American Sculptors in Florence and Rome.\" In <em>Lure of Italy: American Artists and the Italian Experience, 1760-1914. </em>Theodore E. Stebbins, ed., 66-93. Boston, MA: Museum of Fine Arts, Boston, 1992.", "page_number": "Mentioned: P. 89, as Indians Wrestling.", "url": null}, {"citation": "Litt, Steven. \"Museum Acquires Rare Sculpture.\" <em>The Plain Dealer </em>(November 11, 2011): B2.", "page_number": "Mentioned: P. B2", "url": null}, {"citation": "Cole, Mark. \"Indian Combat.\" In <em>Treasures of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art London; United Kingdom: Scala Books, 2012.", "page_number": "Mentioned and reproduced: p. 260-261", "url": null}, {"citation": "\"Museums.\" <em>The Art Newspaper </em>21 (January 2012): 13-25.", "page_number": "Mentioned and reproduced: P.25", "url": null}, {"citation": "Franklin, David. \"Recent Acquisitions (2005\u201411) at the Cleveland Museum of Art.\" <em>The Burlington Magazine</em> 154, no. 1312 (July 2012): 525-32.", "page_number": "Reproduced: P. 530", "url": "http://www.jstor.org/stable/23232806"}, {"citation": "Cole, Mark and Helen Forbes-Fields. <em>African American Art: The Cleveland Museum of Art</em>. [Cleveland, Ohio]: Cleveland Museum of Art, 2013.", "page_number": "reproduced: p.2; Mentioned: p.3", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 49", "url": ""}, {"citation": "\"Education. Teach to Learn.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 3 (May/June 2019): 5-11.", "page_number": "Reproduced and Mentioned: P. 5", "url": "https://archive.org/details/CMAMM2019-03/page/n1/mode/2up"}, {"citation": "Woods, Naurice Frank. <em>Race and Racism in Nineteenth-Century Art: The Ascendency of Robert Duncanson, Edward Bannister, and Edmonia Lewis</em>. Jackson : University Press of Mississippi, 2021.", "page_number": "Mentioned and reproduced: p. 163-164, fig. 3.5", "url": ""}, {"citation": "Ware, Zaria. Blk Art: The Audacious Legacy of Black Artists and Models in Western Art. New York, NY : Harper Design, an imprint of HarperCollinsPublishers, 2023.", "page_number": "Reproduced: p. 171", "url": ""}, {"citation": "\"Meet Your Membership Team.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>65, no. 1 (2025): 36-37.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAMM-2025-01"}, {"citation": "Richmond-Moll, Jeffrey, Shawnya L. Harris, Amy Jones Abbe, Caitlin Meehye Beach, Gloria Jane Bell, Makeda Best, et al. <em>Edmonia Lewis : Said in Stone. </em>Salem, Massachusetts, Athens, Georgia, Chicago: Peabody Essex Museum ; Georgia Museum of Art, University of Georgia ; in association with The University of Chicago Press, 2026.", "page_number": "Mentioned, pp. 31-32, 103, 115, and 216.  Reproduced, p. 156.", "url": ""}, {"citation": "Richmond-Moll, Jeffrey. \u201cEdmonia Lewis: Said in Stone.\u201d <em>American Art Review</em> 212 (February-April 2026): 76-79.", "page_number": "Mentioned and reproduced: p. 76", "url": ""}, {"citation": "O'Hern, John. \u201cWhere There Is A Will.\u201d <em>American Fine Art Magazine</em>, n. 86 (March/April 2026): 38-43.", "page_number": "Reproduced: p. 43", "url": ""}], "url": "https://clevelandart.org/art/2011.110", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_web.jpg", "width": "740", "height": "893", "filesize": "247827", "filename": "2011.110_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_print.jpg", "width": "2817", "height": "3400", "filesize": "5543744", "filename": "2011.110_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2011.110/2011.110_full.tif", "width": "4193", "height": "5059", "filesize": "63688336", "filename": "2011.110_full.tif"}}, "alternate_images": [{"date_created": "2011-09-08T17:27:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt0_web.jpg", "width": "719", "height": "893", "filesize": "249191"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt0_print.jpg", "width": "2738", "height": "3400", "filesize": "5510805"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt0_full.tif", "width": "4058", "height": "5038", "filesize": "61391408"}}, {"date_created": "2011-09-09T12:57:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt1_web.jpg", "width": "689", "height": "893", "filesize": "239493"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt1_print.jpg", "width": "2623", "height": "3400", "filesize": "5237878"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt1_full.tif", "width": "3814", "height": "4942", "filesize": "56602428"}}, {"date_created": "2011-09-09T13:40:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt2_web.jpg", "width": "675", "height": "893", "filesize": "235308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt2_print.jpg", "width": "2571", "height": "3400", "filesize": "5040763"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt2_full.tif", "width": "3830", "height": "5064", "filesize": "58243912"}}, {"date_created": "2011-09-09T14:19:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt3_web.jpg", "width": "765", "height": "893", "filesize": "281750"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt3_print.jpg", "width": "2912", "height": "3400", "filesize": "5972022"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt3_full.tif", "width": "4024", "height": "4698", "filesize": "56765440"}}, {"date_created": "2011-09-09T15:00:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt4_web.jpg", "width": "715", "height": "893", "filesize": "239003"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt4_print.jpg", "width": "2723", "height": "3400", "filesize": "5395016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt4_full.tif", "width": "4015", "height": "5012", "filesize": "60418388"}}, {"date_created": "2011-09-09T15:22:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt5_web.jpg", "width": "743", "height": "893", "filesize": "247580"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt5_print.jpg", "width": "2830", "height": "3400", "filesize": "5579601"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.110/2011.110_alt5_full.tif", "width": "4166", "height": "5004", "filesize": "62598328"}}], "creditline": "American Painting and Sculpture Sundry Purchase Fund and Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": "7723feae34eb441fa9f74dd330b7b7d5", "sketchfab_url": "https://sketchfab.com/models/7723feae34eb441fa9f74dd330b7b7d5", "gallery_donor_text": null, "athena_id": 169187, "creators": [{"id": 61503, "description": "Edmonia Lewis (American, c. 1844\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-09-06T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-10 07:00:53.662000"}, {"id": 142769, "accession_number": "1966.473", "share_license_status": "CC0", "tombstone": "Turtle Bell Push, c. 1895\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Agate, gold, silver, diamonds, rubies; overall: 2.6 x 7.7 x 6.1 cm (1 x 3 1/16 x 2 3/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.473", "current_location": "211 Faberg\u00e9", "title": "Turtle Bell Push", "creation_date": "c. 1895\u20131915", "creation_date_earliest": 1890, "creation_date_latest": 1918, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "agate, gold, silver, diamonds, rubies", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 2.6 x 7.7 x 6.1 cm (1 x 3 1/16 x 2 3/8 in.)", "dimensions": {"overall": {"height": 0.026, "width": 0.077, "depth": 0.061}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "7434 scratched", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. The Walters Art Museum, Baltimore, MD (organizer) (February 14-July 27, 2003); Columbus Museum of Art, Columbus, OH (October 12, 2003-January 4, 2004); Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}], "legacy": [{"description": "Walters Art Museum (2/14/2003-7/27/2003); Columbus Museum of Art (10/12/2003-1/4/2004); Portland Art Museum (2/8/2004-5/2/2004): \"Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop,\" ex. cat. no. 120, p. 188.", "opening_date": "2003-02-14T00:00:00"}]}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To summon the butler, a quick push on the turtle's head would ring the bell downstairs.", "description": "In creating luxurious accessories for a desk or tabletop, Faberg\u00e9 often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Faberg\u00e9 and his craftsmen brought them to life, turning milky agate into this turtle bell push or black jasper into sleeping puppies. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761841"], "internet_archive": ["https://archive.org/details/clevelandart-1966.473-turtle-bell-push"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned:  p. 84, cat. 41; reproduced: p. 85", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Faberge\u0301, Peter Carl, and Deborah E. Horowitz. <em>The Faberge\u0301 Menagerie</em>. Exh. Cat. Baltimore: The Walters Art Museum, in association with London: Philip Wilson Pub, 2003.", "page_number": "Reproduced:  p. 188, cat. 120", "url": "https://ingallslibrary.on.worldcat.org/oclc/196795062"}], "url": "https://clevelandart.org/art/1966.473", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.473/1966.473_web.jpg", "width": "1263", "height": "871", "filesize": "624396", "filename": "1966.473_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.473/1966.473_print.jpg", "width": "3400", "height": "2344", "filesize": "4471220", "filename": "1966.473_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.473/1966.473_full.tif", "width": "3783", "height": "2608", "filesize": "29635896", "filename": "1966.473_full.tif"}}, "alternate_images": [{"date_created": "2005-04-14T20:40:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.473/1966.473_alt0_web.jpg", "width": "1263", "height": "797", "filesize": "568611"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.473/1966.473_alt0_print.jpg", "width": "3400", "height": "2145", "filesize": "3696132"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.473/1966.473_alt0_full.tif", "width": "5000", "height": "3154", "filesize": "47325624"}}, {"date_created": "2008-06-09T12:52:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.473/1966.473_alt1_web.jpg", "width": "1263", "height": "827", "filesize": "578928"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.473/1966.473_alt1_print.jpg", "width": "3400", "height": "2227", "filesize": "3881272"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.473/1966.473_alt1_full.tif", "width": "4018", "height": "2632", "filesize": "31764024"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142769, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895\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": "2026-03-27 00:02:02.188000"}, {"id": 115163, "accession_number": "1935.310", "share_license_status": "CC0", "tombstone": "Disk Pendant (akrafok\u0254nmu), 1800s, before 1896. Africa, West Africa, Ghana, Asante Empire/Kingdom, probably Kumasi, member of the goldsmiths\u2019 guild. Gold; diameter: 9.8 cm (3 7/8 in.); overall: 1.3 cm (1/2 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1935.310", "current_location": "108C African Jewelry and Metalwork", "title": "Disk Pendant (akrafok\u0254nmu)", "creation_date": "1800s, before 1896", "creation_date_earliest": 1800, "creation_date_latest": 1895, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/Kingdom, probably Kumasi, member of the goldsmiths\u2019 guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Diameter: 9.8 cm (3 7/8 in.); Overall: 1.3 cm (1/2 in.)", "dimensions": {"diameter": {"width": 0.098}, "overall": {"height": 0.013}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301819, "title": "African Textiles and Decorative Arts", "description": "<i>African Textiles and Decorative Arts</i>. The Museum of Modern Art, New York, NY (organizer) (October 11, 1972-January 31, 1973); Los Angeles County Museum of Art, Los Angeles, CA (March 20-May 31, 1973); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (July 2-August 31, 1973); The Cleveland Museum of Art, Cleveland, OH (October 3-December 2, 1973).", "opening_date": "1972-08-16T04:00:00"}, {"id": 444266, "title": "The Arts of Ghana", "description": "<i>The Arts of Ghana</i>. Frederick S. Wight Art Gallery, UCLA, Los Angeles, CA (organizer) (October 11-December 11, 1977); Walker Art Center, Minneapolis, MN (February 11-March 26, 1978); The Dallas Museum of Art, Dallas, TX (May 3-July 2, 1978).", "opening_date": "1977-10-11T04:00:00"}, {"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"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"}, {"id": 297093, "title": "The Power of Gold: Asante Royal Regalia from Ghana", "description": "<i>The Power of Gold: Asante Royal Regalia from Ghana</i>. The Dallas Museum of Art, Dallas, TX (organizer) (April 15-August 12, 2018).", "opening_date": "2018-04-15T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935: \"African Negro Art,\" cat. no. 162, (also to CMA 9/27 - 10/27, 1935).", "opening_date": "1927-09-01T00:00:00"}, {"description": "NY: The Brooklyn Museum:  Masterpieces of African Art, cat. no. 34.", "opening_date": null}, {"description": "NY: The Museum of Modern Art, 1972-1973:  African Textiles and Decorative Arts.  Also to Los Angeles County Museum of Art, 1973; M. H. de Young Memorial Museum, San Francisco, 1973; and the Cleveland Museum of Art, 1973, cat. no. 162.", "opening_date": "1972-01-01T00:00:00"}, {"description": "Los Angeles, CA: University of California, Dickson Art Center, 1977-1978:  The Arts of Ghana, cat. no. 324, p. 153, repr. p. 155.  Also to the Walker Art Center, Minneapolis, February 11-March 26, 1978, and the Dallas Museum of Art, May 30-July 2, 1978.", "opening_date": "1978-02-11T00:00:00"}, {"description": "Washington, DC:  National Museum of African Art, Smithsonian Institution, African Emblems of Status, October 21, 1982-April 30, 1983.", "opening_date": "1982-10-21T00:00:00"}, {"description": "Washington, DC:  National Museum of African Art, Smithsonian Institution, African Art in the Cycle of Life, September 15, 1987-March 20, 1988.", "opening_date": "1987-09-15T00:00:00"}, {"description": "Washington, DC:  National Museum of African Art, Smithsonian Institution, Elmina:  Art and Trade on the West African Coast, October 14, 1992-February 28, 1993.", "opening_date": "1992-10-14T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68.", "opening_date": "2000-02-01T00:00:00"}, {"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. 36, p. 117, color repr. p. 32.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Treasury of asantehene (King) Agyeman Prempeh I, Kumasi, Ghana", "citations": [], "footnotes": ["<div><!--block-->Exhibition Catalogue <em>African Negro Art</em> (1935), cat. no. 162; Original object card, 9/14/35 (CMA Curatorial File)</div>"], "date": "?-1896", "sortorder": 1}, {"description": "(Charles Ratton Gallery, Paris, France via Pierre Matisse, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Exhibition Catalogue <em>African Negro Art</em> (1935), cat. no. 162; Original object card, 9/14/35 (CMA Curatorial File)</div>"], "date": "?\u20131935", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Akan goldsmiths were organized into guilds, a kind of specialized group of artisans.", "description": "Gold discs dangling on the chests of Akan state officials and elites showed their rank and duties. Worn by these <em>akrafo </em>(\u201csoul people\u201d) since the 1800s, they are often linked to <em>kradware, </em>officials who represent and purify (\u201cwash\u201d) the king\u2019s soul. To make them, goldsmiths cast or flattened gold. Muslim North African gold coins likely inspired their form and material, while concentric water rings influenced their composition. This small disc is a typical pre-colonial example: <em>asantehene</em> (king) Prempeh I reportedly owned this disk. The British emptied his treasury after deposing and exiling him in 1896. Gold ornament making ceased until 1924; court officials now wear large discs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008268"], "internet_archive": ["https://archive.org/details/clevelandart-1935.310-disk-pendant-akrafok"]}, "citations": [{"citation": "Sieber, Roy. <em>African Textiles and Decorative Arts</em>. New York: Museum of Modern Art, 1972. P. 137.", "page_number": "P. 137.", "url": ""}, {"citation": "Cleveland Museum of Art. \u201cAfrican Textiles and Decorative Arts.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 9 (November 1973).", "page_number": "Repr. back cover.", "url": "https://www.jstor.org/stable/i25152495"}, {"citation": "Wixom, William D. \u201cAfrican Art in the Cleveland Museum of Art,\u201d <em>African Arts</em> 10, no. 3 (April 1977): 16-24.", "page_number": "Repr. p. 21.", "url": ""}, {"citation": "Sieber, Roy, and Roslyn Adele Walker. <em>African Art in the Cycle of Life</em>. Washington, DC: National Museum of African Art, Smithsonian Institution Press, 1987. Exhibition catalog.", "page_number": "p. 102, cat. no. 53, repr.", "url": ""}, {"citation": "Geary, Christraud M. and Andrea Nicolls. <em>Elmina: Art and Trade on the West African Coast</em>. Washington, DC: National Museum of African Art, Smithsonian Institution Press, 1992. Exhibition catalogue.", "page_number": "Repr. p. 8.", "url": ""}, {"citation": "Hudon, Fran\u00e7ois, Line Lamarre, and Michel Vervais. <em>R\u00e9alit\u00e9s : Histoire et \u00e9ducation \u00e0 La Citoyennet\u00e9. </em>Qu\u00e9bec : ERP Inc., 2008.", "page_number": "Fig. 5.18.", "url": ""}, {"citation": "Milliken, William. \"Exhibition of Gold.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 9 (November 1947): 211-212.", "page_number": "Mentioned: p. 211-212; Reproduced: p. 235", "url": "https://www.jstor.org/stable/25141408"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 19, p. 68 - 69", "url": ""}, {"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. 32, no. 35", "url": ""}, {"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art.</em> New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 39, no. 162", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935</em>. New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 22; reproduced: p. 23, fig. 13, p. 68, no. 18.", "url": null}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display. </em>Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 112", "url": null}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955.</em> [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 40", "url": null}, {"citation": "Cole, Herbert M., and Doran H. Ross. <em>The Arts of Ghana</em>. Los Angeles: Museum of Cultural History, University of California, 1977.", "page_number": "Mentioned: p. 153; reproduced: p. 155, fig. 324", "url": null}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter. <em>African Art in American Collections, Survey 1989.</em> Washington: Smithsonian Institution Press, 1989.", "page_number": "Reproduced and mentioned: pp. 202-203, fig. 515", "url": null}, {"citation": "Walker, Roslyn A., Martha J. Ehrlich, Christraud M. Geary, M. D. McLeod, and Doran H. Ross. <em>The Power of Gold: Asante Royal Regalia from Ghana. </em>Yale University Press, New Haven and London. Dallas : Dallas Museum of Art, 2018.", "page_number": "Reproduced: p. 101, cat. 58", "url": null}], "url": "https://clevelandart.org/art/1935.310", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.310/1935.310_web.jpg", "width": "808", "height": "900", "filesize": "186512", "filename": "1935.310_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.310/1935.310_print.jpg", "width": "3051", "height": "3400", "filesize": "2282990", "filename": "1935.310_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.310/1935.310_full.tif", "width": "9556", "height": "10650", "filesize": "305343528", "filename": "1935.310_full.tif"}}, "alternate_images": [{"date_created": "2009-06-10T16:13:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.310/1935.310_alt0_web.jpg", "width": "939", "height": "893", "filesize": "519695"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.310/1935.310_alt0_print.jpg", "width": "3400", "height": "3234", "filesize": "5962830"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.310/1935.310_alt0_full.tif", "width": "4082", "height": "3883", "filesize": "47572344"}}, {"date_created": "2025-10-02T22:29:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.310/1935.310_alt1_web.jpg", "width": "804", "height": "900", "filesize": "183651"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.310/1935.310_alt1_print.jpg", "width": "3036", "height": "3400", "filesize": "2204322"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.310/1935.310_alt1_full.tif", "width": "9509", "height": "10650", "filesize": "303841696"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115163, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s, before 1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Soul Disk Pendant (krakonmu)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:10.411000"}, {"id": 135173, "accession_number": "1958.20", "share_license_status": "CC0", "tombstone": "The Brook, c. 1895\u20131900. Paul Cezanne (French, 1839\u20131906). Oil on fabric; framed: 74.9 x 97.2 x 8.3 cm (29 1/2 x 38 1/4 x 3 1/4 in.); unframed: 59.2 x 81 cm (23 5/16 x 31 7/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.20", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Brook", "creation_date": "c. 1895\u20131900", "creation_date_earliest": 1895, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["France, late 19th-early 20th Century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 74.9 x 97.2 x 8.3 cm (29 1/2 x 38 1/4 x 3 1/4 in.); Unframed: 59.2 x 81 cm (23 5/16 x 31 7/8 in.)", "dimensions": {"framed": {"height": 0.749, "width": 0.972, "depth": 0.083}, "unframed": {"height": 0.592, "width": 0.81}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 703013, "title": "Highlights of the 19th Century", "description": "<i>Highlights of the 19th Century</i>. Akron Art Museum, Akron, OH (organizer) (March 3-31, 1959).", "opening_date": "1959-03-03T05:00:00"}, {"id": 338838, "title": "Masterpiece of the Month", "description": "<i>Masterpiece of the Month</i>. Akron Art Museum (organizer) (April 2-26, 1959).", "opening_date": "1959-04-02T05:00:00"}, {"id": 444758, "title": "\u30bb\u30b6\u30f3\u30cc\u5c55 (Paul Cezanne Exhibition)", "description": "<i>\u30bb\u30b6\u30f3\u30cc\u5c55 (Paul Cezanne Exhibition)</i>. National Museum of Western Art, Tokyo, Tokyo, Japan (organizer) (March 29-May 25, 1974); Kyoto Municipal Museum of Art, Kyoto, Japan (June 1-July 17, 1974); Fukuoka Art Museum, Fukuoka, Japan (July 24-August 18, 1974).", "opening_date": "1974-03-29T04:00:00"}, {"id": 338835, "title": "Cezanne Retrospective", "description": "<i>Cezanne Retrospective</i>. K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (organizer) (January 16-April 27, 1993).", "opening_date": "1993-01-16T05:00:00"}, {"id": 223815, "title": "Cezanne au fil de l'eau", "description": "<i>Cezanne au fil de l'eau</i>. Mus\u00e9e Granet, 13100 Aix-en-Provence, France (organizer) (June 15-September 15, 2000).", "opening_date": "2000-06-15T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "Galerie Heinemann. Possibly Munich, Germany (1928),", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Modern Paintings from Boston Collections</em>. Institute of Modern Art, Boston, MA (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Art in New England-Paintings, Drawings, Prints from Private Collections in New England</em>. Museum of Fine Arts, Boston. MA (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Centennial Exhibition 1839-1939</em>. Marie Harriman Gallery, New York, NY (1939).", "opening_date": "1939-01-01T00:00:00"}, {"description": "<em>Summer Loan - group of fourteen Hanna paintings on loan</em>. Metropolitan Museum of Art, New York, NY. (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}, {"description": "<em>C\u00e9zanne-Rarely Shown Works</em>. Fine Arts Associates, New York, NY (1952).", "opening_date": "1952-01-01T00:00:00"}]}, "provenance": [{"description": "Ambroise Vollard [1866-1939], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Walther Halvorsen [1887-1972]. Oslo, Norway", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Galerie Brummer, Paris, France/New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Galerie Heinemann, Munich, Germany, by 1928, sold to a Private Collection)", "citations": [], "footnotes": [], "date": "by 1928", "sortorder": 4}, {"description": "Private Collection, Vienna, Austria", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "Robert Treat Paine, Jr., Boston, MA", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "Thomas Metcalf, Boston, MA", "citations": [], "footnotes": [], "date": "by 1939", "sortorder": 7}, {"description": "(Knoedler Galleries, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 8}, {"description": "(Sam Salz, New York, NY, March 12, 1945, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "1945", "sortorder": 9}, {"description": "Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1945-1958", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Cezanne rarely did preparatory sketches for his paintings. The shapes on the canvas are provided by tonal contrasts and color sensation.", "description": "Although Cezanne exhibited twice with the Impressionists, he rejected his friends\u2019 goals of capturing the fleeting effects of light and atmosphere in their art. Instead, he sought to create balance among the forms and colors in his compositions. This painting depicts the valley of the Arc River that runs southeast of Cezanne\u2019s home in Aix-en-Provence. Throughout the composition, he juxtaposed strokes of different hues, describing the leaves, branches, and the stream with color rather than drawing the outlines of forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60517676"], "internet_archive": ["https://archive.org/details/clevelandart-1958.20-the-brook"]}, "citations": [{"citation": "Venturi, Lionello. <em>Ce\u0301zanne, Son Art, Son Oeuvre; 1,600 Illustrations</em>. Paris: P. Rosenberg, 1936.", "page_number": "Mentioned: vol. 1, p. 233, no. 783; reproduced: vol. 2, pl. 258, no. 783", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College 1955.", "page_number": "Reproduced: vol. 2, p. 71", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Museum, 1958.", "page_number": "Mentioned and reproduced: no. 4", "url": null}, {"citation": "\"Great Show of French Masters: Cleveland Celebrates Legacy of Hanna Collection.\" <em>Life</em> 45, no. 8 (August 25, 1958): 41-46.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: From Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors</em> 78 (December 1963): 481\u201388.", "page_number": "Reproduced: p. 485", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 177", "url": "https://archive.org/details/CMAHandbook1966/page/n201"}, {"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": "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 p. 1", "url": "https://archive.org/details/20thCenturyArtCMA/page/n1"}, {"citation": "Orienti, Sandra. <em>The Complete Paintings of Ce\u0301zanne.</em> New York: H.N. Abrams, 1972.", "page_number": "Reproduced: p. 120, no. 746", "url": null}, {"citation": "Reff, Theodore, William Rubin, et. al. <em>Ce\u0301zanne: The Late Work: Essays. </em>New York: Museum of Modern Art, 1977.", "page_number": "Mentioned: p. 26; reproduced: p. 273, pl. 70", "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": "Hata, Ko\u0304hei, Kazuo Anazawa, and Kunio Motoe. <em>Sezannu.</em> Tokyo: Sh\u014dgakkan, Sh\u014dwa 54, 1979.", "page_number": "Reproduced: fig. 50", "url": null}, {"citation": "Bourges, M. R. <em>Itine\u0301raires de Ce\u0301zanne</em>. [Aix-en-Provence]: Ville d'Aix-en-Provence, 1982.", "page_number": "Reproduced: La Vallee de l'Arc, fig. 1", "url": null}, {"citation": "Landau, Ellen G. \"Space and Pictorial Life: Hans Hofmann's <em>Smaragd Red and Germinating Yellow</em>.\" The Bulletin of the Cleveland Museum of Art. 72, no. 5 (September 1985): 310-323.", "page_number": "Mentioned and reproduced: p. 316, fig. 11", "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": "Adriani, Go\u0308tz, Paul Ce\u0301zanne, and Walter Feilchenfeldt. <em>Cezanne: Gema\u0308lde</em>. Ko\u0308ln: DuMont, 1993.", "page_number": "Referenced: cat. no. 75, Reproduced", "url": null}, {"citation": "Patin, Sylvie. <em>Ce\u0301zann</em>e. Paris: Re\u0301union des Muse\u0301es Nationaux, 1995.", "page_number": "Reproduced: p. 76", "url": null}, {"citation": "Orienti, Sandra. <em>Tout l'Oeuvre Peint de Ce\u0301zann</em>e. Paris: Flammarion, 1995.", "page_number": "Reproduced: p. 120, no. 746", "url": null}, {"citation": "Rewald, John, Walter Feilchenfeldt, and Jayne Warman. <em>The Paintings of Paul Ce\u0301zanne: A Catalogue Raisonne\u0301.</em> New York: Harry N. Abrams, 1996.", "page_number": "Mentioned: vol. 1, p. 465, no. 766", "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, 1999.", "page_number": "Mentioned and reproduced: v.1, p.125-126, no. 47", "url": null}, {"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: p. 56; reproduced: p. 58, fig. 8", "url": null}, {"citation": "Mothe, Alain. Ce Que Voyait Ce\u0301zanne: Les Paysages Impressionnistes a\u0300 la Lumie\u0300re des Cartes Postales. Paris: RMN Editions, Grandpalais, 2011.", "page_number": "Reproduced: p. 121", "url": null}], "url": "https://clevelandart.org/art/1958.20", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.20/1958.20_web.jpg", "width": "900", "height": "651", "filesize": "318429", "filename": "1958.20_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.20/1958.20_print.jpg", "width": "3400", "height": "2460", "filesize": "4116585", "filename": "1958.20_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.20/1958.20_full.tif", "width": "15414", "height": "11154", "filesize": "515816820", "filename": "1958.20_full.tif"}}, "alternate_images": [{"date_created": "2007-10-19T16:28:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.20/1958.20_alt0_web.jpg", "width": "1239", "height": "893", "filesize": "914203"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.20/1958.20_alt0_print.jpg", "width": "3400", "height": "2451", "filesize": "6579161"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.20/1958.20_alt0_full.tif", "width": "5670", "height": "4088", "filesize": "69572828"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135173, "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": "1958-11-29T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1895\u20131900", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:07.896000"}, {"id": 163543, "accession_number": "2004.85", "share_license_status": "CC0", "tombstone": "Staff of Office, early to mid-1800s. Central Africa, Democratic Republic of the Congo, Luba. Wood and iron; overall: 170 x 13.3 cm (66 15/16 x 5 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2004.85", "current_location": null, "title": "Staff of Office", "creation_date": "early to mid-1800s", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": [], "culture": ["Central Africa, Democratic Republic of the Congo, Luba"], "technique": "Wood and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 170 x 13.3 cm (66 15/16 x 5 1/4 in.)", "dimensions": {"overall": {"height": 1.7, "width": 0.133}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 229166, "title": "Art and Power in the Central African Savanna", "description": "<i>Art and Power in the Central African Savanna</i>. Menil Collection, Houston, TX (September 26, 2008-January 4, 2009); The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 31, 2009); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (June 20-October 11, 2009).", "opening_date": "2008-09-18T00:00:00"}, {"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}, {"id": 535628, "title": "Narrative Wisdom and African Arts", "description": "<i>Narrative Wisdom and African Arts</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (October 19, 2024-January 5, 2025) https://www.slam.org/exhibitions/narrative-wisdom-and-african-arts/.", "opening_date": "2024-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Chief Msidi (c. 1830\u20131891), Yeke (Garanzange) Kingdom (present-day Democratic Republic of the Congo), 1888, given to British missionary Frederick Stanley Arnot.", "citations": [], "footnotes": ["<div><!--block-->\"Msidi's farewell was quite touching in its way. He was anxious that I should wait for his son to go with me. I did not care to encourage this, so declined to wait. At last, after finding that I sought nothing from him, he gave me from his side his rod of authority, or sceptre, assuring me that it would be, to all who knew him, an assurance of the friendship that exists between us.\" March 13, 1888 letter from Frederick Stanley Arnot reproduced in Arnot, Frederick. S. 1893. <em>Bihe\u0301 And Garenganze:Or Four Years' Further Work and Travel in Central Africa</em>. London: J.E. Hawkin, pp. 244\u201345.</div>", "<ul><li><!--block-->Msidi is often referred to as Msiri, or by the fuller name Mwenda Msiri Ngelengwa Shitambi</li></ul><div><!--block--><br></div>", ""], "date": "?\u20131888", "sortorder": 1}, {"description": "Frederick Stanley Arnot [1858-1914], probably Glasgow, Scotland, 1914, by descent to his son Dr. Arthur B. Arnot.", "citations": [], "footnotes": [], "date": "1888\u20131914", "sortorder": 2}, {"description": "Dr. Arthur B. Arnot, New York, NY, 1987, consigned for auction at Sotheby\u2019s.", "citations": [], "footnotes": null, "date": "1914\u20131987", "sortorder": 3}, {"description": "(Sotheby\u2019s, Important Tribal Art, New York, NY, Nov. 10, 1987, Lot #79, sold to Philippe and H\u00e9l\u00e8ne Leloup for George Feher)", "citations": [], "footnotes": null, "date": "1987", "sortorder": 4}, {"description": "George Feher, New York, NY, 1990s, acquired by Morris Pinto", "citations": [], "footnotes": [], "date": "1987\u20131990s", "sortorder": 5}, {"description": "Morris Pinto, New York, NY, 1996, acquired by Philippe and H\u00e9l\u00e8ne Leloup", "citations": [], "footnotes": null, "date": "?\u20131996", "sortorder": 6}, {"description": "Philippe and H\u00e9l\u00e8ne Leloup, Paris, France, 2004, donated to Marie Victoire Koch", "citations": [], "footnotes": null, "date": "1996\u20132004", "sortorder": 7}, {"description": "Marie Victoire Koch, Saint Mand\u00e9, France, 2004, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2004", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2004\u2013", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Yeke kingdom ruler Chief Msidi gave this as a gift of appreciation to the British missionary Frederick Stanley Arnot, whom the chief had invited to his kingdom.", "description": "Sanctified by a ritual specialist and enhanced with medicinal substances, the staff possessed supernatural qualities and was endowed with healing power. Luba staffs are among the most important regalia of Luba kings. The metal point alludes to the kingdom's stability and durability. Each staff has its own distinctive iconography to reflect regional styles. As Chief Msidi (former owner of this staff) ruled over the Yeke kingdom (and not the Luba kingdom), it begs the question of how he acquired this symbol of another realm's power.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79989789"], "internet_archive": ["https://archive.org/details/clevelandart-2004.85-staff-of-office"]}, "citations": [{"citation": "Arnot, Fred S. <em>Bihe and Garenganze: A record of four years\u2019 work and journeying in Africa. </em>London: J.E. Hawkins &amp; Co, LTD., 1893, front cover.", "page_number": "Front cover", "url": null}, {"citation": "Sotheby\u2019s. <em>Important Tribal Art. </em>New York: Sotheby\u2019s, 1987: Lot. 79.", "page_number": "lot. 79", "url": null}, {"citation": "Nooter, Robert and Nancy. <em>The Art of Collecting African Art</em>. New York City, NY: New York Center for African Art, 1988, 20-21.", "page_number": "p. 20-21", "url": null}, {"citation": "Bacquart, Jean-Baptiste. <em>The Tribal Arts of Africa.</em> New York: Thames and Hudson, 1998, 159.", "page_number": "p. 159", "url": null}, {"citation": "Cleveland Museum of Art. <em>Annual Report 2004</em>. Cleveland, OH: Cleveland Museum of Art, 67.", "page_number": "p. 67", "url": "https://www.clevelandart.org/sites/default/files/documents/annual-report/2004_annual_report.pdf"}, {"citation": "Cleveland Museum of Art. \u201cMajor Acquisitions: 2000-2005.\u201d In <em>The Cleveland Museum of Art Members Magazine: July/August 2005.</em> (Summer 2005): 12.", "page_number": "p. 12", "url": null}, {"citation": "Petridis, Constantine. <em>Art and Power in the Central African Savanna: Luba, Songye, Chokwe, Luluwa. </em>Brussels: Mercatorfonds, 2008, 58-9, fig. 39.", "page_number": "p. 58, 59: fig. 39", "url": null}, {"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". In <em>African Arts</em>, 44, no. 1 (Spring 2011): 54, fig. 2.", "page_number": "p. 54: fig. 2", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Milan: 5 Continents, 2013, 107.", "page_number": "Mentioned: p. 107", "url": null}], "url": "https://clevelandart.org/art/2004.85", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.85/2004.85_web.jpg", "width": "277", "height": "893", "filesize": "82866", "filename": "2004.85_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.85/2004.85_print.jpg", "width": "1053", "height": "3400", "filesize": "1157143", "filename": "2004.85_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.85/2004.85_full.tif", "width": "1548", "height": "5000", "filesize": "23239736", "filename": "2004.85_full.tif"}}, "alternate_images": [{"date_created": 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Severance Fund", "image_credit": null, "sketchfab_id": "54584c2569dd49798a49f1987fed4317", "sketchfab_url": "https://sketchfab.com/models/54584c2569dd49798a49f1987fed4317", "gallery_donor_text": null, "athena_id": 163543, "creators": [], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early to mid-1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Staff of Office (Kibango)"], "is_highlight": true, "updated_at": "2026-04-10 07:00:54.023000"}, {"id": 134236, "accession_number": "1956.718", "share_license_status": "CC0", "tombstone": "Claire Campbell, 1876. \u00c9douard Manet (French, 1832\u20131883). Pastel with oil on fine-weave canvas; unframed: 55.2 x 45.7 cm (21 3/4 x 18 in.). The Cleveland Museum of Art, The Fanny Tewksbury King Collection, 1956.718", "current_location": "004 Special Exhibition Gallery", "title": "Claire Campbell", "creation_date": "1876", "creation_date_earliest": 1876, "creation_date_latest": 1876, "artists_tags": ["male"], "culture": ["America"], "technique": "Pastel with oil on fine-weave canvas", "support_materials": [{"description": "fabric, nailed to wooden stretcher", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Unframed: 55.2 x 45.7 cm (21 3/4 x 18 in.)", "dimensions": {"unframed": {"height": 0.552, "width": 0.457}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in light gray pastel: Manet [partially underlined]; lower left, in light blue pastel: 1876", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}, {"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": [{"description": "<em>Exposition des oeuvres de \u00c9douard Manet</em>. \u00c9cole des Beaux-Arts, Paris (January 1884).", "opening_date": null}, {"description": "<em>Manet: Trente-cinq tableaux de la collection Pellerin. </em>Moderne Galerie, Munich (1910); Paul Cassirer Gallery, Berlin (March 24 - April 24, 1910); Bernheim Jeune &amp; Cie., Paris (June 1910).", "opening_date": "1910-03-24T00:00:00"}, {"description": "<em>Manet and the Post-Impressionists</em>. Grafton Gallery, London (November 8, 1910 - January 15, 1911).", "opening_date": "1910-11-08T00:00:00"}, {"description": "<em>Exhibition of Paintings by Contemporary French Artists at the Galleries of M. Knoedler &amp; Co</em>. Knoedler &amp; Co., New York (January 5 - 29, 1916).", "opening_date": "1916-01-05T00:00:00"}, {"description": "<em>Exhibition of Paintings by Edouard Manet, Berthe Morisot, and Pierre Auguste Renoir</em>. Cleveland Museum of Art (December 9, 1924 - January 15, 1925).", "opening_date": "1924-12-09T00:00:00"}]}, "provenance": [{"description": "Claire Campbell", "citations": [], "footnotes": ["<div><!--block-->Exposition des oeuvres de \u00c9douard Manet (Paris: \u00c9cole nationale des beaux-arts, 1884), no. 131.</div>"], "date": "1882 - at least 1884", "sortorder": 1}, {"description": "Auguste Pellerin [1853\u20131929], Paris", "citations": [], "footnotes": [], "date": "after 1884 - by 1910", "sortorder": 2}, {"description": "(purchased jointly from him by Bernheim-Jeune, Paris; Paul Cassirer, Berlin; and Durand-Ruel, Paris)", "citations": [], "footnotes": ["<div><!--block-->Manet: Trente-cinq tableaux de la collection Pellerin (Paris: Bernheim Jeune et Cie, 1910), no. 23.</div>"], "date": "1911", "sortorder": 3}, {"description": "(transferred to Durand-Ruel, New York)", "citations": [], "footnotes": null, "date": "1911 - 1916", "sortorder": 4}, {"description": "(M. Knoedler & Co., New York)", "citations": [], "footnotes": [], "date": "1916", "sortorder": 5}, {"description": "(M. Knoedler & Co., sold to Mr. and Mrs. Ralph King, Cleveland, OH)", "citations": [], "footnotes": [], "date": "1916", "sortorder": 6}, {"description": "Ralph Thrall [1855\u20131926] and Fanny Tewksbury [1867\u20131949] King, Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-1956", "sortorder": 7}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1956-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edouard Manet almost always depicted the subjects of his pastel portraits against plain colored backgrounds, as seen in this work.", "description": "During the late 1870s, Edouard Manet began to experience health problems that made it difficult for him to work in oil painting. Instead, he began to draw using pastel, a powdery medium that allowed him to render line and color with each stroke. This work is one of numerous portraits that Manet created around this time with the medium. It depicts Claire Campbell, a fashionable young British woman whose father published <em>The Daily Telegraph</em>, a British newspaper. Manet used the velvety texture of pastel to render the subject's skin and hair, limiting his palette to mostly neutral tones such as white, gray, and black.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80026742"], "internet_archive": ["https://archive.org/details/clevelandart-1956.718-claire-campbell"]}, "citations": [{"citation": "<em>Exposition des oeuvres de E\u0301douard Mane</em>t. Exh. Cat. Paris: \u00c9cole nationale des Beaux-Arts, 1884.", "page_number": "Mentioned: p. 62, no. 131", "url": null}, {"citation": "<em>Manet: trente-cinq tableaux de la collection Pellerin</em>. Exh. Cat. Paris: Bernheim Jeune et Cie, 1910.", "page_number": "Mentioned: no. 23", "url": null}, {"citation": "<em>Manet and the Post-Impressionists</em>. Exh. Cat. London: Grafton Galleries, 1910.", "page_number": "Mentioned: p. 30, no. 151", "url": null}, {"citation": "Duret, Th\u00e9odore. <em>Manet and the French Impressionists</em>. trans. J.E. Crawford Flitch. Philadelphia: J.B. Lippincott, 1910.", "page_number": "Mentioned: p. 264, no. 9", "url": null}, {"citation": "<em>Edouard Manet, Sammlung Pellerin, Paris</em>. Exh. Cat. Berlin: Paul Cassirer: 1910.", "page_number": "Mentioned: no. 32", "url": null}, {"citation": "Waldmann, E. \"\u00c9douard Manet. Aus der Sammlung Pellerin.\" <em>Kunst und Kunstler</em> 8 (May 1910).", "page_number": "Reproduced: p. 401", "url": null}, {"citation": "<em>Exhibition of Paintings by Contemporary French Artists at the Galleries of M. Knoedler &amp; Co.</em> Exh. Cat. New York: Knoedler, 1916.", "page_number": "Mentioned: no. 48", "url": "https://libmma.contentdm.oclc.org/digital/api/collection/p15324coll8/id/7135/download"}, {"citation": "\"Recent Changes in the Painting Galleries.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 2/3 (1918): 22-27.", "page_number": "Mentioned: p. 22", "url": "www.jstor.org/stable/25136174"}, {"citation": "Milliken, William M. \"French Impressionists and Post-Impressionists at the Cleveland Museum of Art.\" <em>The Arts</em> 2 (November 1921): 68-70.", "page_number": "Mentioned: p. 68", "url": null}, {"citation": "Forthuny, Pascal. \"A propos de l'exposition des impressioninistes et post-impressionnistes fran\u00e7ais au mus\u00e9e de Cleveland,\" <em>Bulletin de la vie artistique </em>3, no. 4 (1922): 94-95.", "page_number": "Mentioned: p. 94", "url": null}, {"citation": "Duret, Th\u00e9odore. <em>Histoire de Edouard Manet et de son oeuvre</em>. Paris: Bernheim-Jeune, 1926.", "page_number": "Mentioned: p. 286, no. 9", "url": null}, {"citation": "Moreau-N\u00e9laton, \u00c9tienne. <em>Manet racont\u00e9 par lui-m\u00eame</em>. Paris: Henri Laurens, 1926", "page_number": "Mentioned: vol. II, p. 98, 136, 143, 146; Reproduced: vol. II, p. 130", "url": null}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 161", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Tabarant, A. <em>Manet, histoire catalographique</em>. Paris: \u00c9ditions Montaigne, 1931.", "page_number": "Mentioned: p. 448, no. 4", "url": null}, {"citation": "Blanche, Jacques Emile. \"Les Pastels de Manet.\" <em>Formes</em> 24 (April 1932): 254-55.", "page_number": "Reproduced: between pp. 254 and 255", "url": null}, {"citation": "Jamot, Paul and Georges Wildenstein. <em>Manet</em>. Paris: Beaux-Arts, 1932.", "page_number": "Mentioned: vol. I, p. 182, no. 527", "url": null}, {"citation": "Rey, Robert. <em>Manet</em>. trans. Eveline Byam Shaw. Paris: Hyperion, 1938.", "page_number": "Reproduced: n.p.", "url": null}, {"citation": "Rewald, John. <em>Edouard Manet Pastels</em>. Oxford: Cassirer, 1947.", "page_number": "Mentioned: p. 48", "url": null}, {"citation": "Tabarant, A. <em>Manet et ses oeuvres</em>. Paris: Gallimard, 1947.", "page_number": "Mentioned: p. 277, 395, 492, 545", "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. 498", "url": "https://archive.org/details/CMAHandbook1958/page/n91"}, {"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. 172", "url": "https://archive.org/details/CMAHandbook1966/page/n196"}, {"citation": "Venturi, Marcello. <em>L'opera pittorica di Edouard Manet</em>. Milan: Rizzoli, 1967.", "page_number": "Mentioned and reproduced: no. 410", "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. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "Rouart, Denis and Daniel Wildenstein. <em>Edouard Manet, catalogue raisonn\u00e9</em>. Lausanne: Biblioth\u00e8que des Arts, 1975.", "page_number": "Mentioned and reproduced: p. 26, no. 70, frontispiece", "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. 211", "url": "https://archive.org/details/CMAHandbook1978/page/n231"}, {"citation": "Robins, Anna Gruetzner. \"'Manet and the Post-Impressionists': A Checklist of Exhibits.\" <em>Burlington Magazine </em>152 (December 2010): 782-93.", "page_number": "Mentioned: p. 784", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 136-137, no. 24", "url": ""}, {"citation": "Brown, Heather Lemonedes. \"Manet &amp; Morisot Pastels.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 209-221. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 209-212, 219-221; Reproduced: p. 136, no. 54", "url": ""}], "catalogue_raisonne": "Rouart and Wildenstein 70", "url": "https://clevelandart.org/art/1956.718", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1956.718/1956.718_web.jpg", "width": "741", "height": "900", "filesize": "179451", "filename": "1956.718_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.718/1956.718_print.jpg", "width": "2799", "height": "3400", "filesize": "3937897", "filename": "1956.718_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.718/1956.718_full.tif", "width": "11421", "height": "13872", "filesize": "475325580", "filename": "1956.718_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt0_web.jpg", "width": "734", "height": "893", "filesize": "457579"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt0_print.jpg", "width": "1536", "height": "1870", "filesize": "1160855"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt0_full.tif", "width": "1536", "height": "1870", "filesize": "8620132"}}, {"date_created": "2016-10-14T15:22:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt1_web.jpg", "width": "739", "height": "900", "filesize": "169515"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt1_print.jpg", "width": "2792", "height": "3400", "filesize": "2888664"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt1_full.tif", "width": "5581", "height": "6796", "filesize": "113814872"}}, {"date_created": "2017-05-09T15:01:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt2_web.jpg", "width": "707", "height": "900", "filesize": "232750"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt2_print.jpg", "width": "2671", "height": "3400", "filesize": "3263842"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.718/1956.718_alt2_full.tif", "width": "5291", "height": "6736", "filesize": "106950520"}}], "creditline": "The Fanny Tewksbury King Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 134236, "creators": [{"id": 1796, "description": "\u00c9douard Manet (French, 1832\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-12-11T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "1876", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mademoiselle Claire Campbell", "Mlle. Claire Campbell"], "is_highlight": true, "updated_at": "2026-04-09 17:32:04.143000"}, {"id": 95287, "accession_number": "1916.1056", "share_license_status": "CC0", "tombstone": "Summer, 1891. Pierre Puvis de Chavannes (French, 1824\u20131898). Oil on fabric; framed: 189.5 x 270.5 x 14.6 cm (74 5/8 x 106 1/2 x 5 3/4 in.); unframed: 149.6 x 232.4 cm (58 7/8 x 91 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1056", "current_location": "222 Impressionism & Post-Impressionism", "title": "Summer", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "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: 189.5 x 270.5 x 14.6 cm (74 5/8 x 106 1/2 x 5 3/4 in.); Unframed: 149.6 x 232.4 cm (58 7/8 x 91 1/2 in.)", "dimensions": {"framed": {"height": 1.895, "width": 2.705, "depth": 0.146}, "unframed": {"height": 1.496, "width": 2.324}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: P. Puvis de Chavannes / 91\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 338198, "title": "Puvis de Chavannes: Public and Private Works", "description": "<i>Puvis de Chavannes: Public and Private Works</i>. Van Gogh Museum (organizer) (February 25-May 29, 1994).", "opening_date": "1994-02-25T05:00:00"}, {"id": 222616, "title": "Verso l'Arte Moderna, da Puvis de Chavannes a Matisse e Picasso", "description": "<i>Verso l'Arte Moderna, da Puvis de Chavannes a Matisse e Picasso</i>. Palazzo Grassi spa, 30124 Venice, Italy (organizer) (February 10-June 16, 2002).", "opening_date": "2002-02-10T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 205846, "title": "Gauguin, C\u00e9zanne, Matisse: Visions of Arcadia", "description": "<i>Gauguin, C\u00e9zanne, Matisse: Visions of Arcadia</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (June 20-September 3, 2012).", "opening_date": "2012-06-20T00:00:00"}], "legacy": [{"description": "<em>World's Columbian Exposition</em>. Art Palace, Chicago, IL (1893).", "opening_date": "1893-01-01T05:00:00Z"}]}, "provenance": [{"description": "Bought from the artist by Durand-Ruel, Paris (stock number 1882), 29 October 1891.", "citations": [], "footnotes": null, "date": "1891-1892", "sortorder": 1}, {"description": "Sold to Durand-Ruel, New York (stock number 864), 5 January 1892.", "citations": [], "footnotes": null, "date": "1892", "sortorder": 2}, {"description": "(Durand-Ruel, New York, NY, January 5, 1892, no. 864.)", "citations": [], "footnotes": [], "date": "1892", "sortorder": 4}, {"description": "(Durand-Ruel, New York, NY, November 16, 1892 sold to Jeptha H. Wade)", "citations": [], "footnotes": null, "date": "1892", "sortorder": 5}, {"description": "Jeptha H. Wade [1811-1980] Cleveland, OH, gifted to the Cleveland Museum of Art,1916", "citations": [], "footnotes": [], "date": "1892-1916", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Puvis de Chavannes was considered one of the foremost artists in France in the second half of the 1800, and was particularly admired for his murals. This painting is a version of a mural he painted in 1889, which was particularly difficult because the wall had a door in the middle.", "description": "This painting is a smaller version of a mural on the same subject painted for the H\u00f4tel de Ville in Paris, which has a companion mural titled <em>Winter</em>. A writer at the time described <em>Summer</em> as \"filled with joy, happiness, rest, and the apotheosis of life.\" Georges Seurat, Paul Gauguin, and Pablo Picasso were among the many modernists influenced by Puvis de Chavannes\u2019s dreamlike themes and anti-naturalistic style of simplified, flattened forms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502429"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1056-summer"]}, "citations": [{"citation": "Godet, Pierre. \"Puvis de Chavannes et la Peinture d'Aujourd'hui.\" <em>Art Decoratif </em>(January, 1912): 43.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "Warner, Langdon. \"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art IV,</em> no. 1 (January, 1917): 3-4.", "page_number": "Mentioned: p.3; Reproduced: p. 16", "url": null}, {"citation": "\"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 1 (1917): 3-12.", "page_number": "Mentioned: p. 3; reproduced: p. 10", "url": "http://www.jstor.org/stable/25136053"}, {"citation": "Underhill, Gertrude. \"Some Recent Acquisitions of the Cleveland Museum of Art.\" <em>Art and Archaeology </em>VI, no. 1 (July, 1917): 41-49.", "page_number": "Reproduced: p. 44", "url": null}, {"citation": "Whiting, Frederic Allen. \"The Cleveland Museum of Art.\" <em>Art and Archaeology</em> XVI, no. 4/5 (November, 1923): 186-194.", "page_number": "Reproduced: p. 194", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 30", "url": "https://archive.org/details/CMAHandbook_80839/page/n32"}, {"citation": "Milliken, William M., \"In Memorium Jeptha Homer Wade.\" <em>The Bulletin of the Cleveland Museum of Art XIII</em>, no. 4. (April 1926): 76.", "page_number": "Mentioned: p. 64; Reproduced: p. 76", "url": null}, {"citation": "Werth, Le\u0301on. <em>Puvis de Chavannes</em>. Paris, France: Les E\u0301ditions G. Cre\u0300s &amp; cie, 1926.", "page_number": "Plate 19", "url": null}, {"citation": "Meryem, Jean. \"La Musee de Cleveland.\" <em>L'Art et les Artistes </em>13, no. 69 (July, 1926): 341-346.", "page_number": "Reproduced: p. 344", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 37", "url": "https://archive.org/details/CMAHandbook1928/page/n41"}, {"citation": "Wilenski, R. H. <em>French Painting</em>. Boston, MA: Hale, Cushman &amp; Flint, inc., 1931.", "page_number": "Reproduced: p. 193, pl. 79", "url": null}, {"citation": "Milliken, William. \"The Twentieth Anniversary Exhibition of the Cleveland Museum of Art.\" <em>ARTnews </em>(June 13, 1936): 7-14.", "page_number": "Mentioned: p. 13", "url": null}, {"citation": "Milliken, W. M., and P. Boswell. \"Superb Art Display Marks Cleveland Museum's 20th Anniversary; With List.\" <em>Art Digest </em>10 (July 1936): 5-22.", "page_number": "Reproduced: p. 11", "url": null}, {"citation": "\"Treasure Trove of Great Art Masterpieces.\" <em>Life </em>15 (Sept. 20, 1943): 64-68.", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 34", "url": "https://archive.org/details/CMAPaintings1945/page/n42"}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland. </em>Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 253", "url": null}, {"citation": "Gilson, Etienne. <em>Painting and Reality</em>. New York, NY Pantheon Books, 1957.", "page_number": "Reproduced: p. 148, Figure 55", "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. 499", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"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. 171", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "Arnason, H. H. <em>History of Modern Art: Painting, Sculpture, Architecture.</em> New York, NY: H.N. Abrams, 1968.", "page_number": "Reproduced: p. 60; Figure 61", "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. 171", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Daval, Jean Luc. <em>Journal de l'art moderne, 1884-1914</em>. [Gene\u0300ve]: Skira, 1973.", "page_number": "Reproduced: p. 92", "url": null}, {"citation": "<em>Puvis de Chavannes, 1824-1898. </em>Paris: E\u0301ditions des Muse\u0301es Nationaux, 1976.", "page_number": null, "url": null}, {"citation": "<em>Phaidon Encyclopedia of Art and Artists</em>. Oxford, United Kingdom: Phaidon, 1978.", "page_number": "Reproduced: p. 536", "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. 212", "url": "https://archive.org/details/CMAHandbook1978/page/n232"}, {"citation": "Boucher, Marie-Christine. <em>Catalogue des dessins et peintures de Puvis de</em> <em>Chavannes</em>. Paris, France: Palais des beaux-arts de la ville de Paris, Muse\u0301e du Petit Palais, 1979.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "Van Liere, Eldon N. \"Solutions and Dissolutions: The Bather in Nineteenth-century French Painting.\" <em>Arts Magazine </em>55 (May 1980): 104.", "page_number": "Reproduced: fig. 25", "url": null}, {"citation": "Masini, Lara Vinca. <em>Art Nouveau</em>. London, United Kingdom: Thames and Hudson, 1984.", "page_number": "Figure: 195", "url": null}, {"citation": "Kiefer, Geraldine W. <em>Alfred Stieglitz: Scientist, Photographer, and Avatar of</em> <em>Modernism, 1880-1913</em>. New York, NY: Garland, 1991.", "page_number": "Reproduced: p. 225, Figure 55", "url": null}, {"citation": "Robinson, William H. \"Puvis de Chavannes 's Summer and the Symbolist Avant-garde.\" <em>The Bulletin of the Cleveland Museum of Art</em> <em>LXXVIII.</em> (1991): 2-27.", "page_number": "Reproduced: p. 2-27", "url": "https://www.jstor.org/stable/25161310"}, {"citation": "Breuille, Jean-Philippe. <em>L'Art du XIXe sie\u0300cle: dictionnaire de peinture et de sculpture</em>. Paris, France: Larousse, 1993.", "page_number": "Reproduced: p. 576-577", "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. 188", "url": null}, {"citation": "Price, Aime\u0301e Brown, Genevieve Lacambre, and Jon Whiteley. <em>Pierre Puvis De Chavannes</em>. Amsterdam, Netherlands: Van Gogh Museum, 1994.", "page_number": null, "url": null}, {"citation": "Ross, Novelene, and David Cateforis. <em>Toward an American Identity: Selections from the Wichita Art Museum Collection of American Art.</em> Wichita, KS: Wichita Art Museum, 1997.", "page_number": "Reproduced: p. 62", "url": null}, {"citation": "Shaw, Jennifer L. \"Imagining the Motherland: Puvis de Chavannes, Modernism, and the Fantasy of France.\" <em>The Art Bulletin </em>79 (December 1997): 586-610.", "page_number": "Reproduced: p. 586-610", "url": null}, {"citation": "Arnason, H. H., and Marla Prather. <em>History of Modern Art: Painting, Sculpture, Architecture, Photography</em>. New York, NY: Harry N. Abrams, Inc, 1998.", "page_number": "Reproduced: p. 72, Plate 75", "url": null}, {"citation": "D' Argencourt, Louise, and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part II; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 508", "url": null}, {"citation": "Lemoine, Serge. <em>From Puvis De Chavannes to Matisse and Picasso:</em> <em>Toward Modern Art.</em> Milan, Italy: Bompiani, 2002.", "page_number": "Reproduced: p. 316-317, front cover", "url": null}, {"citation": "Werth, Margaret. <em>The Joy of Life: The Idyllic in French Art, Circa 1900. </em>Berkeley, CA: University of California Press, 2002.", "page_number": "Reproduced: p. 65, Figure 46", "url": null}, {"citation": "Shaw, Jennifer Laurie. <em>Dream States: Puvis De Chavannes, Modernism, and the Fantasy of France</em>. New Haven, CT: Yale University Press, 2002.", "page_number": "Reproduced: p. 167; Figure 27", "url": null}, {"citation": "Rishel, Joseph J., ed. <em>Gauguin, Ce\u0301zanne, Matisse: Visions of Arcadia</em>. Philadelphia, PA: Philadelphia Museum of Art, 2012.", "page_number": "Reproduced: p. 33", "url": null}, {"citation": "Daverio, Philippe.<em> Il secolo lungo della modernita\u0300: il museo immaginato. </em>Milan, Italy: Rizzoli, 2012.", "page_number": "Reproduced: p. 475", "url": null}, {"citation": "Gil, Alberto. Mediterra\u0301neo: Una Arcadia Reinventada: de Signac a Picasso. 2018.", "page_number": "Reproduced: P. 24, fig. 4", "url": null}, {"citation": "Carr, Carolyn Kinder. <em>Sara Tyson Hallowell: Pioneer Curator and Art Advisor in the Gilded Age. </em>Washington, D.C.: Smithsonian Institution Scholarly Press, 2009.", "page_number": "Mentioned: p. 144", "url": ""}, {"citation": "Shields, Scott. <em>Breaking the Rules: Paul Wonner and Theophilus Brown. </em>New York, NY: Scala Arts Publishers, 2023.", "page_number": "Reproduced: p. 129", "url": ""}, {"citation": "Le Bacon, C\u00e9line. \"Valadon et Puvis de Chavannes.\" In <em>Suzanne Valadon: Un Monde a\u0300 Soi,\" </em>edited by Chiara Parisi, 85-94. Metz: Centre Pompidou Metz, 2023.", "page_number": "Reproduced: p. 88, fig. 17", "url": ""}], "url": "https://clevelandart.org/art/1916.1056", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1056/1916.1056_web.jpg", "width": "900", "height": "577", "filesize": "", "filename": "1916.1056_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1056/1916.1056_print.jpg", "width": "3400", "height": "2179", "filesize": "", "filename": "1916.1056_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1056/1916.1056_full.tif", "width": "6292", "height": "4032", "filesize": "", "filename": "1916.1056_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 95287, "creators": [{"id": 1649, "description": "Pierre Puvis de Chavannes (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Puvis de Chavannes was born into a bourgeois family. His father intended his son to enroll at the \u00c9cole Polytechnique in Paris. After a prolonged illness, however, Puvis instead entered the Facult\u00e9 de Droit. He became interested in art during a trip to Italy in 1846, and the following year he began studying with Henri Scheffer (1798-1862). Puvis returned to Italy in 1848 with Louis Bauderon de Vermeron (1809-1870), where he became interested in the art of mural painting. He entered the atelier of Delacroix (q.v.) for only two weeks, and later that of Couture (q.v.) for three months. Yet, Puvis's chief method of study was to work independently after live models. He was accepted in the Salon of 1850, but his submissions from 1852 through 1859 were rejected. In 1854-55 he decorated the dining room at his brother's country house, Le Brouchy, near Cuiseaux. He won a second-class medal at the Salon of 1861 for Concordia (Mus\u00e9e de Picardie, Amiens), which was purchased by the state. Inspired by the frescoes of Pompeii and by Piero della Francesca's Legend of the True Cross in Arezzo, Puvis pursued his interest in mural painting with great success. He received commissions to create works for the Palais des Arts in Lyons, the Pantheon and the H\u00f4tel de Ville in Paris, the Boston Public Library, and many others. The artist strove to integrate his mural paintings with the surrounding architecture and to maintain the integrity of the flat wall surface by using broad areas of subdued color. In 1890, together with Meissonier (q.v.) and Rodin (1840-1917), Puvis founded the Soci\u00e9t\u00e9 Nationale des Beaux-Arts, as a more progressive alternative for the regular Salon. Puvis's art had a significant impact on later artists, particularly the symbolists.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:06.847000"}, {"id": 115157, "accession_number": "1935.304", "share_license_status": "CC0", "tombstone": "Mask (Bwoom), mid- to late 1800s. Africa, Central Africa, Democratic Republic of Congo, Kuba-style carver. Wood and paint; overall: 43.3 x 31.2 x 28.3 cm (17 1/16 x 12 5/16 x 11 1/8 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1935.304", "current_location": "108A African", "title": "Mask (Bwoom)", "creation_date": "mid- to late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Kuba-style carver"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 43.3 x 31.2 x 28.3 cm (17 1/16 x 12 5/16 x 11 1/8 in.)", "dimensions": {"overall": {"height": 0.433, "width": 0.312, "depth": 0.283}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 355637, "title": "The Mask", "description": "<i>The Mask</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1951-January 14, 1952).", "opening_date": "1951-10-27T05:00:00"}, {"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"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": "New York, Museum of Modern Art, 1935: \"African Negro Art,\" cat. no. 463, not reproduced", "opening_date": "1935-01-01T00:00:00"}, {"description": "(also to CMA 9/27 - 10/27, 1935),", "opening_date": "1927-09-01T00:00:00"}, {"description": "Toledo, OH, Toledo Museum of Art, February 1 - 22, 1959: \"The African Image,\"cat. no. 164, repr. p. 30.", "opening_date": "1959-02-01T00:00:00"}, {"description": "Kansas City, MO, William Rockhill Nelson Gallery of Art, 1/18 - 2/25/1962: \"The Imagination of Primitive Man, no. 83.\"", "opening_date": "1962-02-25T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00", "opening_date": "2000-02-01T00:00:00"}, {"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. 44, p. 118, color repr. p. 55.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "(Charles Ratton Gallery, Paris, France, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131935", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2500.35"], "did_you_know": "Imagine this mask topped with eagle feathers; they would have been added only on special occasions when it was performed.", "description": "Among the Bushoong, the central Kuba group, the mask known as <em>bwoom</em>\u2014most typically identified as the head of a hunter-gatherer\u2014forms a triad with a female mask and another male mask. All three are protagonists in the reenactment of the foundation of the Kuba kingdom. Outside the capital, however, bwoom appears in different non-royal contexts, such as the men\u2019s initiation society.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1935.304-mask-bwoom"]}, "citations": [{"citation": "Franklin, David and C. Griffith Mann. Treasures from the Cleveland Museum of Art. Cleveland: The Cleveland Museum of Art; London: Scala Publishers Ltd, 2012. pg. 238-9.", "page_number": "", "url": ""}, {"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art</em>. New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 52, no. 463", "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. 387", "url": "https://archive.org/details/CMAHandbook1958/page/n72"}, {"citation": "Plass, Margaret. <em>The African Image: A New Selection of Tribal Art</em> :<em> the Toledo Museum of Art ... February 1 Through 22, 1959 : Introduction and Catalogue</em>. Toledo, Ohio: The Museum, 1959.", "page_number": "Reproduced: p. 30, no. 164", "url": null}, {"citation": "William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, and Ralph T. Coe. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World.</em> Kansas City, Mo: The Museum, 1962.", "page_number": "Mentioned: p. 11, 46, cat. no. 83", "url": null}, {"citation": "Robbins, Warren M. <em>African Art in American Collections = L'art Africain Dans Les Collections Americaines.</em> New York : F. A. Praeger, 1966.", "page_number": "Reproduced: p. 211, pl. 300", "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. 303", "url": "https://archive.org/details/CMAHandbook1966/page/n327"}, {"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. 303", "url": "https://archive.org/details/CMAHandbook1969/page/n327"}, {"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. 412", "url": "https://archive.org/details/CMAHandbook1978/page/n432"}, {"citation": "Connell, Timothy C., and Jackson J. Spielvogel. <em>World Art Transparencies.</em> Cincinnati: West Educational Pub., 1998.", "page_number": "Mentioned: p. 34; Reproduced no. 42", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935.</em> New York: Metropolitan Museum of Art, 2000.", "page_number": "Reproduced: p. 24, fig. 15; Reproduced: p. 26, fig. 18", "url": null}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 35, p. 100 - 101", "url": ""}, {"citation": "Petridis, Constantine, \"African Art Revisited\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 09, November 2003", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2003-09/page/n3"}, {"citation": "Robbins, Warren M.. <em>African sculpture.</em> Atglen, PA: Schiffer Pub., 2005.", "page_number": "Reproduced: p. 211, pl. 300", "url": null}, {"citation": "Buser, Thomas. <em>Experiencing Art Around Us.</em> Australia: Thomson Wadsworth, 2006.", "page_number": "Mentioned and Reproduced: p. 433, fig. 17-22", "url": null}, {"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. 55, no. 44", "url": ""}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 112; Reproduced: p. 113, fig. 5.7", "url": null}], "url": "https://clevelandart.org/art/1935.304", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.304/1935.304_web.jpg", "width": "704", "height": "893", "filesize": "343848", "filename": "1935.304_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.304/1935.304_print.jpg", "width": "2681", "height": "3400", "filesize": "5038254", "filename": "1935.304_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.304/1935.304_full.tif", "width": "5926", "height": "7515", "filesize": "133622736", "filename": "1935.304_full.tif"}}, "alternate_images": [{"date_created": "2009-06-10T14:52:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt0_web.jpg", "width": "704", "height": "893", "filesize": "354657"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt0_print.jpg", "width": "2681", "height": "3400", "filesize": "5024091"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt0_full.tif", "width": "5793", "height": "7347", "filesize": "127704728"}}, {"date_created": "2009-06-10T15:01:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt1_web.jpg", "width": "721", "height": "893", "filesize": "360089"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt1_print.jpg", "width": "2744", "height": "3400", "filesize": "5284025"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt1_full.tif", "width": "5794", "height": "7179", "filesize": "124806464"}}, {"date_created": "2009-06-10T15:08:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt2_web.jpg", "width": "676", "height": "893", "filesize": "331389"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt2_print.jpg", "width": "2572", "height": "3400", "filesize": "4812377"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt2_full.tif", "width": "4096", "height": "5414", "filesize": "66549084"}}, {"date_created": "2009-06-10T15:04:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt3_web.jpg", "width": "704", "height": "893", "filesize": "339611"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt3_print.jpg", "width": "2679", "height": "3400", "filesize": "4894566"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt3_full.tif", "width": "4096", "height": "5198", "filesize": "63894112"}}, {"date_created": "2009-06-10T15:11:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt4_web.jpg", "width": "720", "height": "893", "filesize": "345339"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt4_print.jpg", "width": "2742", "height": "3400", "filesize": "4981633"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.304/1935.304_alt4_full.tif", "width": "4096", "height": "5078", "filesize": "62419552"}}], "creditline": "James Albert Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115157, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "mid- to late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Headdress (bwoom)", "Helmet Mask (Bwoom)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:46.794000"}, {"id": 92844, "accession_number": "2020.110", "share_license_status": "CC0", "tombstone": "Blessing of a Yacht on the Belon River, 1899. Maurice Denis (French, 1870\u20131943). Oil on canvas; unframed: 75 x 80 cm (29 1/2 x 31 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.110", "current_location": "223 20th Century Avant-Garde", "title": "Blessing of a Yacht on the Belon River", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["Nabis", "male"], "culture": ["France"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 75 x 80 cm (29 1/2 x 31 1/2 in.)", "dimensions": {"unframed": {"height": 0.75, "width": 0.8}, "framed": {"height": 0.987, "width": 1.046, "depth": 0.083}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  MAVD", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "Galerie Bernheim, Paris France (April 1900).", "opening_date": "1900-04-01T00:00:00"}, {"description": "La Libre Esthetique, Brussels, Belgium (1903).", "opening_date": "1903-01-01T00:00:00"}, {"description": "<em>Union Centrale des Arts decoratifs</em>. Pavillon Marsan, Paris, France (1924).", "opening_date": "1924-01-01T00:00:00"}, {"description": "<em>Retrospective Maurice Denis</em>. Tate Gallery, London, United Kingdom (January-February, 1966).", "opening_date": "1966-01-01T00:00:00"}, {"description": "<em>Pont-Aven: Gauguin und sein Kreis in der Bretagne</em>. Kunsthaus, Zurich, Switzerland (March-April 1966).", "opening_date": "1966-03-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Orangerie des Tuileries, Paris, France (June 3-August 31, 1970).", "opening_date": "1970-06-03T00:00:00"}, {"description": "<em>Maurice Denis</em>. Kunsthalle, Bremen, Germany (October 17-December 5, 1971); Kunsthaus, Zurich, Switzerland (January 29-March 12, 1972); Stantens Museum fur Kunst, Copenhagen, Denmark (April 8-May 7, 1972).", "opening_date": "1971-10-17T00:00:00"}, {"description": "<em>Post-Impressionism: Crosscurrents in European Painting</em>. Royal Academy of Arts, London, United Kingdom (November 1979-March 1980); National Gallery of Art, Washington DC (May-September 1980).", "opening_date": "1980-05-01T00:00:00"}, {"description": "<em>Gauguin and the School of Pont-Aven</em>. Museum W\u00fcrth, K\u00fcnzelsau, Germany (March 2-June 1,1997).", "opening_date": "1997-01-01T00:00:00"}, {"description": "<em>Kenavo Monsieur Gauguin - Centenaire de la mort de Gauguin</em>. Mus\u00e8e de Pont-Aven, Pont-Aven, France (June 28-September 29, 2003).", "opening_date": "2003-06-28T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist", "citations": [], "footnotes": [], "date": "1899-1903", "sortorder": 1}, {"description": "(La Livre Esthetique, Brussels, Belgium, acquired by Thomas Braun directly from the \nartist)", "citations": [], "footnotes": ["<div><!--block-->According to the bill of sale in the curatorial file, Thomas Braun purchased this painting from Maurice Denis at La Libre Esthetique, an artistic society in Brussels.</div>"], "date": "1903", "sortorder": 2}, {"description": "Thomas Braun [1876-1961] Brussels, Belgium, consigned to Galerie Andrew Maurice", "citations": [], "footnotes": null, "date": "1903\u20131962", "sortorder": 3}, {"description": "(Galerie Andrew Maurice, Paris, France, May 14, 1962, sold to the family of Samuel Josefowicz)", "citations": [], "footnotes": ["<div><!--block-->Buyer information is according to a handwritten annotation on the bill of sale.</div>"], "date": "1962", "sortorder": 4}, {"description": "Family of Samuel Josefowicz, sold to Nancy F. and Joseph P. Keithley", "citations": [], "footnotes": null, "date": "1962\u20132015", "sortorder": 5}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2015\u20132020", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Denis was an extremely prolific artist who experimented with other art forms. His decorative murals can be viewed in many French churches as well as on the ceiling of the Champs \u00c9lys\u00e9es Theatre in Paris.", "description": "Maurice Denis made this painting during the summer of 1899 while vacationing with his family in the coastal village of Le Pouldu in Brittany in northwestern France. Two-thirds of this canvas is filled by the lavender-pink surface of the water, dotted with touches of color that suggest reflections of flags and sails on the Belon River. Local women wearing traditional headdresses observe the scene from the riverbank in the foreground, shaded by trees whose foliage frames the top of the composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481157"], "internet_archive": ["https://archive.org/details/clevelandart-2020.110-blessing-of-a-yacht"]}, "citations": [{"citation": "<em>\u0152uvres de Bonnard, Maurice Denis, Ibels, Aristide Maillol, Hermann Paul, Ranson, Roussel, Serusier, Vallotton, Vuillard: catalogue. </em>Paris: MM. Bernheim Jeune et fils, 1900.", "page_number": "Mentioned: Denis no. 6", "url": ""}, {"citation": "<em>Exposition Maurice Denis 1888-1924 </em>[Parijs, 1924]. Paris: Union centrale des Arts de\u0301coratifs, 1924.", "page_number": "Mentioned: P. 8, no. 112", "url": ""}, {"citation": "<em>Pont-Aven: Gauguin und sein Kreis in der Bretagne.</em> Zu\u0308rich: Kunsthaus Zu\u0308rich, 1966.", "page_number": "Mentioned: P. 172, no. 168", "url": ""}, {"citation": "Distel, Anne. <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970</em>. Paris, France: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970.", "page_number": "Mentioned: P. 39, no. 70", "url": null}, {"citation": "<em>Maurice Denis. Gema\u0308lde, Handzeichnungen, Druckgraphik. Meisterwerke des Nachimpressionismus aus der Sammlung Maurice Denis. </em>(Ausstellung,) Kunsthaus Zu\u0308rich, 29. Jan-12. Ma\u0308rz 1972. (Katalog.). 1972.", "page_number": "Mentioned: P. 42, no. 48", "url": ""}, {"citation": "House, John, and Mary Anne Stevens. <em>Post-Impressionism: Cross-Currents in European Painting</em>. London, United Kingdom : Royal Academy of Arts, 1979.", "page_number": "Mentioned and Reproduced: p. 67, no. 70", "url": null}, {"citation": "National Gallery of Art (US.). <em>Post-Impressionism: Cross-Currents in European and American Painting, 1880-1906</em>. Washington DC: National Gallery of Art, 1980.", "page_number": "Reproduced: P. 129; Mentioned: P. 128, no. 163", "url": null}, {"citation": "Pickvance, Ronald.<em> Gauguin and the Pont-Aven School.</em> [Sydney, Australia]: [Art Gallery of New South Wales], 1994.", "page_number": "Mentioned and Reproduced: p. 112-113, no. 68", "url": ""}, {"citation": "Pickvance, Ronald, and Richard R. Brettell. <em>Gauguin and the School of Pont-Aven.</em> London: Apollo, 1994.", "page_number": "Mentioned and reproduced: P. 96, no. 68", "url": ""}, {"citation": "Pickvance, Ronald. <em>Gauguin and the School of Pont-Aven</em>. Sigmaringen, Germany: Thorbecke, 1997.", "page_number": "Mentioned and Reproduced: p. 180-181, no. 68", "url": null}, {"citation": "Kerlo, Le\u0301o, Rene\u0301 Le Bihan, and Jacqueline Duroc. <em>[Peintres des co\u0302tes de Bretagne]</em>. Douarnenez, France: Chasse-mare\u0301e/Armen, 1998.", "page_number": "Mentioned and reproduced: p. 154-155", "url": null}, {"citation": "<em>Kenavo Monsieur Gauguin: Muse\u0301e de Pont-Aven, 28 juin-29 septembre 2003</em>. Pont-Aven, France: Muse\u0301e de Pont-Aven, 2003.", "page_number": "Mentioned and reproduced:. p. 64-65, no. 16", "url": null}, {"citation": "Kerlo, Le\u0301o, and Jacqueline Duroc. <em>Peintres des co\u0302tes de Bretagne. 4, 4.</em> Douardenez: Chasse-mare\u0301e, 2006.", "page_number": "Mentioned and reproduced: P. 154-155", "url": ""}, {"citation": "Delouche, Denise. <em>Maurice Denis et la Bretagne.</em> Quimper: Palantines, 2009.", "page_number": "Mentioned: P. 58-59; Reproduced: P.146, no. PA-41", "url": ""}, {"citation": "\u201cA Historic Gift. Longtime CMA supporters Joseph and Nancy Keithley give 114 works, the largest gift in more than 60 years.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): Cover, 6-9.", "page_number": "Reproduced and Mentioned: P. 7.", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.110", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.110/2020.110_web.jpg", "width": "900", "height": "842", "filesize": "413512", "filename": "2020.110_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.110/2020.110_print.jpg", "width": "3400", "height": "3181", "filesize": "5415385", "filename": "2020.110_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.110/2020.110_full.tif", "width": "10778", "height": "10084", "filesize": "326086424", "filename": "2020.110_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 92844, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:52.080000"}, {"id": 148963, "accession_number": "1977.120", "share_license_status": "CC0", "tombstone": "Madeleine Lerolle and Her Daughter Yvonne, c. 1879\u201380. Albert Besnard (French, 1849\u20131934). Oil on fabric; framed: 191.5 x 142.2 x 9.5 cm (75 3/8 x 56 x 3 3/4 in.); unframed: 165 x 115.5 cm (64 15/16 x 45 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.120", "current_location": "219 19th Century European", "title": "Madeleine Lerolle and Her Daughter Yvonne", "creation_date": "c. 1879\u201380", "creation_date_earliest": 1879, "creation_date_latest": 1880, "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: 191.5 x 142.2 x 9.5 cm (75 3/8 x 56 x 3 3/4 in.); Unframed: 165 x 115.5 cm (64 15/16 x 45 1/2 in.)", "dimensions": {"framed": {"height": 1.915, "width": 1.422, "depth": 0.095}, "unframed": {"height": 1.65, "width": 1.155}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper right: ABesnard. [AB in monogram]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 303292, "title": "The Artist and the Studio in the Eighteenth and Nineteenth Centuries", "description": "<i>The Artist and the Studio in the Eighteenth and Nineteenth Centuries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-August 13, 1978).", "opening_date": "1978-04-05T05:00:00"}, {"id": 442709, "title": "Seven Ages of Man", "description": "<i>Seven Ages of Man</i>. Museum London, London, Canada (organizer) (May 3-June 15, 1980).", "opening_date": "1980-05-03T04:00:00"}, {"id": 442204, "title": "Paris autour de 1882 (Paris around 1882)", "description": "<i>Paris autour de 1882 (Paris around 1882)</i>. Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (November 3-December 19, 1982); Museum of Modern Art, Kamakura, Kanagawa, Japan (January 15-February 20, 1983).", "opening_date": "1982-11-03T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "Paris, Palais des Champs-\u00c9lys\u00e9es. Salon (1883), no. 224, Portrait de Mme L . . . et de sa petite fille.", "opening_date": null}, {"description": "Paris, Galerie Georges Petit. Exposition Albert Besnard (1905), no. 119, as in coll. Henri Lerolle.", "opening_date": "1905-01-01T00:00:00"}, {"description": "Paris, Palais de Bagatelle (organized by the Soci\u00e9t\u00e9 Nationale des Beaux-Arts). Exposition r\u00e9trospective de portraits de femmes sous les trois r\u00e9publiques (1909), no. 11, Portrait de Madame Henri Lerolle, Appartient \u00e0 M. Lerolle.", "opening_date": "1909-01-01T00:00:00"}, {"description": "Boston, Museum of Fine Arts; Cincinnati Museum of Art; Buffalo, Albright Art Gallery; Art Institute of Chicago; London, Grosvenor Gallery.Exhibition of Paintings and Drawings by Albert Besnard (1913), no. 2, Portrait of Mme Henri Lerolle and Daughter (now Mme Eug\u00e8ne Rouart), lent by Henri Lerolle (also mentioned on p. 4 of Boston cat.).", "opening_date": "1913-01-01T00:00:00"}, {"description": "London (Ontario) Regional Art Gallery. The Seven Ages of Man (1980), 18-19 (repr.).", "opening_date": "1980-01-01T00:00:00"}, {"description": "Gifu (Japan), Museum of Fine Arts; Kamakura Museum of Modern Art. Paris autour de 1882 (1982-83), no. 11, pl. 11.", "opening_date": "1982-01-01T00:00:00"}, {"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}]}, "provenance": [{"description": "Henri Lerolle (1883, 1913), by descent. Brame & Lorenceau, Paris. Purchased by Mr. and Mrs. Noah L. Butkin. Given to the CMA in 1977.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Albert Besnard was a good friend of fellow artist Henri Lerolle, whose wife Madeleine and daughter Yvonne are the subjects of this double portrait set in a studio. The artist\u2019s profession is referenced in the large portfolios of drawings at lower right, and the easel at upper left, which displays a canvas tipped forward at an unusual angle. The canvas has been strapped to the easel in this position so the artist can more easily paint while seated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473235"], "internet_archive": ["https://archive.org/details/clevelandart-1977.120-madeleine-lerolle-an"]}, "citations": [{"citation": "Weisberg, Gabriel P. \u201cMadame Henry Lerolle and Daughter Yvonne.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 10 (December 1977): 326\u2013343.", "page_number": "Mentioned and reproduced: p. 326-343, figs. 1, 14", "url": "http://www.jstor.org/stable/25159555"}, {"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. 212", "url": "https://archive.org/details/CMAHandbook1978/page/n232"}, {"citation": "Broun, Francis J. P. <em>The Seven Ages of Man: Inaugural Exhibition, May 3-June 15, 1980</em>. London, England: London Regional Art Gallery, 1980.", "page_number": "Reproduced and mentioned: pp. 18, 19, cover.", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 24-27, Vol. I, no. 9", "url": ""}, {"citation": "Lerolle, Aggy. <em>Henry Lerolle: Paris 1848-1929.</em> Willaupuis, Belgium: Wapica; Paris: Socie\u0301te\u0301 des Amis d'Henry Lerolle, 2022.", "page_number": "Mentioned and reproduced: P. 44", "url": ""}], "url": "https://clevelandart.org/art/1977.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.120/1977.120_web.jpg", "width": "623", "height": "893", "filesize": "389153", "filename": "1977.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.120/1977.120_print.jpg", "width": "2371", "height": "3400", "filesize": "5579111", "filename": "1977.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.120/1977.120_full.tif", "width": "4061", "height": "5824", "filesize": "70988116", "filename": "1977.120_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 148963, "creators": [{"id": 1859, "description": "Albert Besnard (French, 1849\u20131934)", "extent": null, "qualifier": null, "role": "artist", "biography": "Albert Besnard's parents-his father an amateur painter who studied with Ingres (q.v.) and his mother a miniaturist-influenced his early artistic career. In 1866 he entered the \u00c9cole des Beaux-Arts where he studied in the ateliers of Jean- Fran\u00e7ois Br\u00e9mond (1807-1868), who taught the young Besnard fresco painting, and Alexandre Cabanel (1823-1889), one of the foremost Second Empire academic painters. Besnard first exhibited at the Salon of 1868, which proved to be the beginning of his official success and in 1874 he won the Prix de Rome, an honor that gave him the opportunity to spend four years at the Villa Medici. Besnard's success as a portraitist began in London, where he stayed from 1879 until 1881. He studied seventeenth-century British portrait painters and emulated the British colorists, Turner (q.v.) in particular. Besnard's reputation as a portrait painter followed him back to Paris where he received numerous commissions from prominent figures of the Third Republic (1870-1940). In addition to portrait painting, Besnard was commissioned by the state to paint mural decorations for various public buildings in Paris. He also experimented with different media such as pastel and etching and designed decorations for stained glass. Besnard received numerous awards and was re-cognized by his contemporaries, including the symbolists. He held the directorships of the \u00c9cole de Rome in 1913 and of the \u00c9cole Sup\u00e9rieure Nationale des Beaux-Arts from 1923 to 1934.", "name_in_original_language": null, "birth_year": "1849", "death_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "c. 1879\u201380", "collapse_artists": false, "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": ["Madame Henry Lerolle and Daughter Yvonne"], "is_highlight": false, "updated_at": "2026-03-27 00:08:10.549000"}, {"id": 109042, "accession_number": "1927.208", "share_license_status": "CC0", "tombstone": "Art Lovers, c. 1863. Honor\u00e9 Daumier (French, 1808\u20131879). Gray and black wash, charcoal, and graphite, with watercolor, on cream laid paper; sheet: 26.2 x 19.4 cm (10 5/16 x 7 5/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1927.208", "current_location": null, "title": "Art Lovers", "creation_date": "c. 1863", "creation_date_earliest": 1858, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "Gray and black wash, charcoal, and graphite, with watercolor, on cream laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 26.2 x 19.4 cm (10 5/16 x 7 5/8 in.)", "dimensions": {"sheet": {"height": 0.262, "width": 0.194}, "secondary support": {"height": 0.275, "width": 0.194}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in black ink: h.D.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 350090, "title": "Drawings in the Classic and Romantic Tradition before 1830", "description": "<i>Drawings in the Classic and Romantic Tradition before 1830</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 1932-January 8, 1933).", "opening_date": "1932-12-07T05:00:00"}, {"id": 361102, "title": "Daumier: peintures, aquarelles, dessins", "description": "<i>Daumier: peintures, aquarelles, dessins</i>. Mus\u00e9e de l'Orangerie, Paris, France (organizer) (March 2-June 7, 1934).", "opening_date": "1934-03-02T05:00:00"}, {"id": 360859, "title": "Independent Painters of Nineteenth-Century Paris", "description": "<i>Independent Painters of Nineteenth-Century Paris</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (March 15-April 28, 1935).", "opening_date": "1935-03-15T05:00:00"}, {"id": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-December 9, 1937).", "opening_date": "1937-05-28T04:00:00"}, {"id": 361103, "title": "Daumier, 1808-1879", "description": "<i>Daumier, 1808-1879</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (November 6-December 12, 1937).", "opening_date": "1937-11-06T05:00:00"}, {"id": 346109, "title": "Old Master Drawings from the Museum Collection", "description": "<i>Old Master Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 4-March 26, 1939).", "opening_date": "1939-01-04T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 347343, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 27, 1941).", "opening_date": "1941-03-04T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 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": 361104, "title": "19th-Century French Drawings", "description": "<i>19th-Century French Drawings</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (March 8-April 6, 1947).", "opening_date": "1947-03-08T05:00:00"}, {"id": 356677, "title": "Old Master Drawings from Midwestern Museums", "description": "<i>Old Master Drawings from Midwestern Museums</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (June 1-September 15, 1950).", "opening_date": "1950-06-01T04:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 360892, "title": "French Drawings from American Collections: Clouet to Matisse", "description": "<i>French Drawings from American Collections: Clouet to Matisse</i>. Museum Boijmans Van Beuningen, Rotterdam, Netherlands (July 31-September 28, 1958); Mus\u00e9e de l'Orangerie, Paris, France (October 24, 1958-January 2, 1959); The Metropolitan Museum of Art, New York, NY (February 3-March 15, 1959).", "opening_date": "1958-07-31T04:00:00"}, {"id": 301678, "title": "Italian and French Drawings", "description": "<i>Italian and French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 1959-February 2, 1960).", "opening_date": "1959-10-13T04:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 302279, "title": "Water Color", "description": "<i>Water Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-August 27, 1962).", "opening_date": "1962-06-06T04:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 361184, "title": "Honor\u00e9 Daumier, 1808-1879", "description": "<i>Honor\u00e9 Daumier, 1808-1879</i>. National Gallery of Art, Landover, MD (organizer) (September 23-November 25, 1979).", "opening_date": "1979-09-23T04:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 361188, "title": "Daumier Drawings", "description": "<i>Daumier Drawings</i>. St\u00e4del Museum (organizer) (November 17, 1992-January 17, 1993); The Metropolitan Museum of Art, New York, NY (February 26-May 2, 1993).", "opening_date": "1992-11-17T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Exposition des peintures et dessins de H. Daumier</em>. Galeries Durand-Ruel, Paris (1878).", "opening_date": null}, {"description": "<em>Exposition Daumier</em>. Palais de l'\u00c9cole des Beaux-Arts, Paris (May 1901).", "opening_date": "1901-05-01T00:00:00"}, {"description": "<em>Nineteenth Century Paintings</em>. Seattle Art Museum (March 7 - May 6, 1951).", "opening_date": "1951-03-07T00:00:00"}]}, "provenance": [{"description": "Madame Pierre Bureau, Paris", "citations": [], "footnotes": null, "date": "by 1878-by 1923", "sortorder": 1}, {"description": "Paul Bureau [1865-1923], Paris", "citations": [], "footnotes": [], "date": "1923", "sortorder": 2}, {"description": "his estate, Paris", "citations": [], "footnotes": null, "date": "1923 - 1927", "sortorder": 3}, {"description": "(sale, Galerie Georges Petit, Paris, Collection Paul Bureau [premi\u00e8re vente], May 20, 1927, no. 66, sold to the Cleveland Museum of Art, Cleveland, OH, through Marcel Guiot)", "citations": [], "footnotes": [], "date": "1927", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Honor\u00e9 Daumier produced watercolors primarily for collectors of his work, suggesting that this image, somewhat ironically, was intended to be sold to the very figures it depicts.", "description": "Honor\u00e9 Daumier was known for his witty depictions of contemporary Parisian types, including the art collectors seen in this drawing. The sheet belongs to a series in which the artist depicted these connoisseurs in the process of closely studying works of art. Although here, the men's focus seems sincere, in many works Daumier caricatured his subjects' greediness, smugness, or obliviousness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746301"], "internet_archive": ["https://archive.org/details/clevelandart-1927.208-art-lovers"]}, "citations": [{"citation": "Champfleury. \"L'Hotel des commissaires-priseurs (suite), l'amateur.\" <em>Le Monde illustr\u00e9 </em>7, no. 314 (April 18, 1863): 253-254.", "page_number": "Reproduced: p. 253", "url": null}, {"citation": "<em>Exposition des peintures et dessins de H. Daumier</em>. Paris: Galeries Durand-Ruel, 1878.", "page_number": "Mentioned: p. 62, no. 113", "url": null}, {"citation": "Alexandre, Ars\u00e8ne. <em>Honor\u00e9 Daumier: L'Homme et l'oeuvre</em>. Paris: H. Laurens, 1888.", "page_number": "Mentioned: p. 376", "url": null}, {"citation": "<em>Exposition Daumier</em>. Paris: Palais de l'\u00c9cole des Beaux-Arts, 1901.", "page_number": "Mentioned: p. 29, no. 131", "url": null}, {"citation": "Klossowski, Erich. <em>Honore Daumier</em>. Munich: R. Piper &amp; Co., 1923.", "page_number": "Mentioned: p. 119, no. 365", "url": null}, {"citation": "\"Le Vieux Collectionneur.\" \"Un Ensemble Unique de 50 Daumier: La Collection Bureau.\" <em>Bulletin de l'Art Ancien et Moderne</em>, no. 738 (May 1927): 167-173.", "page_number": "Mentioned: p. 170, 172; Reproduced: p. 171", "url": null}, {"citation": "Francis, Henry Sayles. \"A Drawing by Daumier.\" <em>Bulletin of the Cleveland Museum of Art</em> 14, no. 10 (December 1927): 155-157.", "page_number": "Mentioned: pp. 155-157; Reproduced: cover", "url": null}, {"citation": "<em>Catalogue des tableaux anciens...Collection de M. Paul Bureau</em>. Paris: Galerie Georges Petit, 1927.", "page_number": "Mentioned and reproduced: no. 66", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 57", "url": "https://archive.org/details/CMAHandbook1928/page/n61"}, {"citation": "\"A Daumier Gem.\" <em>The Art Digest </em>11, no. 7 (January 1928): 32.", "page_number": "Mentioned and reproduced: p. 32", "url": null}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 161", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Escholier, Raymond. <em>Daumier</em>. Paris: Floury, 1930.", "page_number": "Mentioned: p. 263; Reproduced: pl. 75", "url": null}, {"citation": "Fuchs, Eduard. <em>Der Maler Daumier</em>. Munich: Albert Langen, 1930.", "page_number": "Mentioned: pp. 38-39, 57, no. 249a; Reproduced: pl. 249", "url": null}, {"citation": "Wilenski, R.H. <em>French Painting</em>. Boston: Hale, Cushman &amp; Flint, Inc., 1931.", "page_number": "Mentioned: p. 232; Reproduced: pl. 92", "url": null}, {"citation": "Monzie, Anatole de and Claude Roger-Marx. <em>Daumier: Peintures, Aquarelles, Dessins</em>. Exh. Cat. Paris: Mus\u00e9e de l'Orangerie, 1934.", "page_number": "Mentioned: pp. 101-102, no. 88", "url": null}, {"citation": "<em>Independent Painters of Nineteenth Century Paris</em>. Exh. Cat. Boston: Museum of Fine Arts, 1935.", "page_number": "Mentioned: p. 39, no. 72", "url": null}, {"citation": "D.A. \"'Lovers of Art,' by Honor\u00e9 Daumier.\" <em>Christian Science Monitor</em> (November 1, 1936): n.p.", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "<em>Daumier, 1808-1879</em>. Exh. Cat. Philadelphia: Pennsylvania Museum of Art, 1937.", "page_number": "Mentioned: p. 28, no. 19; Reproduced: pl. 19", "url": null}, {"citation": "Fleischmann, Benno. <em>Honor\u00e9 Daumier: Gem\u00e4lde, Graphik</em>. Vienna: Otto Lorenz, 1938.", "page_number": "Mentioned: p. XXXIX; Reproduced: pl. 53", "url": null}, {"citation": "Roger-Marx, Claude. <em>Daumier</em>. Paris: Plon, 1938.", "page_number": "Reproduced: p. 36", "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. 91", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>19th-Century French Drawings</em>. Exh. Cat. San Francisco: California Palace of the Legion of Honor, 1947.", "page_number": "Mentioned and reproduced: p. 39, no. 54", "url": null}, {"citation": "Huyghe, Ren\u00e9 and Philippe Jaccottet. <em>Le Dessin Fran\u00e7ais au XIXe Si\u00e8cle</em>. Lausanne: Mermod, 1948.", "page_number": "Reproduced: p. 54", "url": null}, {"citation": "Wilenski, R.H. <em>French Painting</em>. Rev. Ed. London: Medici Society, 1949.", "page_number": "Mentioned: p. 212; Reproduced: pl. 86", "url": null}, {"citation": "<em>Loan Exhibition of Old Master Drawings from Midwestern Museums</em>. Exh. Cat. Detroit: Detroit Institute of Arts, 1950.", "page_number": "Mentioned: no. 8", "url": null}, {"citation": "Adh\u00e9mar, Jean. <em>Honor\u00e9 Daumier: Drawings and Watercolors</em>. New York: Macmillan, 1954.", "page_number": "Mentioned: p. 17; Reproduced: after p. 17", "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. 600", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "Houghton, Amory. <em>Les Dessins fran\u00e7ais dans les collections am\u00e9ricaines de Clouet \u00e0 Matisse</em>. Paris: Art et style: 1958.", "page_number": "Mentioned and reproduced: n.p.", "url": null}, {"citation": "Moskowitz, Ira. <em>Great Drawings of All Time</em>. New York: Shorewood, 1962.", "page_number": "Mentioned and reproduced: vol. III, n.p.", "url": null}, {"citation": "Moskowitz, Ira and Maurice S\u00e9rullaz. <em>Drawings of the Masters: French Impressionists</em>. London: Weidenfeld and Nicolson, 1962.", "page_number": "Reproduced: p. 46", "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. 170", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "Rey, Robert. <em>Honor\u00e9 Daumier</em>. New York: Harry N. Abrams, 1966.", "page_number": "Reproduced: p. 63", "url": null}, {"citation": "Feldman, Edmund Burke. <em>Art as Image and Idea</em>. Englewood Cliffs, NJ: Prentice-Hall, 1967.", "page_number": "Reproduced: p. 332", "url": null}, {"citation": "Maison, K.E. <em>Honor\u00e9 Daumier: Catalogue Raisonn\u00e9 of the Paintings, Watercolors, and Drawings. </em>New York: New York Graphic Society Ltd., 1968.", "page_number": "Mentioned: vol. II, p. 135, no. 391; Reproduced: pl. 129", "url": null}, {"citation": "Moore, Janet Gaylord. <em>The Many Ways of Seeing: An Introduction to the Pleasures of Art</em>. Cleveland: World Publishing Company, 1968.", "page_number": "Mentioned: p. 136; Reproduced: p. 89", "url": null}, {"citation": "Vincent, Howard P. <em>Daumier and His World</em>. Evanston, IL: Northwestern University Press, 1968.", "page_number": "Reproduced: pl. 60", "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. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Feldman, Edmund Burke. <em>Varieties of Visual Experience: Art as Image and Idea</em>. New York: Harry N. Abrams, 1971.", "page_number": "Reproduced: p. 416", "url": null}, {"citation": "<em>Praeger Encyclopedia of Art</em>. New York: Praeger, 1971.", "page_number": "Mentioned and reproduced: p. 512", "url": null}, {"citation": "Roy, Claude. <em>Daumier Dessins</em>. Geneva: Skira, 1971.", "page_number": "Reproduced: p. 50", "url": null}, {"citation": "Feldman, Edmund Burke. <em>Varieties of Visual Experience</em>. Basic Edition. New York: Harry N. Abrams, 1972.", "page_number": "Reproduced: p. 304", "url": null}, {"citation": "Nishimura, Toshio, ed. <em>Courbet et le r\u00e9alisme</em>. Tokyo: Chuokoronsha, 1972.", "page_number": "Mentioned: p. 113; Reproduced: pl. IV", "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. 210", "url": "https://archive.org/details/CMAHandbook1978/page/n230"}, {"citation": "Chapman, Laura H. <em>Approaches to Art Education</em>. New York: Harcourt Brace Jovanovich, Inc., 1978.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "\"Drawings on Exhibition.\" <em>Drawing </em>1, no. 3 (September - October 1979): 63-65.", "page_number": "Reproduced: p. 64", "url": null}, {"citation": "Kist, Jan Rie. <em>Honor\u00e9 Daumier, 1808-1879</em>. Washington, D.C.: National Gallery of Art, 1979.", "page_number": "Mentioned and reproduced: p. 75, no. 81", "url": null}, {"citation": "Richard, Paul. \"Daumier's Fearless Wit.\" <em>Washington Post </em>(September 23, 1979): G1, G7", "page_number": "Reproduced: p. G1", "url": null}, {"citation": "Koschatzky, Walter. <em>Die Kunst des Aquarelles: Technik, Geschichte, Meisterwerke</em>. Salzburg: Residenz, 1982.", "page_number": "Mentioned: p. 432; Reproduced: p. 28, pl. 9", "url": null}, {"citation": "Rotzler, Willy. <em>Who's Who in Graphic Art</em>. Dubendorf: De Clivo, 1982.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Goldstein, Nathan. <em>The Art of Responsive Drawing</em>. 4th ed. Englewood Cliffs, NJ: Prentice Hall, 1992.", "page_number": "Mentioned: p. 201; Reproduced: p. 202", "url": null}, {"citation": "Ives, Colta, Margret Stuffmann, and Martin Sonnabend. <em>Daumier Drawings</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1992.", "page_number": "Mentioned: p. 45, 165, no. 70; Reproduced: p. 46, 164.", "url": null}, {"citation": "\"1992 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 6 (1993): 215-95.", "page_number": "Mentioned: p. 247", "url": "https://www.jstor.org/stable/25161418"}, {"citation": "Wechsler, Judith. <em>Le cabinet des dessins Daumier</em>. Paris: Flammarion, 1999.", "page_number": "Mentioned: p. 88; Reproduced: p. 89", "url": null}, {"citation": "Blin, Didier and Caroline Larroche. <em>Daumier 1808-1879</em>. Exh. Cat. Ottawa: National Gallery of Canada, 1999.", "page_number": "Mentioned and reproduced: p. 410, under no. 258", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: p. 3, pp. 136-37, 291, no. 54; Reproduced: p. 137", "url": null}, {"citation": "Albl, Stefan, and Alina Aggujaro. <em>Il metodo del conoscitore: approcci, limiti, prospettive. </em>Roma: Artemide, 2016.", "page_number": "Reproduced: p. [2]", "url": null}, {"citation": "Montfort, Anne, V. Loth, and Saul Steinberg. Saul Steinberg: entre les lignes. Paris : E\u0301ditions du Centre Pompidou, 2021.", "page_number": "Mentioned and reproduced: p. 20, no. 4", "url": ""}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: The widely recognized collection of the Cleveland Museum of Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 4 (December 2022): Cover, P. 18-19.", "page_number": "Reproduced: P. 19; Mentioned, P. 18.", "url": ""}, {"citation": "DeWitte, Debra. \"The Display and Dispersal of Drawings in 19th-Century France.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>32-41. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 33, fig. 14", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 104-107, no. 13", "url": ""}], "catalogue_raisonne": "Daumier Register 10391; Maison 391", "url": "https://clevelandart.org/art/1927.208", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.208/1927.208_web.jpg", "width": "667", "height": "900", "filesize": "306571", "filename": "1927.208_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.208/1927.208_print.jpg", "width": "2519", "height": "3400", "filesize": "3923533", "filename": "1927.208_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.208/1927.208_full.tif", "width": "9198", "height": "12414", "filesize": "342580088", "filename": "1927.208_full.tif"}}, "alternate_images": [{"date_created": "2010-11-08T18:45:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt0_web.jpg", "width": "667", "height": "893", "filesize": "471458"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt0_print.jpg", "width": "2539", "height": "3400", "filesize": "7596893"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt0_full.tif", "width": "4580", "height": "6132", "filesize": "84283116"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt1_web.jpg", "width": "665", "height": "893", "filesize": "486856"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt1_print.jpg", "width": "1525", "height": "2048", "filesize": "2672502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt1_full.tif", "width": "1525", "height": "2048", "filesize": "9373060"}}, {"date_created": "2022-04-05T09:05:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt2_web.jpg", "width": "667", "height": "900", "filesize": "209461"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt2_print.jpg", "width": "2519", "height": "3400", "filesize": "3436999"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.208/1927.208_alt2_full.tif", "width": "9198", "height": "12414", "filesize": "342576312"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109042, "creators": [{"id": 1638, "description": "Honor\u00e9 Daumier (French, 1808\u20131879)", "extent": null, "qualifier": null, "role": "artist", "biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-06-27T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "c. 1863", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Connoisseurs"], "is_highlight": false, "updated_at": "2026-03-27 00:08:40.918000"}, {"id": 109295, "accession_number": "1927.437", "share_license_status": "CC0", "tombstone": "Madame D\u00e9sir\u00e9 Raoul-Rochette, 1830. Jean-Auguste-Dominique Ingres (French, 1780\u20131867). Graphite on cream wove paper; sheet: 32.2 x 24 cm (12 11/16 x 9 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1927.437", "current_location": null, "title": "Madame D\u00e9sir\u00e9 Raoul-Rochette", "creation_date": "1830", "creation_date_earliest": 1830, "creation_date_latest": 1830, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite on cream wove paper", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 32.2 x 24 cm (12 11/16 x 9 7/16 in.)", "dimensions": {"sheet": {"height": 0.322, "width": 0.24}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower right, in graphite: Ingres \u00e0 son ami et / confrere Monsieur / Raoul Rochette / 1830", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 350090, "title": "Drawings in the Classic and Romantic Tradition before 1830", "description": "<i>Drawings in the Classic and Romantic Tradition before 1830</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 1932-January 8, 1933).", "opening_date": "1932-12-07T05:00:00"}, {"id": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-December 9, 1937).", "opening_date": "1937-05-28T04:00:00"}, {"id": 346109, "title": "Old Master Drawings from the Museum Collection", "description": "<i>Old Master Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 4-March 26, 1939).", "opening_date": "1939-01-04T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 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": 361104, "title": "19th-Century French Drawings", "description": "<i>19th-Century French Drawings</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (March 8-April 6, 1947).", "opening_date": "1947-03-08T05:00:00"}, {"id": 355529, "title": "Exhibition of the Month: Components of Art: The Line", "description": "<i>Exhibition of the Month: Components of Art: The Line</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 12, 1948).", "opening_date": "1948-02-12T05:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 518735, "title": "Exhibition of Works by Ingres", "description": "<i>Exhibition of Works by Ingres</i>. Rosenberg & Co., New York, NY (organizer) (April 6-May 6, 1961).", "opening_date": "1961-04-06T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361190, "title": "Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections", "description": "<i>Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections</i>. Fogg Art Museum/Harvard University, Cambridge, MA (organizer) (February 12-April 9, 1967).", "opening_date": "1967-02-12T05:00:00"}, {"id": 361192, "title": "Ingres", "description": "<i>Ingres</i>. Petit Palais, Mus\u00e9e des Beaux-Arts de la Ville de Paris, Paris, France (October 27, 1967-January 29, 1968).", "opening_date": "1967-10-27T04:00:00"}, {"id": 351191, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Tableaux, \u00e9tudes peintes, dessins, et croquis de J.-A.-D. Ingres</em>. Galeries du Palais de l\u2019\u00c9cole Imp\u00e9riale des Beaux-Arts, Paris (1867).", "opening_date": null}, {"description": "<em>Exposition Ingres, organis\u00e9e au profit du Mus\u00e9e Ingres</em>. Galeries Georges Petit, Paris (April 26\u2013May 14, 1911).", "opening_date": "1911-05-14T00:00:00"}, {"description": "<em>19th-Century French Drawings</em>. Fine Arts Museums of San Francisco, California Palace of the Legion of Honor (March 8\u2013April 6, 1947).", "opening_date": "1947-04-06T00:00:00"}, {"description": "<em>Ingres in American Collections</em>. Paul Rosenberg, New York (April 7\u2013May 6, 1961).", "opening_date": "1961-05-06T00:00:00"}, {"description": "<em>Ingres Centennial Exhibition, 1867\u20131967</em>. Fogg Art Museum, Cambridge, MA (February 12\u2013April 9, 1967).", "opening_date": "1967-04-09T00:00:00"}, {"description": "<em>Ingres</em>. Petit Palais, Paris (October 27, 1967\u2013January 29, 1968).", "opening_date": "1967-10-27T00:00:00"}, {"description": "<em>In Pursuit of Perfection: The Art of J.-A.-D. Ingres</em>. J. B. Speed Art Museum, Louisville, KY (December 6, 1983\u2013January 29, 1984); Kimbell Art Museum, Fort Worth, TX (March 3\u2013May 6, 1984).", "opening_date": "1983-12-06T00:00:00"}]}, "provenance": [{"description": "D\u00e9sir\u00e9 Raoul-Rochette [1790\u20131854] (sitter\u2019s husband), Paris, by descent to his wife, Madame D\u00e9sir\u00e9 Raoul-Rochette", "citations": [], "footnotes": ["<div><!--block-->All this information is from Naef 1979, 5:162. For an explanation of the descent of Ingres portrait drawings within the Raoul-Rochette family, see Naef 1963b, 20, whose source was the great grandson of D\u00e9sir\u00e9 Raoul-Rochette, Andr\u00e9 Perrin</div>"], "date": "probably 1830-1854", "sortorder": 1}, {"description": "Madame D\u00e9sir\u00e9 Raoul-Rochette, n\u00e9e Antoinette-Claude Houdon [1790\u20131878], Paris, by descent to her grandson, Raoul Perrin", "citations": [], "footnotes": null, "date": "1854-1878", "sortorder": 2}, {"description": "Raoul Perrin [1841\u20131910], by descent to his widow, Madame Raoul Perrin", "citations": [], "footnotes": null, "date": "1878-1910", "sortorder": 3}, {"description": "Madame Raoul Perrin [?\u20131912], by descent to her son, Edmond Perrin", "citations": [], "footnotes": null, "date": "1910-1912", "sortorder": 4}, {"description": "by descent to her son, Edmond Perrin [d. 1919]", "citations": [], "footnotes": null, "date": "1912-by 1918", "sortorder": 5}, {"description": "(Wildenstein & Co., Inc., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1918-1927", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ingres paid close attention to his sitter's costume: a fashionable open coat and dress with leg-of-mutton sleeves.", "description": "While living in Rome, Jean-Auguste-Dominique Ingres began making commissioned graphite portraits as a way of providing additional income. He aspired to a career as a history painter, however, and made such works only as gifts for friends after achieving professional success. This sheet was a gift for its sitter's husband, a famous archaeologist to whom Ingres dedicated it at lower right. The subject of the drawing, Antoinette-Claude Houdon, was the youngest daughter of Jean-Antoine Houdon (1741\u20131828), an important 18th-century French sculptor. Using the style he developed for such works, the artist drew in stark, confident lines, with no apparent erasing or correction.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781118"], "internet_archive": ["https://archive.org/details/clevelandart-1927.437-madame-desire-raoul"]}, "citations": [{"citation": "<em>Catalogue des tableaux \u00e9tudes peintes, dessins, et croquis de J.-A.-D. Ingres </em>[. . .] <em>expos\u00e9s dans les galeries du Palais de l\u2019\u00c9cole Imp\u00e9riale des Beaux-Arts</em>. Paris: Ad. Lain\u00e9 et J. Havard, 1867.", "page_number": "Mentioned: p. 97, no. 573", "url": null}, {"citation": "Blanc, Charles. <em>Ingres, sa vie et ses ouvrages</em>. Paris: Jules Renouard, 1870.", "page_number": "Mentioned: p. 239", "url": null}, {"citation": "Delaborde, Henri. <em>Ingres, sa vie, ses travaux, sa doctrine</em>. Paris: Henri Plon, 1870.", "page_number": "Mentioned: p. 310, no. 398", "url": null}, {"citation": "Montesquiou, Robert de. <em>Roseaux pensants</em>. Paris: Charpentier, 1897.", "page_number": "Mentioned: p. 45", "url": null}, {"citation": "<em>Exposition Ingres, organis\u00e9e au profit du Mus\u00e9e Ingres</em>. Paris: Georges Petit, 1911.", "page_number": "Mentioned: p. 39, no. 138", "url": null}, {"citation": "Lapauze, Henry. <em>Ingres, sa vie &amp; son \u0153uvre (1780\u20131867), d\u2019apr\u00e8s des documents in\u00e9dits</em>. Paris: Georges Petit, 1911.", "page_number": "Mentioned: p. 286; Reproduced: p. 281", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 56", "url": "https://archive.org/details/CMAHandbook1928/page/n60"}, {"citation": "Hourticq, Louis. <em>Ingres: l\u2019\u0153uvre du ma\u00eetre</em>. Paris: Hachette, 1928.", "page_number": "Mentioned and reproduced: p. 72, 121", "url": null}, {"citation": "Francis, Henry Sayles. \"A Portrait Drawing by Ingres.\" <em>The Bulletin of the Cleveland Museum of Art</em> 15, no. 2 (1928): 27-29.", "page_number": "Mentioned: pp. 27-29; Reproduced: cover", "url": "http://www.jstor.org/stable/25137098"}, {"citation": "Francis, Henry Sayles. \"The Graphic Section.\" <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 157-172.", "page_number": "Mentioned: p. 159", "url": null}, {"citation": "Gibson, Katharine. \"Ingres, the Artist.\" <em>The Bystander </em>(November 30, 1929): 4-5.", "page_number": "Mentioned and reproduced: p. 4-5", "url": null}, {"citation": "Zabel, Morton Dauwen. \u201cThe Portrait Methods of Ingres.\u201d <em>Art and Archaeology</em> 28, no. 4 (October 1929): 103-116.", "page_number": "Mentioned: 115", "url": null}, {"citation": "Zabel, Morton D. \u201cIngres in America.\u201d <em>The Arts</em> 16, no. 6 (February 1930): 369-382, 436.", "page_number": "Mentioned: pp. 381-382; Reproduced: p. 374", "url": null}, {"citation": "Wilenski, R.H. <em>French Painting</em>. Boston: Hale ,Cushman &amp; Flint, 1931.", "page_number": "Mentioned: p. 196", "url": null}, {"citation": "Francis, Henry Sayles. \"Drawings in the Classic and Romantic Tradition before 1830.\" <em>The Bulletin of the Cleveland Museum of Art</em> 19, no. 10 (1932): 166-175.", "page_number": "Mentioned: pp. 168-169", "url": null}, {"citation": "<em>19th-Century French Drawings</em>. Exh. cat. San Francisco: California Palace of the Legion of Honor, 1947.", "page_number": "Mentioned and reproduced: p. 18, no. 12", "url": null}, {"citation": "Francis, Henry S. \"Two Graphic Portraits by Ingres.\" <em>The Bulletin of the Cleveland Museum of Art</em> 35, no. 3 (1948): 36-37.", "page_number": "Mentioned: p. 37", "url": null}, {"citation": "Wilenski, R.H. <em>French Painting. </em>Rev. ed. London: Medici Society, 1949.", "page_number": "Mentioned: p. 181", "url": null}, {"citation": "Alazard, Jean. <em>Ingres et l\u2019ingrisme</em> Paris: Albin Michel, 1950.", "page_number": "Mentioned: p. 84; Reproduced: plate LXI", "url": null}, {"citation": "Alazard, Jean. <em>Ingres</em>. Firenze: Electa, 1950.", "page_number": "Mentioned: p. 72; Reproduced: plate LXI", "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. 595", "url": "https://archive.org/details/CMAHandbook1958/page/n111"}, {"citation": "<em>Ingres in American Collections</em>. Exh. cat. New York: Paul Rosenberg and Co., 1961.", "page_number": "Mentioned and reproduced: p. 41, no. 39", "url": null}, {"citation": "Naef, Hans. <em>Ingres und die Familie Raoul-Rochette</em>. Z\u00fcrich: Schweizer Monatshefte, 1963.", "page_number": "Mentioned: p. 33-34; Reproduced: cover", "url": null}, {"citation": "Naef, Hans. \u201cIngres et la famille Raoul-Rochette.\u201d <em>Bulletin du Mus\u00e9e Ingres</em> 14 (December 1963): 13-23.", "page_number": "Mentioned: p. 17", "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. 165", "url": "https://archive.org/details/CMAHandbook1966/page/n189"}, {"citation": "Schlenoff, Norman. \"Ingres Centennial at the Fogg Museum.\" <em>The Burlington Magazine</em> 109, no. 771 (1967): 376-79.", "page_number": null, "url": null}, {"citation": "<em>Ingres</em>. Exh. cat. Paris: Petit Palais, 1967.", "page_number": "Mentioned and reproduced: pp. 220-21, no. 155", "url": null}, {"citation": "Mongan, Agnes and Hans Naef<em>. Ingres Centennial Exhibition</em>. Exh. cat. Cambridge, MA: Fogg Art Museum, 1967.", "page_number": "Mentioned and reproduced: no. 66", "url": null}, {"citation": "Moore, Janet Gaylord. <em>The Many Ways of Seeing: An Introduction to the Pleasures of Art</em>. Cleveland: World Publishing Company, 1968.", "page_number": "Mentioned: p. 90; Reproduced: p. 91", "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. 165", "url": "https://archive.org/details/CMAHandbook1969/page/n189"}, {"citation": "Mongan, Agnes. \u201cIngres as a Great Portrait Draughtsman.\u201d In <em>Colloque Ingres</em>. Montauban: Amis du Mus\u00e9e Ingres, 1969.", "page_number": "Mentioned: pp. 148, 151; Reproduced: p. 158", "url": null}, {"citation": "Wilenski, R. H. <em>French Painting</em>. 3rd rev. ed. New York: Dover, 1973.", "page_number": "Mentioned: p. 181", "url": null}, {"citation": "Delpierre, Madeleine. \u201cIngres et la mode de son temps (De la possibilit\u00e9 de dater, par l\u2019\u00e9tude des costumes, ses portraits dessin\u00e9s.\u201d In <em>Actes du colloque international Ingres et le n\u00e9o-classicisme</em>, 147-56. Montauban: Amis du Mus\u00e9e Ingres, 1975.", "page_number": "Mentioned: p. 150; Reproduced: p. 151", "url": null}, {"citation": "Pansu, Evelyne. <em>Ingres dessins</em>. Paris: Chene, 1977.", "page_number": "Mentioned and reproduced: pp. 170-71, no. 62", "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. 204", "url": "https://archive.org/details/CMAHandbook1978/page/n224"}, {"citation": "Naef, Hans. <em>Die Bildniszeichnungen von J.-A.-D. Ingres</em>. Bern: Benteli, 1979.", "page_number": "Mentioned and reproduced: vol. 3, pp. 98-99; vol. 5, pp. 162-63, no. 334", "url": null}, {"citation": "Condon, Patricia, Marjorie B. Cohn, and Agnes Mongan. <em>In Pursuit of Perfection: The Art of J.-A.-D. Ingres</em>, 146, 224 (ill.), no. 73. Exh. cat. Louisville, KY: J. B. Speed Art Museum, 1984.", "page_number": "Mentioned and reproduced: pp. 146, 224, no. 73", "url": null}, {"citation": "Miller, Michael J. <em>Drawing: A Glossary of Materials: Selections from the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1987.", "page_number": "Mentioned: p. 9; Reproduced: p. 10", "url": null}, {"citation": "Tortora, Phyllis and Keith Eubank. <em>A Survey of Historic Costume</em>. New York: Fairchild Publications, 1989.", "page_number": "Mentioned: p. 224; Reproduced: p. 225", "url": null}, {"citation": "<em>J. A. D. Ingres, 1780\u20131867: Zeichnungen und \u00d6lstudien aus dem Mus\u00e9e Ingres, Montauban</em>. Exh. cat. Innsbruck, Aus.: Tiroler Landesmuseum Ferdinandeum, 1991.", "page_number": "Mentioned: p. 30", "url": null}, {"citation": "Lurie, Ann Tzeutschler. \"Ferdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Mentioned and reproduced: p. 3", "url": "http://www.jstor.org/stable/25161437"}, {"citation": "Ribeiro, Aileen. <em>Ingres in Fashion: Representations of Dress and Appearance in Ingres\u2019s Images of Women</em>. New Haven, CT: Yale University Press, 1999.", "page_number": "Mentioned: p. 72, 76, 179; Reproduced: p. 73", "url": null}, {"citation": "DeGrazia, Diane and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: p. 3, pp. 128-129, 290, no. 50; Reproduced: p. 129", "url": null}, {"citation": "Stokstad, Marilyn and Michael W. Cothren. <em>Art History</em>. Revised 2nd ed. Boston: Pearson, 2005.", "page_number": "Reproduced: fig. 27-5.", "url": null}, {"citation": "<em>Master Drawings</em>. London: Colnaghi, 2013.", "page_number": "Mentioned: p. 74", "url": ""}, {"citation": "Stokstad, Marilyn and Michael W. Cothren. <em>Art History</em>. 5th ed. Boston: Pearson, 2014.", "page_number": "Mentioned: pp. 952-953; Reproduced: p. 953", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 164", "url": ""}, {"citation": "Codell, Julie. \u201cConvergences: Art History, Museums and Scholar-Agent Martin Birnbaum\u2019s Transatlantic Art for the Public.\u201d In <em>Art Markets, Agents and Collectors: Collecting Strategies in Europe and the United States, 1550\u20131950</em>, edited by Adriana Turpin and Susan Bracken, 316-27. London: Bloomsbury, 2021.", "page_number": "Mentioned: p. 325n22", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 88-91, no. 7a", "url": ""}], "catalogue_raisonne": "Naef 334", "url": "https://clevelandart.org/art/1927.437", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.437/1927.437_web.jpg", "width": "707", "height": "893", "filesize": "366940", "filename": "1927.437_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.437/1927.437_print.jpg", "width": "2692", "height": "3400", "filesize": "6525293", "filename": "1927.437_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.437/1927.437_full.tif", "width": "4422", "height": "5583", "filesize": "74089784", "filename": "1927.437_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109295, "creators": [{"id": 1685, "description": "Jean-Auguste-Dominique Ingres (French, 1780\u20131867)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leading exponent of French neoclassicism and the academic tradition, Jean-Auguste-Dominique Ingres was born in Montauban in 1780. At the age of ten he began studying art and music in Toulouse. In 1797 he entered the Paris studio of David (q.v.), where he became a favorite pupil and assistant. Barely a year later a dispute prompted Ingres to leave the studio and enroll in the \u00c9cole des Beaux-Arts. In 1801 he won the Prix de Rome, but lack of funds prevented him from departing for Italy until 1806. During fourteen years in Rome and four in Florence, Ingres painted romantic troubadour themes and became an admirer of Raphael. In 1824 he returned to Paris and exhibited at the Salon, where a fierce debate erupted between his supporters and those of Delacroix (q.v.). The controversial Salon of 1824 signaled Ingres's emergence as the leader of the neoclassical movement in France. At that point he effectively assumed the role of his former teacher David, now in exile. In 1833 the French government appointed Ingres vice president of the \u00c9cole des Beaux-Arts and president the following year. In 1834 he accepted the directorship of the French Academy in Rome and spent the next seven years painting and studying antique art in Italy. In 1841 he returned to Paris, where his paintings were greeted with thunderous critical acclaim. A major retrospective at the Exposition Universelle of 1855 confirmed his reputation but also aroused the hostility of young artists opposed to academic rules and conventions. During his later years Ingres continued his bitter rivalry with Delacroix, successfully blocking the latter's admission to the academy until 1857. Ingres died in 1867, leaving behind a circle of followers and a remarkable drawing style that was to inspire later artists, including Degas (q.v.) and Pablo Picasso (1881-1973).", "name_in_original_language": null, "birth_year": "1780", "death_year": "1867", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "1830", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Madame Raoul-Rochette"], "is_highlight": false, "updated_at": "2026-03-27 00:02:30.046000"}, {"id": 110565, "accession_number": "1929.13", "share_license_status": "CC0", "tombstone": "Fighting Horses, c. 1820. Th\u00e9odore G\u00e9ricault (French, 1791\u20131824). Watercolor over graphite; sheet: 21.7 x 29.4 cm (8 9/16 x 11 9/16 in.). The Cleveland Museum of Art, Charles W. Harkness Endowment Fund, 1929.13", "current_location": null, "title": "Fighting Horses", "creation_date": "c. 1820", "creation_date_earliest": 1815, "creation_date_latest": 1825, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "watercolor over graphite", "support_materials": [{"description": "ivory wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 21.7 x 29.4 cm (8 9/16 x 11 9/16 in.)", "dimensions": {"sheet": {"height": 0.217, "width": 0.294}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on old label (now removed), in brown ink: This drawing by G\u00e9ricault was / the property of The Marquis of / Hertford & left to Sir Richard / Wallace, who in time bequethed / it to Sir John Murray Scott / Bart: / Purchased by Leggatt Bros at / the sale of Sir John Murray / Scott's Drawings etc, at 5 / Connaught Place Marble Arch. / Feb: 9th 1914.; on old label (now removed): across top, in graphite: 41 [circled] Dr. Bellingham Smith; down center, in brown ink: J. L. A. T. G\u00e9ricault / Horses Fighting / Colles Marquess of Hertford / Sir Richard Wallace and / Sir John Murray Scott / Exhib. Burlington Fine Arts Club / 1922 . No 52. / Pictures drawings & Sculptures of French School / of the last 100 years.\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 350090, "title": "Drawings in the Classic and Romantic Tradition before 1830", "description": "<i>Drawings in the Classic and Romantic Tradition before 1830</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 1932-January 8, 1933).", "opening_date": "1932-12-07T05:00:00"}, {"id": 361204, "title": "Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections", "description": "<i>Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-September 15, 1935).", "opening_date": "1935-07-12T04:00:00"}, {"id": 312498, "title": "The Work of Th\u00e9odore G\u00e9ricault and Honor\u00e9 Daumier", "description": "<i>The Work of Th\u00e9odore G\u00e9ricault and Honor\u00e9 Daumier</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1937).", "opening_date": "1937-02-10T05:00:00"}, {"id": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-December 9, 1937).", "opening_date": "1937-05-28T04:00:00"}, {"id": 346109, "title": "Old Master Drawings from the Museum Collection", "description": "<i>Old Master Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 4-March 26, 1939).", "opening_date": "1939-01-04T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 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": 361104, "title": "19th-Century French Drawings", "description": "<i>19th-Century French Drawings</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (March 8-April 6, 1947).", "opening_date": "1947-03-08T05:00:00"}, {"id": 361205, "title": "Watercolors by the Masters: D\u00fcrer to C\u00e9zanne", "description": "<i>Watercolors by the Masters: D\u00fcrer to C\u00e9zanne</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (May 1-June 15, 1952).", "opening_date": "1952-05-01T04:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 301678, "title": "Italian and French Drawings", "description": "<i>Italian and French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 1959-February 2, 1960).", "opening_date": "1959-10-13T04:00:00"}, {"id": 361211, "title": "The Nineteenth Century: One Hundred Twenty-Five Master Drawings", "description": "<i>The Nineteenth Century: One Hundred Twenty-Five Master Drawings</i>. Solomon R. Guggenheim Museum, New York, NY (March 26-April 23, 1962).", "opening_date": "1962-03-26T05:00:00"}, {"id": 519373, "title": "Nineteenth Century: 125 Master Drawings", "description": "<i>Nineteenth Century: 125 Master Drawings</i>. Frederick R. Weisman Art Museum, Minneapolis, MN (organizer) (March 26-April 23, 1962); Solomon R. Guggenheim Museum, New York, NY (May 10-June 30, 1962).", "opening_date": "1962-03-26T05:00:00"}, {"id": 361211, "title": "The Nineteenth Century: One Hundred Twenty-Five Master Drawings", "description": "<i>The Nineteenth Century: One Hundred Twenty-Five Master Drawings</i>. Frederick R. Weisman Art Museum, Minneapolis, MN (organizer) (May 15-July 1, 1962).", "opening_date": "1962-03-26T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361212, "title": "The Artist and the Animal: A Loan Exhibition for the Benefit of the Animal Medical Center", "description": "<i>The Artist and the Animal: A Loan Exhibition for the Benefit of the Animal Medical Center</i>. M. Knoedler & Co., Inc., New York, NY (organizer) (May 7-24, 1968).", "opening_date": "1968-05-07T04:00:00"}, {"id": 361213, "title": "G\u00e9ricault", "description": "<i>G\u00e9ricault</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (October 12-December 12, 1971); The Detroit Institute of Arts, Detroit, MI (January 23-March 7, 1972); Philadelphia Museum of Art, Philadelphia, PA (March 30-May 14, 1972).", "opening_date": "1971-10-12T04:00:00"}, {"id": 304539, "title": "Brush Drawings", "description": "<i>Brush Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-May 10, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 309649, "title": "Goya, Gericault and Delacroix", "description": "<i>Goya, Gericault and Delacroix</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-April 24, 1983).", "opening_date": "1983-01-25T05:00:00"}, {"id": 361214, "title": "Master Drawings by G\u00e9ricault", "description": "<i>Master Drawings by G\u00e9ricault</i>. The Morgan Library & Museum, New York, NY (organizer) (June 7-July 31, 1985); San Diego Museum of Art, San Diego, CA (August 31-October 20, 1985); Museum of Fine Arts, Houston, Houston, TX (November 9, 1985-January 5, 1986).", "opening_date": "1985-06-07T04:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 361215, "title": "Gericault: Romantic Paintings and Drawings", "description": "<i>Gericault: Romantic Paintings and Drawings</i>. Fine Arts Museums of San Francisco, San Francisco, CA (organizer) (January 28-March 26, 1989).", "opening_date": "1989-01-28T05:00:00"}, {"id": 441794, "title": "G\u00e9ricault", "description": "<i>G\u00e9ricault</i>. Mus\u00e9e du Louvre, Paris, France (September 26, 1991-January 6, 1992).", "opening_date": "1991-09-26T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": [{"description": "<em>Paintings, Drawings, and Sculpture of the French School of the Last 100 Years</em>. Burlington Fine Arts Club, London (1922).", "opening_date": "1922-01-01T00:00:00"}, {"description": "<em>Collection of Paintings, Porcelain, Bronzes, Decorative Furniture, and Other Works of Art Lent for Exhibition</em>. Bethnal Green Branch of the South Kensington Museum (June 1872).", "opening_date": null}]}, "provenance": [{"description": "Possibly Anatole Demidoff [1812-1870], Paris", "citations": [], "footnotes": null, "date": "?-1863", "sortorder": 1}, {"description": "(Hotel Drouot, Paris, Tableaux des premiers maitres..., January 13-16, 1863, no. 58, probably sold to Richard Seymour-Conway, 4th Marquess of Hertford)", "citations": [], "footnotes": ["<div><!--block-->As&nbsp; \"Un March\u00e9 aux chevaux. Aquarelle.\"</div>"], "date": "1863", "sortorder": 2}, {"description": "Richard Seymour-Conway, 4th Marquess of Hertford [1800-1870], by descent to his son Sir Richard Wallace", "citations": [], "footnotes": ["<div><!--block-->Inscribed on an old label.</div>"], "date": "probably 1863-1870", "sortorder": 3}, {"description": "Sir Richard Wallace [1818-1890], Paris, by descent to his wife Julie-Am\u00e9lie-Charlotte Castelnau, Lady Wallace", "citations": [], "footnotes": null, "date": "1870-1890", "sortorder": 4}, {"description": "Julie-Am\u00e9lie-Charlotte Castelnau, Lady Wallace [1819-1897], London, by descent to her advisor Sir John Murray Scott", "citations": [], "footnotes": ["<div><!--block-->According to Hertford House inventory of 1890.</div>"], "date": "1890-1897", "sortorder": 5}, {"description": "Sir John Murray Scott [1847-1912], London", "citations": [], "footnotes": null, "date": "1897-1912", "sortorder": 6}, {"description": "(Phillips, Son & Neale, Contents of the Residence...of Sir John E.A. Murray Scott, February 9, 1914, no. 446)", "citations": [], "footnotes": ["<div><!--block-->As \"Wild Horses; and Horses in a Stable (a pair).\"</div>"], "date": "1914", "sortorder": 7}, {"description": "(Ernest Leggatt [1853-1922; Lugt 1664e], London, sold to Guy Bellingham Smith)", "citations": [], "footnotes": ["<div><!--block-->According to a letter from Guy Bellingham Smith, CMA files.</div>"], "date": "after 1914-?", "sortorder": 8}, {"description": "Guy Bellingham Smith, London", "citations": [], "footnotes": null, "date": "after 1914-1927", "sortorder": 9}, {"description": "(Frederik Muller & Cie, Amsterdam, Dessins anciens...Collection Bellingham-Smith, July 5-6, 1927, no. 38, probably sold to Gustav Nebehay)", "citations": [], "footnotes": ["<div><!--block-->As \"Combat de chevaux. Au centre, un grand cheval blanc; \u00e0 gauche et \u00e0 droite, des chevaux bruns et autres aux fond. Aquarelle.-Haut. 21,5, larg. 29,5 cent.\"</div>"], "date": "1927", "sortorder": 10}, {"description": "(Gustav Nebehay [1881-1935], Vienna, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1927", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Th\u00e9odore G\u00e9ricault began this work with sketches from life, which became a graphite underdrawing beneath the watercolors.", "description": "Th\u00e9odore G\u00e9ricault turned away from traditional subjects such as mythology and the Bible in favor of modernity, emotion, and drama. He was fascinated by the power and physical beauty of horses and depicted them often. G\u00e9ricault himself was an avid rider and his paintings and drawings on this theme are characterized by vigor and movement. In this watercolor, he focused on a conflict, in which a groom struggles to separate a pair of fighting horses\u2014a scene that appeared only a few times throughout his many interpretations of similar subjects. A sketchbook, now in the collection of the Art Institute of Chicago, shows that the artist carefully studied the animals, including the kicking white stallion at center, in graphite before beginning this finished work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757041"], "internet_archive": ["https://archive.org/details/clevelandart-1929.13-fighting-horses"]}, "citations": [{"citation": "Black, C.C. <em>Catalogue of the Collection of Paintings, Porcelain, Bronzes, Decorative Furniture, and Other Works of Art, Lent for the Exhibition in the Bethnal Green Branch of the South Kensington Museum, by Sir Richard Wallace</em>. Exh. Cat. London: Bethnal Green Branch Museum, 1874.", "page_number": "Mentioned: no. 735", "url": null}, {"citation": "<em>Catalogue of Pictures, Drawings, and Sculpture of the French School of the Last 100 Years</em>. Exh. Cat. London: Burlington Fine Arts Club, 1922.", "page_number": "Mentioned: no. 52", "url": null}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 159", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Francis, Henry S. \"A Drawing by Th\u00e9odore G\u00e9ricault.\" <em>Bulletin of the Cleveland Museum of Art</em> 20, no. 7 (July 1933): 111-113", "page_number": "Mentioned: 111-113; Reproduced: p. 119", "url": null}, {"citation": "Francis, Henry. \"Exhibition of the Work of G\u00e9ricault.\" <em>Bulletin of the Cleveland Museum of Art</em> 24 (1937): 24-26.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "Berger, Klaus. <em>Gericault: Drawings &amp; Watercoolrs</em>. New York: H. Bittner, 1946.", "page_number": "Mentioned and reproduced: no. 24", "url": null}, {"citation": "<em>19th-Century French Drawings</em>. Exh. Cat. San Francisco: California Palace of the Legion of Honor, 1947.", "page_number": "Mentioned: no. 22", "url": null}, {"citation": "<em>Watercolors by the Masters: D\u00fcrer to C\u00e9zanne</em>. Exh. Cat. Minneapolis: Minneapolis Institute of Arts, 1952.", "page_number": "Mentioned: no. 35", "url": null}, {"citation": "<em>Th\u00e9odore G\u00e9ricault, 1791-1824</em>. Exh. Cat. Winterthur: Kunstmuseum Winterthur, 1953.", "page_number": "Mentioned: no. 47", "url": null}, {"citation": "Either, Lorenz. \"G\u00e9ricault at Winterthur.\" <em>Burlington Magazine</em> 96, no. 617 (August 1954): 254-259.", "page_number": "Mentioned: p. 259", "url": null}, {"citation": "<em>De David a\u0300 Toulouse-Lautrec; chefs-d'\u0153uvres des collections ame\u0301ricaines</em>. Exh. Cat. Paris: Mus\u00e9e de l'Orangerie, 1955.", "page_number": "Mentioned: no. 75; Reproduced: plate 12", "url": null}, {"citation": "Roger-Marx, Claude. \"Les Chefs-d'oeuvre des mus\u00e9es des \u00c9tats-Unis: De David \u00e0 Toulouse-Lautrec.\" <em>Le Jardin des arts</em> (May 1955): 385-400.", "page_number": "Mentioned: pp. 396, 400", "url": null}, {"citation": "Veronesi, Giulia. \"Saluto alla Francia.\" <em>Emporium</em> 122 (September 1955).", "page_number": "Reproduced: p. 118", "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. 598", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "H\u00fcttinger, Eduard. <em>Sammlung Emil G. B\u00fchrle</em>. Exh. Cat. Z\u00fcrich: Kunsthaus Z\u00fcrich, 1958.", "page_number": "Mentioned: p. 84, under no. 107", "url": null}, {"citation": "Eitner, Lorenz. <em>G\u00e9ricault: An Album of Drawings in the Art Institute of Chicago</em>. Chicago: University of Chicago Press, 1960.", "page_number": "Mentioned: p. 27, under nos. 20 and 21", "url": null}, {"citation": "Eitner, Lorenz. <em>The Nineteenth Century: One Hundred Twenty-Five Master Drawings</em>. Exh. Cat. New York: Guggenheim Museum, 1962.", "page_number": "Mentioned: no. 48; Reproduced: plate 18", "url": null}, {"citation": "Mongan, Agnes. <em>Great Drawings of All Time</em>. Vol. 3. New York: Shorewood Press, 1962.", "page_number": "Mentioned and reproduced: no. 727", "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. 168", "url": "https://archive.org/details/CMAHandbook1966/page/n192"}, {"citation": "Virch, Claus. <em>The Artist and the Animal.</em> Exh. Cat. New York: Knoedler, 1968.", "page_number": "Mentioned and reproduced: p. 56, no. 72", "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. 168", "url": "https://archive.org/details/CMAHandbook1969/page/n192"}, {"citation": "Eitner, Lorenz. <em>G\u00e9ricault</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1971.", "page_number": "Mentioned: pp. 107, 180-181, no. 65; Reproduced: p. 107", "url": null}, {"citation": "Reidemeister, Leopold, Brigitte Zehmisch, Rolf Kultzen, et al. <em>Fondation Collection Emil G. B\u00fchrle</em>. Munich: Artemis, 1973.", "page_number": "Mentioned: p. 58, under no. 10", "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. 206", "url": "https://archive.org/details/CMAHandbook1978/page/n226"}, {"citation": "Thuillier, Jacques and Grunchec, Philippe. <em>L'opera completa di Gericault</em>. Milan: Rizzoli, 1978.", "page_number": "Mentioned: p. 101, under no. 98", "url": null}, {"citation": "Eitner, Lorenz. \"Review: Tout l'oeuvre peint de G\u00e9ricault.\" <em>Burlington Magazine </em>122, no. 924 (March 1980): 206-210.", "page_number": "Mentioned: p. 206", "url": null}, {"citation": "Grunchec, Phlippe. <em>Gericault: Dessins et Aquarelles de Chevaux</em>. Lausanne: Edita, 1982.", "page_number": "Mentioned: p. 94; Reproduced: p. 95", "url": null}, {"citation": "Grunchec, Philippe. <em>Master Drawings by Gericault</em>. Exh. Cat. Washington, DC: International Exhibitions Foundation, 1985.", "page_number": "Mentioned and reproduced: no. 59", "url": null}, {"citation": "Ingamells, John. <em>The Wallace Collection Catalogue of Pictures: French Nineteenth Century</em>. London: Wallace Collection, 1986.", "page_number": "Mentioned: p. 301, no. 139", "url": null}, {"citation": "Eitner, Lorenz E.A. and Steven A. Nash. <em>Gericault, 1791-1824</em>. Exh. Cat. San Francisco: Fine Arts Museums of San Francisco, 1989.", "page_number": "Mentioned: no. 48", "url": null}, {"citation": "Laveissi\u00e8re, Sylvain and R\u00e9gis Michel. <em>Gericault</em>. Exh. Cat. Pairs: Galeries nationales du Grand Palais, 1991.", "page_number": "Mentioned and reproduced: no. 353", "url": null}, {"citation": "Noel, Bernard. <em>G\u00e9ricault</em>. Paris: Flammarion, 1991.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Bazin, Germain. <em>Th\u00e9odore G\u00e9ricault: \u00e9tude critique, documents et catalogue raisonn\u00e9</em>. Paris: Wildenstein, 1992.", "page_number": "Mentioned: pp. 69, 214, no. 1657; Reproduced: p. 214", "url": null}, {"citation": "\"Drawings on Exhibition.\" <em>Drawing</em> 16, no. 6 (March - April 1995): 131-133.", "page_number": "Reproduced: p. 131", "url": null}, {"citation": "Brugerolles, Emmanuelle. <em>G\u00e9ricault: Dessins &amp; estampes des collections de l'\u00c9cole des Beaux-Arts</em>. Exh. Cat. Paris: \u00c9cole nationale sup\u00e9reure des Beaux-Arts, 1997.", "page_number": "Mentioned: p. 221, under no. E.9", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 126-127, p. 290, no. 49; Reproduced: p. 127", "url": null}, {"citation": "Chenique, Bruno. <em>Les Chevaux de G\u00e9ricault</em>. Paris: Bibliotheque de l'Image, 2002.", "page_number": "Mentioned and reproduced: p. 38, no. 36", "url": null}, {"citation": "Alsteens, Stijn, Carmen C. Bambach, George Goldner, et al, eds. <em>Raphael to Renoir: Drawings from the Collection of Jean Bonna</em>. Exh. Cat. New York: Metropolitan Museum of Art, 2009.", "page_number": "Mentioned and reproduced: p. 220, under no. 97", "url": null}], "catalogue_raisonne": "Bazin 1657", "url": "https://clevelandart.org/art/1929.13", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.13/1929.13_web.jpg", "width": "1212", "height": "893", "filesize": "832471", "filename": "1929.13_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.13/1929.13_print.jpg", "width": "3400", "height": "2505", "filesize": "7802308", "filename": "1929.13_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.13/1929.13_full.tif", "width": "6210", "height": "4577", "filesize": "85299632", "filename": "1929.13_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.13/1929.13_alt0_web.jpg", "width": "1217", "height": "893", "filesize": "933723"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.13/1929.13_alt0_print.jpg", "width": "2048", "height": "1503", "filesize": "2694107"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.13/1929.13_alt0_full.tif", "width": "2048", "height": "1503", "filesize": "9237620"}}], "creditline": "Charles W. Harkness Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110565, "creators": [{"id": 11643, "description": "Th\u00e9odore G\u00e9ricault (French, 1791\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-01-09T00:00:00", "sortable_date": 1815, "date_added_to_oa": null, "date_text": "c. 1820", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Horses Battling in a Corral"], "is_highlight": false, "updated_at": "2026-03-27 00:07:35.078000"}, {"id": 136459, "accession_number": "1960.37", "share_license_status": "CC0", "tombstone": "Serpent Headdress, late 1800s\u2013early 1900s. Africa, West Africa, Guinea, possibly Baga-style maker. Wood (Nauclea pobeguinii) and paint; overall: 148 cm (58 1/4 in.). The Cleveland Museum of Art, The Norweb Collection, 1960.37", "current_location": "108A African", "title": "Serpent Headdress", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, Guinea, possibly Baga-style maker"], "technique": "Wood (Nauclea pobeguinii) and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 148 cm (58 1/4 in.)", "dimensions": {"overall": {"height": 1.48}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 302281, "title": "Landscape", "description": "<i>Landscape</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 9-April 22, 1962).", "opening_date": "1962-01-09T05:00:00"}, {"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}], "legacy": [{"description": "CMA 1960:  \"Year in Review,\" Bulletin XLVII (December 1960), p. 250, no. 13, repr. p. 234.", "opening_date": "1960-12-01T00:00:00"}, {"description": "Kansas City, MO: The Imagination of Primitive Man, January 3-March 14, 1962, no. 18.", "opening_date": "1962-01-03T00:00:00"}, {"description": "CMA 1975:  Traditions and Revisions, no. 117.", "opening_date": "1975-01-01T00:00:00"}, {"description": "CMA 1987:  Images of the Mind, July 7-August 23, 1987, repr. p. 22,", "opening_date": "1987-07-07T00:00:00"}]}, "provenance": [{"description": "Jacqueline (and Maurice?) Nicaud by purchase. Possibly village of Kanfrande [Kanfarand\u00e9], District of Boke, French Guinea.", "citations": [], "footnotes": ["<ul><li><!--block-->Location reported in letter February 24, 1960 between Sherman E. Lee and Emery May Norweb, curatorial files.</li><li><!--block-->However, in a July 17, 1994 letter between Jacqueline Nicaud and Thomas Wheelock, Madame Nicaud says that she cannot remember where she purchased the \"bansonyi,\" even after reviewing her archives. She does note that she was buying them starting from 1954, \"in the presence of the chief and his administrators.\" Curatorial files.</li></ul>"], "date": "ca.1954\u20131960", "sortorder": 1}, {"description": "Mathias Komor, New York, NY", "citations": [], "footnotes": ["<div><!--block-->Letter February 24, 1960 between Sherman E. Lee and Emery May Norweb, curatorial files.</div>"], "date": "by 1960", "sortorder": 2}, {"description": "Emery May Norweb (aka Mrs. R. Henry Norweb) by purchase", "citations": [], "footnotes": ["<div><!--block-->Letter February 24, 1960 between Sherman E. Lee and Emery May Norweb, curatorial files.</div>"], "date": "1960", "sortorder": 3}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": ["<ul><li><!--block-->Letter February 24, 1960 between Sherman E. Lee and Emery May Norweb, curatorial files.&nbsp;</li><li><!--block-->Press release, August 10, 1960 - https://archive.org/details/cmapr0592/mode/1up&nbsp;</li><li><!--block-->\"Year in Review\" December 1960 (catalogue #13).&nbsp;</li></ul>"], "date": "1960\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the context of boys' initiations, the serpent headdress was sometimes identified as the rainbow, which the Baga and their neighbors associate with beginnings and endings, life and death, and the continuation of lineages.", "description": "Traditionally, Baga society was ruled by village councils of elders who derived their power from their direct contact with spirit entities through lifelong initiation rituals and the accumulation of secret knowledge. Two different religious orders controlled initiations, providing the context for much Baga art. One was identified as female, the other as male, though only men belonged to both groups. Initiations in each order followed three stages, culminating in the revelation of the highest spirit being. This type of Baga headdress embodied the serpent spirit Ninkinanka, honored for giving rain, bestowing riches, and bringing forth children. The serpent figure would be placed on top of a conical framework of palm branches carried on a male dancer\u2019s head. It appeared at the end of the first level of the initiation for boys and girls or just before the circumcision at the beginning of the boys\u2019 initiation.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1960.37-serpent-headdress"]}, "citations": [{"citation": "Cleveland Museum of Art, and Case Western Reserve University. 1975. <em>Traditions and Revisions : Themes from the History of Sculpture</em>. Cleveland, Kent, Ohio: Cleveland Museum of Art ; Distributed by the Kent State University Press, cat. 117.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, and Henry John Drewal. 1989. <em>African Art : A Brief Guide to the Collection : The Cleveland Museum of Art</em>. Cleveland: Museum, fig. 28.", "page_number": "", "url": ""}, {"citation": "<em>The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals</em>. 2022 Second ed. New York: Oxford University Press, fig. 3.6, p. 83-84.", "page_number": "", "url": ""}, {"citation": "Franklin, David, C. Griffith Mann, and Cleveland Museum of Art. 2012. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, p. 286-7.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d August 10, 1960, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0592"}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d October 25, 1960, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0627"}, {"citation": "Wixom, William. \"Two African Tribal Sculptures.\" <em>The Bulletin of the Cleveland Museum of Art </em>48, no. 3 (March 1961): 39-45.", "page_number": "Reproduced: p. 38, fig 1-3; Mentioned: p. 40", "url": "https://www.jstor.org/stable/25142440"}, {"citation": "William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, and Ralph T. Coe. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World</em>. Kansas City, Mo: The Museum, 1962.", "page_number": "Mentioned: p. 11, 17, cat. no. 18", "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. 302", "url": "https://archive.org/details/CMAHandbook1966/page/n326"}, {"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. 302", "url": "https://archive.org/details/CMAHandbook1969/page/n326"}, {"citation": "Wixom, William D. \u201cAfrican Art in the Cleveland Museum of Art.\u201d <em>African Arts</em> 10, no. 3 (1977): 16\u201388.", "page_number": "Reproduced: p. 23, fig. 11; mentioned: p. 24", "url": "https://doi.org/10.2307/3335296"}, {"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. 410", "url": "https://archive.org/details/CMAHandbook1978/page/n430"}, {"citation": "Cleveland Museum of Art. <em>Images of the Mind.</em> Cleveland, Ohio: Cleveland Museum of Art, 1987.", "page_number": "Reproduced: [p. 22]", "url": ""}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter. <em>African Art in American Collections, Survey 1989</em>. Washington: Smithsonian Institution Press, 1989.", "page_number": "Reproduced: p. 143, fig. 247", "url": null}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 12, p. 54 - 55", "url": ""}, {"citation": "Petridis, Constantine. \u201cSpirit-Bringer-of-Riches: News on Cleveland's serpent headdress.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 5 (September/October 2016): 14-15.", "page_number": "Reproduced: p. 14; Mentioned: p. 14, 15", "url": "https://archive.org/details/CMAMM2016-05"}, {"citation": "Petridis, Constantine. \"Not Just a Snake: New Light on the Serpent Headdress at the Cleveland Museum of Art.\"<em> Tribal Art 21</em>, no. 1 (Winter 2016): 122-127.", "page_number": "Reproduced: p. 122, fig. 1a & b; p. 127, fig. 9", "url": null}, {"citation": "Curtis, Marie Yvonne. <em>Baga</em>. Milan, Italy : 5 Continents Editions, 2018.", "page_number": "Reproduced: p. 77, pl. 12; mentioned: pp. 39, 123", "url": null}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: p. 90, no. 4.4", "url": ""}], "url": "https://clevelandart.org/art/1960.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.37/1960.37_web.jpg", "width": "561", "height": "900", "filesize": "134382", "filename": "1960.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.37/1960.37_print.jpg", "width": "2121", "height": "3400", "filesize": "567601", "filename": "1960.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.37/1960.37_full.tif", "width": "8195", "height": "13137", "filesize": "323002900", "filename": "1960.37_full.tif"}}, "alternate_images": [{"date_created": "2009-06-12T17:32:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.37/1960.37_alt0_web.jpg", "width": "372", "height": "893", "filesize": "144661"}, "print": {"url": 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Africa, West Africa, Nigeria, Ejagham-style maker. Wood, rawhide, cane, paint, bone or ivory, natural fiber, and metal; overall: 67.3 x 43.2 x 43.2 cm (26 1/2 x 17 x 17 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1990.23", "current_location": "108A African", "title": "Headdress", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Ejagham-style maker"], "technique": "Wood, rawhide, cane, paint, bone or ivory, natural fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 67.3 x 43.2 x 43.2 cm (26 1/2 x 17 x 17 in.)", "dimensions": {"overall": {"height": 0.673, "width": 0.432, "depth": 0.432}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. 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The depicted hairstyle was worn during the coming-out ceremony following the girls\u2019 seclusion.", "description": "Headdresses or crest masks made of antelope skin stretched over a carved head are a distinctive art form of the Cross River region in southeastern Nigeria and western Cameroon. This female evocation of ideal feminine beauty was most probably worn by an Ejagham woman in the context of a female society called Ekpa, which was responsible for the education of girls in preparation for marriage.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1990.23-headdress"]}, "citations": [{"citation": "Drewal, Henry John. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 113", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Young-S\u00e1nchez, Margaret. \"The Cleveland Museum of Art.\" <em>African Arts</em> 30, no. 1 (1997).", "page_number": "pp. 66-71", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: Selected Works of African Art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 29, p. 88 - 89", "url": ""}, {"citation": "Petridis, Constantine. \"A New Installation for African Art in Cleveland.\" <em>Tribal </em>3, no. 36 (Autumn/Winter 2004).", "page_number": "pp. 68-73", "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. 32-33", "url": ""}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. 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Gustave Courbet (French, 1819\u20131877). Oil on fabric; framed: 172 x 230 x 8.5 cm (67 11/16 x 90 9/16 x 3 3/8 in.); unframed: 151.2 x 210.2 cm (59 1/2 x 82 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund and various donors by exchange, 1964.420", "current_location": "220 19th Century European", "title": "Panoramic View of the Alps, Les Dents du Midi", "creation_date": "1877", "creation_date_earliest": 1877, "creation_date_latest": 1877, "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: 172 x 230 x 8.5 cm (67 11/16 x 90 9/16 x 3 3/8 in.); Unframed: 151.2 x 210.2 cm (59 1/2 x 82 3/4 in.)", "dimensions": {"framed": {"height": 1.72, "width": 2.3, "depth": 0.085}, "unframed": {"height": 1.512, "width": 2.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 444095, "title": "Gustave Courbet", "description": "<i>Gustave Courbet</i>. Mus\u00e9e du Louvre, Paris, France (October 1, 1977-January 2, 1978).", "opening_date": "1977-10-01T04:00:00"}, {"id": 220961, "title": "Courbet, Artist and Entrepeneur", "description": "<i>Courbet, Artist and Entrepeneur</i>. Mus\u00e9e Cantonal des Beaux-Arts, Lausanne, Switzerland (November 21, 1998-February 21, 1999).", "opening_date": "1998-11-21T00:00:00"}, {"id": 217061, "title": "Courbet and the Modern Landscape", "description": "<i>Courbet and the Modern Landscape</i>. J. Paul Getty Museum, Los Angeles, CA (organizer) (February 21-May 14, 2006); Museum of Fine Arts, Houston, Houston, TX (June 18-September 10, 2006).", "opening_date": "2006-02-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. 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": 226437, "title": "Gustave Courbet. Les an\u00e9es suisses", "description": "<i>Gustave Courbet. Les an\u00e9es suisses</i>. Mus\u00e9e d'art et d'histoire, Gen\u00e9ve 3, Switzerland (September 5, 2014-January 4, 2015).", "opening_date": "2014-09-05T00:00:00"}], "legacy": [{"description": "<em>Gustave Courbet.</em> Grand Palais, Paris, France; Royal Academy, London, United Kingdom: (1819-1877).", "opening_date": null}]}, "provenance": [{"description": "Juliette Courbet [1831-1915], sister of the artist, by descent to Mmes de Tastes and Lapierre", "citations": [], "footnotes": [], "date": "?-1915", "sortorder": 1}, {"description": "Mmes de Tastes and Lapierre", "citations": [], "footnotes": [], "date": "1915-1919", "sortorder": 2}, {"description": "(Galerie Georges Petit, Paris, France, July 9, 1919 (lot 12), La Dent du Midi, sold to Galerie Barbazanges)", "citations": [], "footnotes": [], "date": "1919", "sortorder": 3}, {"description": "(Galerie Barbazanges, Paris, France)", "citations": [], "footnotes": [], "date": "1919", "sortorder": 4}, {"description": "Mrs. Hennet Collection, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "Private collection, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "(Hirschl & Adler, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1964", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This late, unfinished painting reveals some of Courbet's techniques. At the top of the mountains you can see how different brushstrokes and thickly applied paint were used to differentiate the texture of the clouds from the snow.", "description": "Courbet was still working on this large landscape, intended for the Paris Universal Exposition of 1879, when he died in December 1877. He painted it during his exile in Switzerland, where he had fled after being condemned for subversive activities in the Paris Commune of 1871. The view looks south over Lake Geneva toward the mountains called Les Dents du Midi. While some areas are heavily worked with a palette knife, the lower right remains unfinished.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469411"], "internet_archive": ["https://archive.org/details/clevelandart-1964.420-panoramic-view-of-th"]}, "citations": [{"citation": "Riat, Georges, and Paul Vitry. <em>Gustave Courbet, peintre</em>. Paris, France: H. Floury, 1906.", "page_number": "Reproduced: p. 356", "url": null}, {"citation": "Le\u0301ger, Charles. <em>Courbet et son temps; lettres et documents ine\u0301dits</em>. Paris, France: E\u0301ditions universelles, 1948.", "page_number": "Reproduced: p. 167", "url": null}, {"citation": "\"Year in Review for 1964.\" <em>The Bulletin of The Cleveland Museum of Art LI</em>, no. 12 (December, 1964): 236-267.", "page_number": "Reproduced: p. 248, no.73; Mentioned: p. 263", "url": null}, {"citation": "Francis, Henry S. \"Reports of the Departments: Paintings.\" <em>The Bulletin of The Cleveland Museum of Art LII</em> no. 6 (June, 1965): 143-145.", "page_number": "Mentioned: p. 144", "url": null}, {"citation": "\u201cGrand Panorama Des Alpes, Ou La Dent Du Midi.\u201d <em>Gazette Des Beaux Arts </em>65 <em>(</em>February 1965): sup.57.", "page_number": "Reproduced: P. 57", "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. 170", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "Lurie, Ann Tzeutschler. \"Gustave Corbet, Grand Panorama of the Alps with the Dent du Midi.\" <em>The Bulletin of The Cleveland Museum of Art LIII</em> no. 3 (March, 1966):74-80.", "page_number": "Reproduced: p. 74; Mentioned: p. 74-80", "url": "https://www.jstor.org/stable/25152094"}, {"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. 170", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "<em>Hommage a\u0300 Courbet: catalogue de l'exposition organise\u0301e a\u0300 l'occasion du centenaire de la mort du mai\u0302tre-peintre : Muse\u0301e-maison natale Gustave Courbet, Ornans, 2 juillet-16 octobre 1977</em>. Paris, France: Les Amis de Gustave Courbet, 1977.", "page_number": "Reproduced: no. 981", "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. 211", "url": "https://archive.org/details/CMAHandbook1978/page/n231"}, {"citation": "Hofman, Werner and Klaus Herding. <em>Courbet und Deutschland: [Hamburger Kunsthalle, 19. Oktober-17. Dezember 1978, Sta\u0308dt. Galerie im Sta\u0308delschen Kunstinst. Frankfurt am Main, 17. Januar-18. Ma\u0308rz 1979</em>. Ko\u0308ln, Germany: Du Mont, 1978.", "page_number": "Reproduced: p. 65, fig. a", "url": null}, {"citation": "Fernier, Robert. <em>La Vie et l'\u0153uvre de Gustave Courbet: Catalogue Raisonne\u0301.</em> Lausanne: Bibliothe\u0300que des Arts, 1978.", "page_number": "Mentioned and reproduced: P. 200-201, no. 955", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 72", "url": null}, {"citation": "Llera Rodriguez, Ramon. \u201cCourbet, Entre El Romanticismo y El Realismo.\u201d <em>Goya</em>, no. 156 (May 1980): 351\u201357.", "page_number": "Reproduced: P. 357", "url": null}, {"citation": "Courthion, Pierre. <em>L'opera completa di Courbet</em>. Milano, Italy: Rizzoli, 1985.", "page_number": "Reproduced: p. 971", "url": null}, {"citation": "Herding, Klaus. \"Zu Courbets Spatwerk.\" <em>Pantheon </em>44 (1986): 75-86.", "page_number": "Reproduced: P. 80", "url": null}, {"citation": "Herding, Klaus. \"Courbet Reconsidered. Brooklyn and Minneapolis.\" <em>The Burlington Magazine</em> 131, no. 1032 (March 1989): 244-46.", "page_number": "Reproduced: P. 245, fig. 72", "url": null}, {"citation": "Herding, Klaus. <em>Courbet: To Venture Independence</em>. New Haven, CT: Yale University Press, 1991.", "page_number": "Reproduced: p. 151, fig. 63", "url": null}, {"citation": "Faunce, Sarah. <em>Gustave Courbet</em>. New York, NY: H.N. Abrams, 1993.", "page_number": "Reproduced: p. 46; Mentioned: p. 45-46", "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. 45", "url": null}, {"citation": "Georgel, Pierre. <em>Courbet: le poe\u0300me de la nature</em>. Paris, France: Gallimard, 1995.", "page_number": "Reproduced: p. 126-127", "url": null}, {"citation": "Metken Gu\u0308nter. \u201c\u2018Aus Hohen Bergen ...\" : Alpine Malerei Zwischen Niklaus Manuel Deutsch Und Jean Le Gac.\u201d <em>Weltkunst</em> 65 (June 1995): 1460-1463.", "page_number": "Reproduced: P. 1461", "url": null}, {"citation": "Rubin, James Henry. <em>Courbet</em>. London, United Kingdom: Phaidon, 1997.", "page_number": "Mentioned: p. 300; Reproduced: p. 339, fig. 200", "url": null}, {"citation": "Faunce, Sarah. <em>Gustave Courbet (1819-1877): Jura Landscape, or, Jura Landscape with Shepherdess and Donkey</em>. New York, NY: Salander-O'Reilly Galleries, 1998.", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "Fernier, Jean-Jacques and Clement Greenberg. <em>Gustave Courbet (1819-1877): Later Paintings</em>. New York, NY, NY: Salander O'Reilly Galleries, 1998.", "page_number": "Reproduced: p.77", "url": null}, {"citation": "Chu, Petra ten-Doesschate and Jo\u0308rg Zutter. <em>Courbet: artiste et promoteur de son \u0153uvre</em>. Paris, France: Flammarion, 1998.", "page_number": "Reproduced: p. 515, no. 47", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH; The Cleveland Museum of Art, 1999.", "page_number": "Mentioned and Reproduced: p. 164-165, no. 62, Vol. I", "url": null}, {"citation": "Harrison, Colin. 1999. \u201cCourbet for Collectors.\u201d <em>Apollo: The International Magazine for Collectors</em> 149, no. 447 (May 1999): 52\u201353.", "page_number": "Reproduced: P. 53", "url": null}, {"citation": "Coen, Vittoria. <em>Everest: l'orizzonte curvo della fantasia</em>. Rovereto (TN): Nicolodi, 2002.", "page_number": "Mentioned: p. 96-99; Reproduced: p. 96", "url": null}, {"citation": "Eisenman, Stephen, and Thomas E. Crow. <em>Nineteenth Century Art: A Critical History</em>. New York, NY.: Thames &amp; Hudson, 2002.", "page_number": "Reproduced: p. 239, fig. 10.22", "url": null}, {"citation": "Bajou-Charpentreau, Vale\u0301rie, and Gustave Courbet. <em>Courbet</em>. Paris, France: A. Biro, 2003.", "page_number": "Reproduced: p, 395, 397", "url": null}, {"citation": "Morton, Mary G., Charlotte Nalle Eyerman, and Dominique de Font-Re\u0301aulx. <em>Courbet and the Modern Landscape</em>. Los Angeles, CA: J. Paul Getty Museum, 2006.", "page_number": "Reproduced: p. 239, pl. 49", "url": null}, {"citation": "Eisenman, Stephen, and Thomas E. Crow. <em>Nineteenth Century Art: A Critical History.</em> London, United Kingdom: Thames &amp; Hudson, 2007.", "page_number": "Reproduced: p. 263, fig. 11.25", "url": null}, {"citation": "Le Men, Se\u0301gole\u0300ne. <em>Courbet</em>. New York, NY: Abbeville Press, 2008.", "page_number": "Reproduced: p. 252, pl. 200", "url": null}, {"citation": "Radrizzani, Dominique, Huguette Radrizzani, Rene\u0301 Radrizzani, and Franc\u0327oise Lambert. <em>Lemancolia: traite\u0301 artistique du Le\u0301man</em>. Lausanne, Switzerland: Noir sur Blanc E\u0301ditions, 2013.", "page_number": "Reproduced: p. 142, fig. 105", "url": null}, {"citation": "Madeline, Laurence. <em>Gustave Courbet: Les Anne\u0301es Suisses</em>. [Paris]: Art Lys, 2014.", "page_number": "Reproduced: P. 246-247, no. 70", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 291", "url": ""}, {"citation": "\"Gustave Courbet, Les Annees Suisses.\" L'\u0152il 671 (September 2014).", "page_number": "Mentioned: p. 84; Reproduced: fig. 3", "url": null}, {"citation": "Rubin, James Henry, and Patrick Matthiesen. <em>Gustave Courbet: Mother and Child on a Hammock &amp; 'Courbet in Love and Productive Disappointment'</em>. London: Matthiesen Ltd, 2016.", "page_number": "Mentioned and reproduced: P. 50-51, fig. 55", "url": ""}, {"citation": "Chambaz, Bernard. <em>Le dernier tableau: de Simone Martini a\u0300 Zao Wou-Ki. </em>Paris: \u00c9ditions du Seuil, 2017.", "page_number": "Reproduced: p. 21", "url": null}, {"citation": "Chambaz, Bernard, and David Watson. <em>The Last Painting: Final Works of the Great Masters from Giotto to Twombly.</em> Woodbridge, Suffolk: ACC Art Books Ltd, 2018.", "page_number": "Mentioned and reproduced: P. 20-21", "url": null}, {"citation": "Richart, Brigitte, and Alexandra Jalaber. <em>Gustave Courbet: Paysages de Mer. </em>Rouen: E\u0301ditions des Falaises, 2019.", "page_number": "Mentioned and reproduced: P. 54-55", "url": ""}, {"citation": "Trumpener, Katie, and T. J. Barringer. <em>On the Viewing Platform: The Panorama between Canvas and Screen.</em> New Haven; London: Yale University Press, 2020.", "page_number": "Mentioned and reproduced: P. 24, fig. 0.18", "url": ""}, {"citation": "Lecomte, Georges.\"Le centenaire de Gustave Corbet.\" <em>La Renaissance</em> 2 (1919): 330.", "page_number": "Reproduced: p. 330", "url": null}, {"citation": "Sgarbi, Vittorio. <em>Il Cielo Pi\u00f9 Vicino: La Montagna Nell\u2019Arte.</em> Milano: La Nave di Teseo, 2025.", "page_number": "Mentioned and reproduced: p. 196-197", "url": ""}], "url": "https://clevelandart.org/art/1964.420", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.420/1964.420_web.jpg", "width": "1244", "height": "893", "filesize": "192793", "filename": "1964.420_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.420/1964.420_print.jpg", "width": "3400", "height": "2428", "filesize": "5993739", "filename": "1964.420_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.420/1964.420_full.tif", "width": "5905", "height": "4216", "filesize": "74720120", "filename": "1964.420_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund and various donors by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 141168, "creators": [{"id": 1600, "description": "Gustave Courbet (French, 1819\u20131877)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy farmer's family, Courbet began his training in 1831 at the Petit S\u00e9minaire in Ornans where, beginning in 1833, he studied under \"le p\u00e8re Baud,\" who had been a pupil of Gros (q.v.). He was befriended by poet Max Buchon, who would later write the first article on Courbet, claiming that he was the artist for the people. In 1837, hoping that Gustave would become a lawyer, his father sent him to the Coll\u00e8ge Royal in Besan\u00e7on. Despite his father's ambitions, Courbet began to study art at the academy there with Charles-Antoine Flageoulot (1774-1840), a former student of David (q.v.). By 1839 Courbet had moved to Paris to pursue a career in art. He refrained from entering the \u00c9cole des Beaux-Arts, studying instead briefly with Charles de Steuben (1788-1856) and preferring to learn how to paint by copying the works of the Old Masters in the museums. Courbet also wanted to work after life models and enrolled at the Acad\u00e9mie Suisse. He began to submit paintings to the Salon, the majority of which were rejected. In 1846-47 Courbet traveled to the Netherlands where he studied the works of Rembrandt and Hals. The following year ten of his paintings were shown at the Salon, and together with his friends Baudelaire, Champfleury, and Buchon he became labeled a \"realist.\" Courbet's paintings shown at the 1851 Salon-Stonebreakers (1849, formerly Dresden Gem\u00e4ldegalerie, destroyed during World War II), Peasants of Flagey (1850-55, Mus\u00e9e des Beaux-Arts, Besan\u00e7on), and The Burial at Ornans (1849-50, Mus\u00e9e d'Orsay, Paris)-elicited criticism. Because Courbet represented the peasants as he saw them, without ennobling or idealizing them, his works met with disapproval. Moreover, these representations of peasants appeared at a time when the upper classes felt threatened by social unrest and by the instability of the republic. In 1855 Courbet financed an independent Pavillon du R\u00e9alisme near the Universal Exposition, where he showed his Painter's Studio (1854-55, Mus\u00e9e d'Orsay, Paris). He began to travel extensively, including visits to Gent, Brussels, Antwerp, Bruges, Cologne, Mainz, and Strasbourg. He returned to Germany in 1858, and while in Frankfurt, he began to paint the stag hunts he witnessed. The following year he visited the Normandy coast, painting seascapes, some of which became almost abstractions. Courbet turned to still lifes in 1862-63 when visiting the Saintonge area, yet he still continued to create landscapes and portraits. By 1870 he was offered the Legion of Honor but refused it because of his opposition to the imperial government. During the Paris Commune from March to May 1871, Courbet became an active member of the government. As chairman of the Commission for the Protection of the Artistic Monuments of Paris, he suggested the Vend\u00f4me Column be dismantled because it was an imperial symbol. The Commune decided instead to topple the column. When the Commune was defeated, Courbet was held responsible for this act of vandalism and was jailed for six months. In 1873 the government decided to rebuild the column at Courbet's expense. Unable to pay and fearful of being arrested, Courbet moved to Switzerland, where he spent the rest of his life in exile.", "name_in_original_language": null, "birth_year": "1819", "death_year": "1877", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-12-19T00:00:00", "sortable_date": 1877, "date_added_to_oa": null, "date_text": "1877", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Grand Panorama of the Alps with the Dents du Midi"], "is_highlight": true, "updated_at": "2026-03-31 11:08:35.757000"}, {"id": 173263, "accession_number": "1925.1409", "share_license_status": "CC0", "tombstone": "Monsieur Boileau at the Caf\u00e9, 1893. Henri de Toulouse-Lautrec (French, 1864\u20131901). Oil and tempera with charcoal on millboard; sheet: 80.3 x 65 cm (31 5/8 x 25 9/16 in.); framed: 105.4 x 89.5 x 8.3 cm (41 1/2 x 35 1/4 x 3 1/4 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1925.1409", "current_location": null, "title": "Monsieur Boileau at the Caf\u00e9", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil and tempera with charcoal on millboard", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 80.3 x 65 cm (31 5/8 x 25 9/16 in.); Framed: 105.4 x 89.5 x 8.3 cm (41 1/2 x 35 1/4 x 3 1/4 in.)", "dimensions": {"sheet": {"height": 0.803, "width": 0.65}, "framed": {"height": 1.054, "width": 0.895, "depth": 0.083}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, upper left, in gouache: \u00e0 mon ami Boileau / HTLautrec [HTL in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 360858, "title": "Exposition H. de Toulouse-Lautrec, au profit de la Soci\u00e9t\u00e9 des Amis du Mus\u00e9e d'Albi", "description": "<i>Exposition H. de Toulouse-Lautrec, au profit de la Soci\u00e9t\u00e9 des Amis du Mus\u00e9e d'Albi</i>. Mus\u00e9e des arts D\u00e9coratifs, Paris, France (organizer) (April 9-March 17, 1931).", "opening_date": "1931-04-09T05:00:00"}, {"id": 360859, "title": "Independent Painters of Nineteenth-Century Paris", "description": "<i>Independent Painters of Nineteenth-Century Paris</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (March 15-April 28, 1935).", "opening_date": "1935-03-15T05:00:00"}, {"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": 360860, "title": "Toulouse-Lautrec: Paintings, Drawings, Posters", "description": "<i>Toulouse-Lautrec: Paintings, Drawings, Posters</i>. M. Knoedler & Co., Inc., New York, NY (organizer) (November 15-December 11, 1937).", "opening_date": "1937-11-15T05:00:00"}, {"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": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 360863, "title": "A Loan Exhibition of Toulouse-Lautrec", "description": "<i>A Loan Exhibition of Toulouse-Lautrec</i>. Wildenstein & Co., New York, NY (organizer) (October 23-November 23, 1946).", "opening_date": "1946-10-23T05:00:00"}, {"id": 360864, "title": "Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec", "description": "<i>Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec</i>. Carnegie Institute, Pittsburgh, PA (organizer) (March 6-April 20, 1947).", "opening_date": "1947-03-06T05:00:00"}, {"id": 360865, "title": "Toulouse-Lautrec exposition en l'honneur du cinquanti\u00e8me anniversaire de sa mort", "description": "<i>Toulouse-Lautrec exposition en l'honneur du cinquanti\u00e8me anniversaire de sa mort</i>. Mus\u00e9e de l'Orangerie, Paris, France (organizer).", "opening_date": "1951-05-01T04:00:00"}, {"id": 360866, "title": "Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs", "description": "<i>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</i>. The Museum of Modern Art, New York, NY (organizer) (March 20-May 6, 1956).", "opening_date": "1956-03-20T05:00:00"}, {"id": 360867, "title": "Masterpieces Recalled: Benefit for League for Emotionally Disturbed Children", "description": "<i>Masterpieces Recalled: Benefit for League for Emotionally Disturbed Children</i>. Rosenberg & Co., New York, NY (organizer) (February 6-March 2, 1957).", "opening_date": "1957-02-06T05:00:00"}, {"id": 361401, "title": "Toulouse-Lautrec", "description": "<i>Toulouse-Lautrec</i>. Wildenstein & Co., New York, NY (February 7-March 14, 1964).", "opening_date": "1964-02-07T05:00:00"}, {"id": 367126, "title": "Centenaire de Toulouse-Lautrec", "description": "<i>Centenaire de Toulouse-Lautrec</i>. Petit Palais, Mus\u00e9e des Beaux-Arts de la Ville de Paris (organizer).", "opening_date": "1964-06-01T04:00:00"}, {"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": 367178, "title": "Toulouse-Lautrec", "description": "<i>Toulouse-Lautrec</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (organizer) (co-organizer) (October 8, 1991-January 19, 1992).", "opening_date": "1991-10-08T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 177160, "title": "Toulouse-Lautrec and Montmartre", "description": "<i>Toulouse-Lautrec and Montmartre</i>. The Art Institute of Chicago, Chicago, IL (July 16-October 10, 2005).", "opening_date": "2005-03-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Exposition des Ind\u00e9pendants, </em>Paris, France (March 18 - April 27, 1893).", "opening_date": "2018-03-01T00:00:00"}, {"description": "<em>Exposition Toulouse Lautrec.</em> Wildenstein &amp; Co., New York, NY (1914).", "opening_date": "1914-01-01T00:00:00"}, {"description": "<em>Exposition r\u00e9trospective de l'oeuvre de Toulouse-Lautrec. </em>Galerie Manzi-Joyant, Paris, France (1914).", "opening_date": "1914-01-01T00:00:00"}, {"description": "<em>Les Oeuvres des grands ma\u00eetres du XIX si\u00e8cle. </em>Paul Rosenberg &amp; Co., Paris, France (1922).", "opening_date": "1922-01-01T00:00:00"}, {"description": "<em>Paintings by Henri de Toulouse-Lautrec</em>. Art Institute of Chicago, organized by Arts Club of Chicago (December 23, 1924 - January 25, 1925)", "opening_date": "1924-12-23T00:00:00"}, {"description": "<em>Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum</em>. Philadelphia Museum of Art, Philadelphia, PA (October 29 - December 11, 1955); Art Institute of Chicago. Chicago, IL (January 2 - February 15, 1956).", "opening_date": "1955-10-29T00:00:00"}]}, "provenance": [{"description": "Monsieur Boileau, Paris", "citations": [], "footnotes": null, "date": "after 1893-after 1898", "sortorder": 1}, {"description": "Baron Lafaurie, Paris", "citations": [], "footnotes": [], "date": "after 1898-by 1924", "sortorder": 2}, {"description": "(Paul Rosenberg, Paris)", "citations": [], "footnotes": [], "date": "by 1924-by 1925", "sortorder": 3}, {"description": "(Wildenstein & Co., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "after 1924-1925", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1925-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["394.1925"], "did_you_know": "The green drink on the table is probably absinthe, a popular drink with artists at the time that was thought to have hallucinogenic properties.", "description": "Cleveland\u2019s 1925 purchase of this work by Henri de Toulouse-Lautrec marked the first acquisition of one of the artist\u2019s drawings by a museum in the United States. Its subject, Monsieur Boileau, was a gossip columnist known to drink heavily at Le Mirliton, a nightclub. Here, saturated, acidic tones evoke the room\u2019s gas lamps and thinned oil paint absorbs into its support, producing texture that complements the scene\u2019s grittiness. In his own time, Toulouse-Lautrec was considered a portraitist for such depictions of friends and other inhabitants of his neighborhood. He preferred drawing for its immediacy, using it to record his sitters\u2019 personalities through materials and formal choices.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230237"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1409-monsieur-boileau-at"]}, "citations": [{"citation": "<em>Exposition des Ind\u00e9pendants</em>. Exh. Cat. Paris: Pavillion de la ville, 1893.", "page_number": "Mentioned: p. 1246", "url": null}, {"citation": "Saunier, Charles. \"Critique d'Art: Salon des Ind\u00e9pendants,\" <em>La Plume</em>, no. 96 (April 15, 1893): 171-73.", "page_number": "Mentioned: p. 172", "url": ""}, {"citation": "Coquiot, Gustave. <em>Toulouse-Lautrec</em>. Berlin: Ernst Wasmuth, 1923.", "page_number": "Mentioned: p. 56; Reproduced: pl. 27", "url": null}, {"citation": "Brook, Alexander. \"Henri de Toulouse-Lautrec.\" <em>The Arts </em>4, no. 3 (September 1923): 125-165.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Barth\u00e9lemy, A. <em>Paintings by Henri de Toulouse-Lautrec</em>. Exh. Cat. Chicago: Arts Club of Chicago, 1924.", "page_number": "Mentioned: no. 1; Reproduced: cover", "url": null}, {"citation": "Milliken, William M. \"A Painting by Toulouse-Lautrec.\" <em>Bulletin of the Cleveland Museum of Art</em> 12, no. 10 (December 1925): 159-161.", "page_number": "Mentioned: pp. 159-161; Reproduced: n.p.", "url": null}, {"citation": "Joyant, Maurice. <em>Henri de Toulouse-Lautrec, peintre, 1864-1901</em>. Paris: Floury, 1926.", "page_number": "Mentioned and reproduced: vol. I, p. 148", "url": null}, {"citation": "Joyant, Maurice. \"Toulouse-Lautrec.\" <em>L'Art et l'artistes</em> (February 1927): 145-172.", "page_number": "Mentioned: p. 155", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 40", "url": "https://archive.org/details/CMAHandbook1928/page/n44"}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 167", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "<em>Exposition H. de Toulouse-Lautrec au profit de la Soci\u00e9te\u0301 des Amis du Muse\u0301e d'Albi.</em> Exh. Cat. Paris: Muse\u0301e des arts de\u0301coratifs, 1931.", "page_number": "Mentioned: no. 98", "url": null}, {"citation": "Wilenski, R. H. <em>French Painting</em>. Boston: Hale, Cushman &amp; Flint, 1931.", "page_number": "Mentioned: p. 277", "url": null}, {"citation": "MacOrlan, Pierre. <em>Lautrec: peintre de la lumi\u00e8re froide</em>. Paris: Floury, 1934.", "page_number": "Reproduced: p. 95", "url": null}, {"citation": "<em>Independent Painters of Nineteenth Century Paris</em>. Exh. Cat. Boston: Museum of Fine Arts, 1935.", "page_number": "Mentioned: p. 34, no. 54", "url": null}, {"citation": "Milliken, William M. \"The Twentieth Anniversary Exhibition of the Cleveland Museum of Art.\" <em>The Art News</em> 34, no. 37 (June 13, 1936): 7-14.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Milliken, William M. \"Superb Art Display Marks Cleveland Museum's 20th Anniversary.\" <em>Art Digest</em> 10 (July 1, 1936): 5-22.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "<em>Toulouse-Lautrec: Paintings, Drawings, Posters, Loan Exhibition for the Benefit of the Muse\u0301e D'Albi, France. </em>Exh. Cat. New York: M. Knoedler and Company, 1937.", "page_number": "Mentioned: p. 24, no. 14; Reproduced: pl. 14", "url": null}, {"citation": "Uhde, Wilhelm. <em>The Impressionists</em>. Vienna: Phaidon, 1937.", "page_number": "Reproduced: pl. 107", "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. 89", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "\"Cleveland Museum: It is a treasure trove of great art masterpieces from all around the world.\" <em>Life</em> (September 20, 1943): 64-68.", "page_number": "Mentioned and reproduced: p. 68", "url": null}, {"citation": "Jewell, Edward Alden and Aimee Crane. <em>French Impressionists and their Contemporaries Represented in American Collections</em>. New York: Hyperion, 1944.", "page_number": "Reproduced: p. 174", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 37", "url": "https://archive.org/details/CMAPaintings1945/page/n44"}, {"citation": "Visson, Vladimir. <em>A Loan Exhibition of Toulouse-Lautrec, For the Benefit of the Goddard Neighborhood Center.</em> New York: Wildenstein and Company. 1946.", "page_number": "Reproduced: p. 35, no. 22", "url": null}, {"citation": "<em>Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec,</em> <em>1864-1901</em>. Exh. Cat. Pittsburgh: Carnegie Institute Department of Fine Arts. 1947.", "page_number": "Mentioned: p. 13, no. 16; Reproduced: opp. p. 12", "url": null}, {"citation": "Saint-Gaudens, Homer. \"Henri de Toulouse-Lautrec 1864-1901.\" <em>Carnegie Magazine</em> (1947).", "page_number": "Reproduced: p. 257", "url": null}, {"citation": "Florisoone, Michel and M. G. Dortu. <em>Toulouse-Lautrec: Exposition en l'honneur du cinquantie\u0300me anniversaire de sa mort</em>. Exh. Cat. Paris: Orangerie des Tuileries, 1951.", "page_number": "Mentioned: p. 15, no. 42; Reproduced: pl. V", "url": null}, {"citation": "Jourdain, Francis. <em>Toulouse-Lautrec</em>. Paris: Braun, 1951.", "page_number": "Reproduced: pl. 22", "url": null}, {"citation": "Mack, Gerstle. <em>Toulouse-Lautrec</em>. New York: Knopf, 1952.", "page_number": "Mentoined: p. 268", "url": null}, {"citation": "Cooper, Douglas. <em>Henri de Toulouse-Lautrec</em>. New York: Abrams, 1952.", "page_number": "Reproduced: n.p.", "url": null}, {"citation": "<em>Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum. </em>Exh. Cat. Philadelphia: Philadelphia Museum of Art. 1955.", "page_number": "Mentioned and reproduced: no. 39", "url": null}, {"citation": "Jourdain, Francis and Jean Adh\u00e9mar. <em>T-Lautrec : Essai sur Toulouse-Lautrec</em>. Paris: P. Tisne, 1955.", "page_number": "Mentioned: p. 86", "url": null}, {"citation": "Dortu, M.G., Jean Adh\u00e9mar, and Madeleine Grillaert. <em>Toulouse-Lautrec en belgique</em>. Paris: Editart, 1955.", "page_number": "Reproduced: n.p.", "url": null}, {"citation": "<em>Toulouse-Lautrec: Paintings, Drawings, Posters, and Lithographs.</em> Exh. Cat. New York: Museum of Modern Art, 1956.", "page_number": "Mentioned: p. 46, no. 25; Reproduced: p. 17", "url": null}, {"citation": "<em>A Loan Exhibition of 19th and 20th Century French Paintings: Masterpieces Recalled, for the Benefit of the League for Emotionally Disturbed Children, Inc.</em> Exh. Cat. New York: Paul Rosenberg &amp; Co, 1957.", "page_number": "Mentioned and reproduced: no. 33", "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. 510", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "Lowry, Bates.<em> The Visual Experience: An Introduction to Art. </em>Englewood Cliffs, NJ: Prentice-Hall, 1961.", "page_number": "Mentioned: pp. 72-73; Reproduced: pp. 72, 77", "url": null}, {"citation": "<em>Centenaire de Toulouse-Lautrec.</em> Exh. Cat. Paris: Re\u0301union des Muse\u0301es Nationaux, 1964.", "page_number": "Mentioned: pp. 57-58, no. 43; Reproduced: p. 56", "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. 179", "url": "https://archive.org/details/CMAHandbook1966/page/n202"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n202"}, {"citation": "Caproni, Giorgio. <em>L'opera completa di Toulouse-Lautrec. </em>Milan: Rizzoli, 1969.", "page_number": "Mentioned: no. 36; Reproduced: pl. xxxvi", "url": null}, {"citation": "Lassaigne, Jacques. <em>Toulouse-Lautrec e la parigi dei cabarets</em>. Milan: Fabbri, 1969.", "page_number": "Mentioned: p. 99; Reproduced: pl. xxxi", "url": null}, {"citation": "Dortu, M. G. <em>Toulouse-Lautrec et son oeuvre</em>. New York: Collectors Editions, 1971.", "page_number": "Mentioned: vol. 2, pp. 282-83; Reproduced: p. 283.", "url": null}, {"citation": "Lieberman, William S., ed. <em>Modern Masters: Manet to Matisse</em>. Exh. Cat. New York: Museum of Modern Art, 1975.", "page_number": "Mentioned: pp. 208, 268, no. 107; Reproduced: pp. 17, 209", "url": null}, {"citation": "Thomson, Richard. <em>Toulouse-Lautrec</em>. London: Oresko, 1977.", "page_number": "Mentioned and reproduced: p. 72, no. 43", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 222", "url": "https://archive.org/details/CMAHandbook1978/page/n242"}, {"citation": "Stuckey, Charles F. <em>Toulouse-Lautrec: Paintings</em>. Exh. Cat. Chicago: Art Institute of Chicago, 1979.", "page_number": "Mentioned and reproduced: p. 290", "url": null}, {"citation": "<em>Tabacco storia arte</em>. Rome: Amministrazione dei monopoli di stato, 1980.", "page_number": "Mentioned: p. 184; Reproduced: p. 221", "url": null}, {"citation": "Henze, Anton. <em>Henri de Toulouse-Lautrec: Leben und Werk</em>. Stuttgart: Belser, 1982.", "page_number": "Mentioned and reproduced: p. 37; Reproduced: p. 38", "url": null}, {"citation": "<em>Toulouse-Lautrec.</em> Exh. Cat. London: South Bank Centre, 1991.", "page_number": "Mentioned: pp. 18, 23, 133, 160; Reproduced: p 161.", "url": null}, {"citation": "Schimmel, Herbert D., ed. <em>The Letters of Henri de Toulouse-Lautrec</em>. Oxford: Oxford University Press, 1991.", "page_number": "Mentioned: p. 205, n. 1", "url": ""}, {"citation": "Murray, Gale Barbara.<em> Toulouse-Lautrec: A Retrospective. </em>New York: Hugh Lauter Levin Associates, 1992.", "page_number": "Reproduced: p. 191", "url": null}, {"citation": "Walther, Ingo F. <em>Henri de Toulouse-Lautrec, 1864-1901.</em> Koln: Benedikt Taschen, 1993.", "page_number": "Mentioned and reproduced: p. 86", "url": null}, {"citation": "Robinson, Fred Miller. <em>The Man in the Bowler Hat: His History and Iconography.</em> Chapel Hill: University of North Carolina Press, 1993.", "page_number": "Mentioned: pp. 72-74; Reproduced: p. 73.", "url": null}, {"citation": "Shimohama, Akiko and Chu\u0304ji Ikegami. <em>Ro\u0304torekku.</em> To\u0304kyo\u0304: Nihon Keizai Shinbunsha, 1993.", "page_number": "Mentioned: pp. 22-23; Reproduced: p. 23, pl. 34", "url": null}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media.</em> Dubuque, IA: Kendall/Hunt, 1996.", "page_number": "Mentioned: pp. 74-75; Reproduced: p. 74.", "url": null}, {"citation": "Cate, Phlilip Dennis, Mary Weaver Chapin, and Richard Thomson. <em>Toulouse-Lautrec and Montmartre</em>. Exh. Cat. Washington, DC: National Gallery of Art, 2005.", "page_number": "Mentioned: pp. 69, 256, no. 91; Reproduced: p. 84", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 14", "url": ""}, {"citation": "Bos, Eric. <em>Absinthe, het grote kwaad: de groene fee als inspiratiebron van de kunsten</em>. Groningen : Boekwerk &amp; partners, 2016.", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "Zmelty, Nicolas-Henri. <em>Henri de Toulouse-Lautrec: La Strate\u0301gie de l'Ephe\u0301me\u0300re.</em> Paris: \u00c9ditions Hazan, 2019.", "page_number": "Mentioned: p. 150; reproduced: p. 153, no. 95", "url": null}, {"citation": "Lloyd, Christopher. <em>Impressionist &amp; Post-Impressionist Drawings.</em> New York, New York: Thames &amp; Hudson, 2019.", "page_number": "Reproduced: P. 271", "url": ""}, {"citation": "Zmelty, Nicolas-Henri, and Henri de Toulouse-Lautrec. Henri de Toulouse-Lautrec: la strate\u0301gie de l'e\u0301phe\u0301me\u0300re. 2019.", "page_number": "repr. p. 753, no. 95, mentioned p. 150", "url": ""}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: The widely recognized collection of the Cleveland Museum of Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 4 (December 2022): Cover, 18-19.", "page_number": "Reproduced: Cover.", "url": ""}, {"citation": "Brown, Heather Lemonedes. \"Monsieur Boileau at the Cafe.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>24-31. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 24-31", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 176-181. no. 37a", "url": ""}], "catalogue_raisonne": "Dortu P.465", "url": "https://clevelandart.org/art/1925.1409", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1409/1925.1409_web.jpg", "width": "734", "height": "900", "filesize": "377730", "filename": "1925.1409_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1409/1925.1409_print.jpg", "width": "2772", "height": "3400", "filesize": "4261605", "filename": "1925.1409_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1409/1925.1409_full.tif", "width": "9589", "height": "11760", "filesize": "338328393", "filename": "1925.1409_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt0_web.jpg", "width": "723", "height": "893", "filesize": "494360"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt0_print.jpg", "width": "1536", "height": "1896", "filesize": "2157377"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt0_full.tif", "width": "1536", "height": "1896", "filesize": "8739988"}}, {"date_created": "2007-07-27T13:03:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt1_web.jpg", "width": "724", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt1_print.jpg", "width": "2734", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt1_full.tif", "width": "5107", "height": "6350", "filesize": ""}}, {"date_created": "2007-07-27T13:03:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt2_web.jpg", "width": "724", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt2_print.jpg", "width": "2734", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1409/1925.1409_alt2_full.tif", "width": "5107", "height": "6350", "filesize": ""}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173263, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-05-08T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-09 19:35:03.798000"}, {"id": 132047, "accession_number": "1954.602", "share_license_status": "CC0", "tombstone": "Pendant: Face, 1900s. Africa, West Africa, C\u00f4te d'Ivoire, possibly Baule-style goldsmith. Gold; overall: 7.6 x 5 cm (3 x 1 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1954.602", "current_location": "108C African Jewelry and Metalwork", "title": "Pendant: Face", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1954, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, possibly Baule-style goldsmith"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 7.6 x 5 cm (3 x 1 15/16 in.)", "dimensions": {"overall": {"height": 0.076, "width": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 702986, "title": "Masks: The Many Faces of Man", "description": "<i>Masks: The Many Faces of Man</i>. Royal Ontario Museum, Toronto M5S 2C6, Canada (organizer) (February 10-April 5, 1959).", "opening_date": "1959-02-10T05:00:00"}, {"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 205336, "title": "Baule:  African Art/Western Eyes", "description": "<i>Baule:  African Art/Western Eyes</i>. Yale University Art Gallery (organizer) (August 30, 1997-January 4, 1998); The Art Institute of Chicago (February 14-May 10, 1998).", "opening_date": "1997-08-30T00:00:00"}, {"id": 221090, "title": "Baule:  African Art/Western Eyes", "description": "<i>Baule:  African Art/Western Eyes</i>. Museum for African Art, NY (September 11, 1998-January 3, 1999); National Museum of African Art, Washington, DC (February 9-May 16, 1999).", "opening_date": "1998-09-11T00:00:00"}], "legacy": [{"description": "Toronto, Royal Ontario Museum of Archaeology, 1959, Exhibition of Masks,, February 10-April 5, 1959, cat. D-21, repr. p. 49.", "opening_date": "1959-02-10T00:00:00"}, {"description": "Philadelphia, University Museum, 1959:  The University of Pennsylvania, The Seven Metals of Africa, November 12, 1959-Jan. 12, 1960; the Cleveland Museum of Art, June 21-July 24, 1960, no. F-4.", "opening_date": "1960-06-21T00:00:00"}, {"description": "Kansas City, MO, William Rockhill Nelson Gallery of Art, The Imagination of Primitive Man, January 18-February 25, 1962, cat. no. 31B.", "opening_date": "1962-01-18T00:00:00"}, {"description": "CMA 1991:  Object Lessons:  Cleveland Creates an Art Museum, June 7-September 8, 1991.", "opening_date": "1991-06-07T00:00:00"}, {"description": "New Haven, CT: Yale University Art Gallery, 8/30/97 - 1/4/98.  Art Institute of Chicago, 2/14/98 - 5/19/98. NY: The Museum for African Art, 9/11/98 - 1/3/99.  Washington, DC: National Museum for African Art, 2/9/99 - 5/16/99, Baule: African Art: Western Eyes. color repr. p. 201.", "opening_date": "1997-08-30T00:00:00"}]}, "provenance": [{"description": "C. G\u00e9raudel", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": null}, {"description": "Nasli Heeramaneck (Galleries), New York, NY", "citations": [], "footnotes": [], "date": "1951-1954", "sortorder": null}, {"description": "Cleveland Museum of Art by purchase", "citations": [], "footnotes": [], "date": "1954-present", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The raised texture seen on the forehead are remains of the gating technique used to introduce molten metal into the mold during lost-wax casting and indicate that the surface was not highly finished after casting.", "description": "Cast using the lost-wax method, gold objects are the only Baule art forms associated with ancestral spirits. Usually stored in suitcases or pots, a collection of gold adornments (<em>aja</em>) are displayed on important occasions such as funerals. They are laid out around the corpse before burial as a sign of respect and their family's wealth. Faces such as this pendant are said to be idealized portraits of friends or lovers. This depiction of a man has a beard and elaborately styled hair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761088"], "internet_archive": ["https://archive.org/details/clevelandart-1954.602-pendant-face"]}, "citations": [{"citation": "Chauvet, Stephen. \"Objets d'or, de bronze et d'ivoire dans l'art n\u00e8gre.\" Cahiers d'Art 5 (1930): 33-40, fig.15.", "page_number": "", "url": ""}, {"citation": "Drewal, Henry John. African Art: A Brief Guide to the Collection. Cleveland: Cleveland Museum of Art, 1989, fig.23.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 391", "url": "https://archive.org/details/CMAHandbook1958/page/n72"}, {"citation": "Plass, Margaret. <em>7 Metals of Africa: [a Traveling Exhibtion, the Cleveland Museum of Art, the City Art Museum of St. Louis, the University Museum]</em>. Philadelphia: [publisher not identified], 1959.", "page_number": "Reproduced and mentioned: p. 26, cat. F-5", "url": null}, {"citation": "William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, and Ralph T. Coe. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World.</em> Kansas City, Mo: The Museum, 1962.", "page_number": "Mentioned: p. 24, cat. no. 31", "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. 302", "url": "https://archive.org/details/CMAHandbook1966/page/n326"}, {"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. 302", "url": "https://archive.org/details/CMAHandbook1969/page/n326"}, {"citation": "Royal Ontario Museum. <em>Masks: The Many Faces of Man : an Exhibition Presented by the Division of Art and Archaeology of the Royal Ontario Museum</em>, Toronto Canada. Toronto: The Museum, 1959.", "page_number": "Mentioned: p. 42, cat. no. D 21; Reproduced: p. 49, cat. no. D 21", "url": null}, {"citation": "Wixom, WIlliam D. \"African Art at the Cleveland Museum of Art.\" <em>African Arts</em>. 10, no. 3. (April 1977) 16-25.", "page_number": "Reproduced: p. 17, fig 2; mentioned: p. 19", "url": "https://www.jstor.org/stable/3335296"}, {"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. 410", "url": "https://archive.org/details/CMAHandbook1978/page/n430"}, {"citation": "Vogel, Susan Mullin. <em>Baule: African Art, Western Eyes</em>. New Haven, Conn: Yale University Press, 1997.", "page_number": "Mentioned: p. 299; Reproduced: p. 201", "url": null}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 18, p. 66 - 67", "url": ""}], "url": "https://clevelandart.org/art/1954.602", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.602/1954.602_web.jpg", "width": "598", "height": "893", "filesize": "270604", "filename": "1954.602_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.602/1954.602_print.jpg", "width": "2276", "height": "3400", "filesize": "1108541", "filename": "1954.602_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.602/1954.602_full.tif", "width": "3886", "height": "5806", "filesize": "67707416", "filename": "1954.602_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 132047, "creators": [], "legal_status": "accessioned", "accession_date": "1954-08-11T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Miniature Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:07:57.045000"}, {"id": 96263, "accession_number": "1916.1979.1", "share_license_status": "CC0", "tombstone": "Portrait of Jean Terford David, 1813. Thomas Sully (American, born England, 1783\u20131872). Oil on canvas; framed: 122 x 103 x 10 cm (48 1/16 x 40 9/16 x 3 15/16 in.); unframed: 89.5 x 70.5 cm (35 1/4 x 27 3/4 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1916.1979.1", "current_location": "205 Federal American", "title": "Portrait of Jean Terford David", "creation_date": "1813", "creation_date_earliest": 1813, "creation_date_latest": 1813, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 122 x 103 x 10 cm (48 1/16 x 40 9/16 x 3 15/16 in.); Unframed: 89.5 x 70.5 cm (35 1/4 x 27 3/4 in.)", "dimensions": {"framed": {"height": 1.22, "width": 1.03, "depth": 0.1}, "unframed": {"height": 0.895, "width": 0.705}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"TS 1813 [TS in monogram]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 444427, "title": "A Century and a Half of American Art", "description": "<i>A Century and a Half of American Art</i>. National Academy of Design Museum and School of Fine Arts, New York, NY (organizer) (October 15-November 30, 1975).", "opening_date": "1975-10-15T04:00:00"}, {"id": 215292, "title": "Thomas Sully: Painted Performance", "description": "<i>Thomas Sully: Painted Performance</i>. Milwaukee Art Museum, Milwaukee, WI (organizer) (October 11, 2013-January 5, 2014); San Antonio Museum of Art, San Antonio, TX (February 7-May 11, 2014).", "opening_date": "2013-10-11T00:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Catalogue of the Inaugural Exhibition (6 June-20 September, 1916), no. 156.", "opening_date": "1916-06-06T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, Catalogue of the Memorial Exhibition of Portraits by Thomas Sully (1922), pp. 5-7, cat. no. 71, illus. p. 49.", "opening_date": "1922-01-01T00:00:00"}, {"description": "The Cleveland Museum of Art, 20th Anniversary Exhibition (26 June-4 October, 1936), p. 29, no. 48.", "opening_date": "1936-06-26T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, The World of the Romantic Artist: A Survey of American Culture from 1800 to 1875 (28 December, 1944-28 January, 1945), no. 5, ill. p. 8; cat. p. 8-10.", "opening_date": "1944-12-28T00:00:00"}, {"description": "Saginaw, Michigan, The Saginaw Museum, An Exhibition of American Paintings from Colonial Times until Today (10 January-15 February, 1948), p. 22, illus. no. 57, plate III.", "opening_date": "1948-01-10T00:00:00"}, {"description": "The Art Institute of Chicago, From Colony to Nation: An Exhibition of American Painting Silver and Architecture from 1650 to the War of 1812 (21 April-19 June, 1949), p. 73, cat. no. 117.", "opening_date": "1949-04-21T00:00:00"}, {"description": "New York, The National Academy of Design, A Century and a Half of American Art (10 October-16 November, 1975), p. 118, illus. p. 117.", "opening_date": "1975-10-10T00:00:00"}, {"description": "Washington D.C., The National Portrait Gallery, Mr. Sully, Portrait Painter (3 June-5 September, 1983), p. 59, cat. no. 18, illus. p. 58.", "opening_date": "1983-06-03T00:00:00"}, {"description": "Milwaukee Art Museum, WI (10/11/2013 - 1/5/2014) and San Antonio Museum of Art, TX (2/7/20114 - 5/11/2014):  \"Thomas Sully: Painted Performance\", cat. no. 9, p. 104.", "opening_date": "2011-02-07T00:00:00"}]}, "provenance": [{"description": "Family of the sitter; John Foster Jenkins, Yonkers, NY; The Cleveland Museum of Art (1916)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [{"id": 96264, "description": "Portrait of Mary Sicard David, 1813. Thomas Sully (American, born England, 1783\u20131872). Oil on canvas; framed: 121.9 x 103.5 x 15.3 cm (48 x 40 3/4 x 6 in.); unframed: 89.5 x 69.8 cm (35 1/4 x 27 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1916.1979.2", "relationship": null}], "former_accession_numbers": ["1416.16", "1916.1979"], "did_you_know": "Sully's working motto was \"flattery--nothing so sure of success as flattering your portraits.\"", "description": "According to his own inventory, the astonishingly productive Sully painted more than 2,600 works during his career. Most of these paintings were commissioned portraits, including this one of John Terford David, who had just recently married. French-born David was an American officer who served as a paymaster during the War of 1812. His rank is indicated by the fringed epaulet on his left shoulder and the lack of one on his right. In composing the portrait, Sully ingeniously positioned David's body on an angle to emphasize the single epaulet and downplay the uniform's lack of symmetry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502488"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1979.1-portrait-of-jean-ter"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 9", "url": "https://archive.org/details/CMAHandbook_80839/page/n11"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 9", "url": "https://archive.org/details/CMAHandbook1928/page/n13"}, {"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. 534", "url": "https://archive.org/details/CMAHandbook1958/page/n98"}, {"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. 161", "url": "https://archive.org/details/CMAHandbook1966/page/n185"}, {"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. 161", "url": "https://archive.org/details/CMAHandbook1969/page/n185"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1978/page/n220"}], "url": "https://clevelandart.org/art/1916.1979.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1979.1/1916.1979.1_web.jpg", "width": "698", "height": "893", "filesize": "387916", "filename": "1916.1979.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1979.1/1916.1979.1_print.jpg", "width": "2658", "height": "3400", "filesize": "4835609", "filename": "1916.1979.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1979.1/1916.1979.1_full.tif", "width": "3749", "height": "4795", "filesize": "53955276", "filename": "1916.1979.1_full.tif"}}, "alternate_images": [{"date_created": "2008-08-13T14:00:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1979.1/1916.1979.1_alt0_web.jpg", "width": "767", "height": "900", "filesize": "247936"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1979.1/1916.1979.1_alt0_print.jpg", "width": "2855", "height": "3350", "filesize": "2700253"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1979.1/1916.1979.1_alt0_full.tif", "width": "2855", "height": "3350", "filesize": "28735444"}}], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 96263, "creators": [{"id": 2424, "description": "Thomas Sully (American, born England, 1783\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-02-28T00:00:00", "sortable_date": 1813, "date_added_to_oa": null, "date_text": "1813", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1916.1979", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Lieutenant Jean Terford David", "Captain Jean T. David"], "is_highlight": false, "updated_at": "2026-03-27 00:07:19.442000"}, {"id": 148966, "accession_number": "1977.123", "share_license_status": "CC0", "tombstone": "The Boatyard, c. 1875. Jean-Charles Cazin (French, 1841\u20131901). Oil on fabric; framed: 105.4 x 149.9 x 15.2 cm (41 1/2 x 59 x 6 in.); unframed: 77.6 x 122.7 cm (30 9/16 x 48 5/16 in.); former: 111 x 155.5 x 6.5 cm (43 11/16 x 61 1/4 x 2 9/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.123", "current_location": "220 19th Century European", "title": "The Boatyard", "creation_date": "c. 1875", "creation_date_earliest": 1870, "creation_date_latest": 1880, "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: 105.4 x 149.9 x 15.2 cm (41 1/2 x 59 x 6 in.); Unframed: 77.6 x 122.7 cm (30 9/16 x 48 5/16 in.); Former: 111 x 155.5 x 6.5 cm (43 11/16 x 61 1/4 x 2 9/16 in.)", "dimensions": {"framed": {"height": 1.054, "width": 1.499, "depth": 0.152}, "unframed": {"height": 0.776, "width": 1.227}, "former": {"height": 1.11, "width": 1.555, "depth": 0.065}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: c. cazin\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}], "legacy": [{"description": "<em>Salon</em>. Palais des Champs-Elys\u00e9es, Paris, France (1876).", "opening_date": "1876-01-01T04:56:02Z"}, {"description": "<em>Mus\u00e9e des Arts D\u00e9coratifs. Cinquante ans de peinture fran\u00e7aise 1875-1925</em>. Paris, France (1925).", "opening_date": "1925-01-01T00:00:00"}, {"description": "<em>The Controversial Century 1850-1950: Paintings from the Collection of Walter P. Chrysler, Jr. </em>Chrysler Art Museum of Provincetown, MA (1962); National Gallery of Canada, Ottawa, Ontario (September 28 - November 4,1962).", "opening_date": "1962-09-28T04:00:00Z"}, {"description": "<em>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art.</em> Snite Museum of Art, South Bend, IN: (September 2-December 2, 2012).", "opening_date": "2012-09-02T00:00:00"}]}, "provenance": [{"description": "Ernest May [1845-1925], Paris, France", "citations": [], "footnotes": ["<div><!--block-->Ernest May, a banker and art collector, may have purchased the painting directly from Cazin or possibly at the 1876 salon, where the painting was exhibited.&nbsp; On May 2, 1908, Galerie Georges Petit held Cazin\u2019s estate sale, which contained 31 works by the artist, but the CMA picture is not listed.&nbsp; Although May bought back a number of the works included in a June 4, 1890 sale of his own collection, the Cleveland painting is not among the several Cazin works included.&nbsp; In any case, a handwritten note in the CMA curatorial file says that May kept the Cazin until his death in 1925, and indeed, an exhibition at the Mus\u00e9e des Arts D\u00e9coratifs from that year situates the painting in the \u201cColl. de M. Ernest May.\u201d</div>"], "date": "Until 1925", "sortorder": 1}, {"description": "(Sale, H\u00f4tel Drouot, Paris, France, June 19, 1933 (no. 56), unsold", "citations": [], "footnotes": ["<div><!--block-->H\u00f4tel Drouot's annotated copy of the sale catalogue shows that the painting, there titled \"Le chantier naval,\" did not sell.</div>"], "date": "1933", "sortorder": 2}, {"description": "(Sale, H\u00f4tel Drouot, Paris, France, November 24, 1947 (no. 124)", "citations": [], "footnotes": ["<div><!--block-->In the catalogue, the painting is titled \"Chantier de construction de bateaux.\"</div>"], "date": "1947", "sortorder": 3}, {"description": "(Tedesco Fr\u00e8res, Paris, France, sold to Walter P. Chrysler)", "citations": [], "footnotes": [], "date": "1954", "sortorder": 4}, {"description": "Walter P. Chrysler Jr. [1909-1988], New York, NY, sold to Gr\u00e9goire Galleries)", "citations": [], "footnotes": [], "date": "1954-1973", "sortorder": 5}, {"description": "(Gr\u00e9goire Galleries, New York, NY)", "citations": [], "footnotes": [], "date": "1973", "sortorder": 6}, {"description": "(Shepherd Gallery, New York, NY,  sold to Noah L. and Muriel S. Butkin)", "citations": [], "footnotes": [], "date": "Until 1976", "sortorder": 7}, {"description": "Noah L. Butkin [1918-1980] and Muriel S. Butkin [1915-2008], Shaker Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1976-1977", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting was submitted to the Paris Salon in 1876 as Cazin\u2019s first major work.", "description": "Cazin exhibited this painting at the Paris Salon of 1876, marking the start of his official career. It depicts a boatyard in the artist's native Boulogne, a port city on the English Channel. The young man in the foreground is melting tar at a smoky fire, while men work on a boat just above him. Cazin was associated with the Realist movement during his early years and later with the Impressionists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473253"], "internet_archive": ["https://archive.org/details/clevelandart-1977.123-the-boatyard"]}, "citations": [{"citation": "Muse\u0301e des arts de\u0301coratifs (France). <em>Cinquante ans de peinture franc\u0327aise, 1875-1925, du 28 mai au 12 juillet, 1925</em>. Paris: A. Le\u0301vy, 1925.", "page_number": null, "url": null}, {"citation": "Notes on the Ernest May collection, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "(Sale, H\u00f4tel Drouot, Paris, June 19, 1933 (no. 56), unsold", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes</em>. 1947.", "page_number": null, "url": null}, {"citation": "Chrysler Art Museum. <em>The Controversial Century, 1850-1950: Paintings from the Collection of Walter P. Chrysler, Jr</em>. [Provincetown, Mass.]: [Chrysler Art Museum], 1962.", "page_number": null, "url": null}, {"citation": "Shepherd Gallery, bill of sale for Noah Butkin, August 19, 1976, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Allison Termine (Chrysler Museum), email to Victoria Sears Goldman, Nov. 30, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Jean Zimmerman, email to Victoria Sears Goldman, Dec. 1, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Chrysler Art Museum. <em>The Controversial Century, 1850-1950: Paintings from the Collection of Walter P. Chrysler, Jr</em>. [Provincetown, Mass.]: [Chrysler Art Museum], 1962.", "page_number": null, "url": null}, {"citation": "Shepherd Gallery, bill of sale for Noah Butkin, August 19, 1976, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Jean Zimmerman, email to Victoria Sears Goldman, Dec. 1, 2015, in CMA curatorial fil", "page_number": null, "url": null}, {"citation": "Allison Termine (Chrysler Museum), email to Victoria Sears Goldman, Nov. 30, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Shepherd Gallery, bill of sale for Noah Butkin, August 19, 1976, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>The Realist Tradition: French Painting and Drawing, 1830-1900</em>. Cleveland: Cleveland Museum of Art, 1980.", "page_number": null, "url": null}, {"citation": "Jean Zimmerman, email to Victoria Sears Goldman, Dec. 1, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Victoria Sears Goldman, telephone conversation with Jean Zimmerman, Nov. 30, 2015.", "page_number": null, "url": null}, {"citation": "Shepherd Gallery, bill of sale for Noah Butkin, August 19, 1976, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Shepherd Gallery, bill of sale for Noah Butkin, August 19, 1976, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Bellier de la Chavignerie, Emile, and Louis Auvray. <em>Dictionnaire ge\u0301ne\u0301ral des artistes de l'e\u0301cole franc\u0327aise depuis l'origine des arts du dessin jusqua\u0300 nos jours</em>. Paris, France: Renouard, 1882.", "page_number": null, "url": null}, {"citation": "A. M. \"Charles Cazin.\" <em>Bulletin de l'Art Ancien et Moderne </em>93 (March 30, 1901): 97.", "page_number": "Mentioned: P. 97", "url": null}, {"citation": "Desjardins, Paul. \"En Memoire de Jean-Charles Cazin.\" <em>Gazette des Beaux-Arts </em>43 (September 1901): 177-191.", "page_number": "Mentioned: P. 182", "url": null}, {"citation": "Be\u0301ne\u0301dite, Le\u0301once. <em>Jean-Charles Cazin</em>. Paris, France: Librairie de l'art ancien et moderne, 1902.", "page_number": null, "url": null}, {"citation": "Be\u0301ne\u0301dite, Le\u0301once. <em>L'art au XIXe sie\u0300cle, 1800-1900</em>. Paris, France: Chantier a Boulogne,1905.", "page_number": null, "url": null}, {"citation": "Thieme, Ulrich, Felix Becker, Fred. C. Willis, and Hans Vollmer. <em>Allgemeines Lexikon der bildenden Ku\u0308nstler von der Antike bis zur Gegenwart</em>. Leipzig, Germany: W. Engelmann, 1907.", "page_number": "Reproduced: p. 246, vol. 6", "url": null}, {"citation": "Chrysler Art Museum, and National Gallery of Canada. <em>The Controversial Century, 1850-1950: Paintings from the Collection of Walter P. Chrysler, Jr. : Chrysler Art Museum, Provincetown, Massachusetts, the National Gallery of Canada, Ottawa</em>. [Place of publication not identified]: [publisher not identified], 1962.", "page_number": "Mentioned and Reproduced: cat. no. 14", "url": null}, {"citation": "\"Notable Works of Art Now on the Market: Supplement.\" <em>The Burlington Magazine</em> 115, no. 843 (June 1973): 1-60.", "page_number": "Mentioned and reproduced: Plate 49", "url": "http://www.jstor.org/stable/877399"}, {"citation": "Be\u0301ne\u0301zit, E. <em>Dictionnaire Critique et Documentaire des Peintres, Sculpteurs, Dessinateurs et Graveurs de Tous les Temps et de Tous les Pays. </em><br>Paris: Librairie Gru\u0308nd, 1976.", "page_number": "Mentioned: Vol. 2, P. 611", "url": null}, {"citation": "Weisberg, Gabriel P. <em>The Realist Tradition: French Painting and Drawing, 1830-1900</em>. Cleveland: Cleveland Museum of Art, 1980.", "page_number": "Mentioned and Reproduced: p. 227-229, cat. no. 199", "url": null}, {"citation": "Weisberg, Gabriel P. \"The Realist Tradition.\" <em>The Connoisseur</em> 205, no. 824 (October 1980): 92-99.", "page_number": "Reproduced: P. 98; mentioned: P. 93", "url": null}, {"citation": "Weisberg, Gabriel P. \"Jean Charles Cazin-Memory Painting and Observation in The Boatyard.\" T<em>he Bulletin of The Cleveland Museum of Art LXVIII, </em>no.1 (January, 1981):2-16.", "page_number": "Reproduced: on cover and fig. 1", "url": null}, {"citation": "<em>Kikan Mizue = Mizue </em>911 (February 1981): 94.", "page_number": "Reproduced: P. 94", "url": null}, {"citation": "\"Realist Tradition.\" <em>Scottish Art Review </em>15 (November 1982): 25-26.", "page_number": "Mentioned and reproduced: P. 25-26", "url": null}, {"citation": "Levin, Miriam R. <em>Republican Art and Ideology in Late Nineteenth-Century France</em>. Ann Arbor, MI: UMI Research Press, 1986.", "page_number": "Mentioned: p. 184; Reproduced: p. 200, fig 17", "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. 32", "url": null}, {"citation": "Muse\u0301e d'Orsay, Association franc\u0327aise d'action artistique, and Re\u0301union des muse\u0301es nationaux (France). <em>Les Oublie\u0301s du Caire: Ingres, Courbet, Monet, Rodin, Gauguin : chefs-d'oeuvre des muse\u0301es du Caire : Muse\u0301e d'Orsay, 5 octobre 1994-8 janvier 1995</em>. Paris: Association franc\u0327aise d'action artistique, Ministe\u0300re des affaires e\u0301trange\u0300res, 1994.", "page_number": "Reproduced: p. 164", "url": null}, {"citation": "Sullivan, Edward J., and Ruth K. Meyer. <em>The Taft Museum: Its History and Collections</em>. New York, NY: Hudson Hills Press, 1995.", "page_number": "Reproduced: p. 244 vol. 1", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 42", "url": null}, {"citation": "Weisberg, Gabriel P. <em>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</em>. South Bend, IN: Snite Museum of Art, University of Notre Dame, 2012", "page_number": "Reproduced: p. 19, fig. 4", "url": null}], "url": "https://clevelandart.org/art/1977.123", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.123/1977.123_web.jpg", "width": "1263", "height": "797", "filesize": "734998", "filename": "1977.123_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.123/1977.123_print.jpg", "width": "3400", "height": "2145", "filesize": "5223235", "filename": "1977.123_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.123/1977.123_full.tif", "width": "5933", "height": "3743", "filesize": "66654924", "filename": "1977.123_full.tif"}}, "alternate_images": [{"date_created": "2009-02-20T14:38:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.123/1977.123_alt0_web.jpg", "width": "1240", "height": "893", "filesize": "845412"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.123/1977.123_alt0_print.jpg", "width": "3400", "height": "2449", "filesize": "5755862"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.123/1977.123_alt0_full.tif", "width": "4461", "height": "3213", "filesize": "43042832"}}, {"date_created": "2010-07-20T13:52:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.123/1977.123_alt1_web.jpg", "width": "1263", "height": "888", "filesize": "940999"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.123/1977.123_alt1_print.jpg", "width": "3400", "height": "2391", "filesize": "5864663"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.123/1977.123_alt1_full.tif", "width": "4246", "height": "2986", "filesize": "38091198"}}], "creditline": "Gift of Mr. and Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 148966, "creators": [{"id": 1751, "description": "Jean-Charles Cazin (French, 1841\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jean Charles Cazin was educated in Boulogne-sur-Mer and England before completing his high-school degree in Lille. He had always shown artistic promise and by 1863 was living in Paris and submitting a landscape painting to the Salon des Refus\u00e9s. He enrolled at the \u00c9cole Gratuite de Dessin, where he studied drawing under Horace Lecoq de Boisbaudran (1802-1897), an innovative and unorthodox instructor who had developed his own teaching method based on drawing from memory. Many other young artists were attracted to his teaching style, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), and Auguste Rodin (1840-1917). Cazin's friendship with his mentor led to a teaching position at the \u00c9cole Sp\u00e9ciale d'Architecture in Paris, and he later became the director of the \u00c9cole de Dessin and curator of the museum in Tours. In 1871, after the devastation caused by the Franco-Prussian War (1870-71), Cazin and his wife, Marie Guillet, an artist who had studied under Bonheur (q.v.), left for England. During this period he turned to the decorative arts and created ceramics influenced by Japonism. Cazin's pottery served to support his family during this time of postwar economic depression; he would eventually hire his own staff to produce the ceramics that he would then decorate. After the traditional tour of Italy and a short stay in Antwerp, he returned to France in 1875 and settled near Boulogne-sur-Mer. There he painted landscapes and the beaches of this coastal town. Cazin received the L\u00e9gion d'Honneur in 1882, a gold medal at the Universal Exposition of 1889, and a Grand Prix in 1900.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "c. 1875", "collapse_artists": false, "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": "2026-03-27 00:05:59.532000"}, {"id": 95272, "accession_number": "1916.1044", "share_license_status": "CC0", "tombstone": "Gardener's House at Antibes, 1888. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 91.1 x 118.4 x 13.7 cm (35 7/8 x 46 5/8 x 5 3/8 in.); unframed: 66.3 x 93 cm (26 1/8 x 36 5/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1044", "current_location": null, "title": "Gardener's House at Antibes", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 91.1 x 118.4 x 13.7 cm (35 7/8 x 46 5/8 x 5 3/8 in.); Unframed: 66.3 x 93 cm (26 1/8 x 36 5/8 in.)", "dimensions": {"framed": {"height": 0.911, "width": 1.184, "depth": 0.137}, "unframed": {"height": 0.663, "width": 0.93}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Claude Monet\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616624, "title": "Fifty Years of French Art", "description": "<i>Fifty Years of French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29-November 29, 1926).", "opening_date": "1926-10-29T05:00:00"}, {"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 338192, "title": "Exhibition of French Painting", "description": "<i>Exhibition of French Painting</i>. Parkersburg Art Center (organizer) (October 1-30, 1946).", "opening_date": "1946-10-01T05:00:00"}, {"id": 355548, "title": "Exhibition of the Month: The Rise of the Landscape in Art", "description": "<i>Exhibition of the Month: The Rise of the Landscape in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 26, 1948).", "opening_date": "1948-06-09T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 338127, "title": "Discerning Tastes: Montreal Collectors, 1880-1920", "description": "<i>Discerning Tastes: Montreal Collectors, 1880-1920</i>. Montr\u00e9al Museum of Fine Arts (December 15, 1989-February 25, 1990).", "opening_date": "1989-12-15T05:00:00"}, {"id": 213613, "title": "Monet and the Mediterranean", "description": "<i>Monet and the Mediterranean</i>. Kimbell Art Museum, Fort Worth, TX (organizer); The Brooklyn Museum, Brooklyn, NY (October 10, 1997-January 4, 1998).", "opening_date": "1997-06-08T00:00:00"}, {"id": 226090, "title": "Monet, Retrospective", "description": "<i>Monet, Retrospective</i>. The Yamaguchi Prefectural Museum of Art, Yamaguchi, Japan (organizer) (July 5-September 30, 2001).", "opening_date": "2001-07-05T00:00:00"}, {"id": 224416, "title": "L'oro e l'azzurro, I colori del Sud da C\u00e9zanne a Bonnard", "description": "<i>L'oro e l'azzurro, I colori del Sud da C\u00e9zanne a Bonnard</i>. Casa dei Carraresi, 31100 Treviso, Italy (October 10, 2003-March 7, 2004).", "opening_date": "2003-10-10T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 292174, "title": "Monet and Architecture", "description": "<i>Monet and Architecture</i>. National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (organizer) (April 9-July 29, 2018).", "opening_date": "2018-04-09T04:00:00"}, {"id": 304929, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Albertina, Wien, Austria (organizer) (September 21, 2018-January 6, 2019) https://www.albertina.at/en/exhibitions/monet/.", "opening_date": "2018-09-21T04:00:00"}, {"id": 395292, "title": "Monet in Full Light", "description": "<i>Monet in Full Light</i>. Grimaldi Forum - Monaco, MC 98001 Monaco cedex (organizer) (July 8-September 3, 2023) https://www.grimaldiforum.com/en/events-schedule-monaco/exhibition-monet-full-light-grimaldi-forum-monaco.", "opening_date": "2023-07-08T04:00:00"}, {"id": 662787, "title": "Monet in Focus", "description": "<i>Monet in Focus</i>. The Cleveland Museum of Art, Cleveland, OH (March 31-August 11, 2024).", "opening_date": "2023-10-28T04:00:00"}, {"id": 672923, "title": "Monet's Ecology", "description": "<i>Monet's Ecology</i>. Museu de Arte de S\u00e3o Paulo Assis Chateaubriand - MASP, Sao Paolo, Brazil (organizer) (May 16-September 7, 2025).", "opening_date": "2025-05-16T04:00:00"}], "legacy": [{"description": "<em>Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art.</em> Kinney and Levan Building, Cleveland, OH (1913).", "opening_date": "1913-01-01T00:00:00"}]}, "provenance": [{"description": "(Durand-Ruel, Paris, France, 1891, purchased from the artist).", "citations": [], "footnotes": null, "date": "July 20, 1891", "sortorder": 1}, {"description": "(Durand-Ruel, Paris, France, sold to Duran-Ruel, New York, NY)", "citations": [], "footnotes": null, "date": "1891", "sortorder": 2}, {"description": "(Duran-Ruel, New York, NY, April 19, 1892 sold to W. C. van Horne, Montreal, Canada)", "citations": [], "footnotes": null, "date": "1892", "sortorder": 3}, {"description": "W. C. van Horne [1843-1915], Montreal, Canada, sold back to Durand-Ruel, New York, NY August 24,1892.", "citations": [], "footnotes": null, "date": "1892", "sortorder": 4}, {"description": "(Durand-Ruel, New York, NY, September 7, 1892, sold to J. Cook, St. Louis, MO)", "citations": [], "footnotes": null, "date": "1892-1893", "sortorder": 5}, {"description": "Bought back by Durand-Ruel, New York, together with Boussod et Valadon at the W. H. Johnson-J. Cook sale, 11 March 1893.", "citations": [], "footnotes": null, "date": "1893", "sortorder": 6}, {"description": "Sold by Durand-Ruel, New York, to Jeptha H. Wade on 11 March 1893.", "citations": [], "footnotes": null, "date": "1893", "sortorder": 7}, {"description": "Jeptha H.Wade, given to the CMA in 1916.", "citations": [], "footnotes": null, "date": "1893-1916", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Monet painted 35 canvases during his visit to Antibes from January to May 1888.", "description": "In 1888, Claude Monet spent four months in Antibes, a city in southeastern France on the Mediterranean coast, to derive inspiration for painting. Although his visit was occasionally challenged by strong winds that threatened to knock over his easel, the artist was able to complete nearly 40 works. This especially vibrant canvas is a depiction of a gardener\u2019s house set against the sea and the distant Alps. Monet portrays intense midday light through thickly applied paint in bright colors that evoke the region\u2019s sun-drenched climate. Small daubs of green on the slender trees framing the house suggest the onset of spring.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q51579215"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1044-gardener-s-house-at"]}, "citations": [{"citation": "", "page_number": "", "url": ""}, {"citation": "Warner, Langdon. \u201cThe Wade Collection.\u201d <em>The Bulletin of The Cleveland Museum of Art</em> IV, no. 1 (January, 1917): 3-8.", "page_number": "Mentioned: p. 3.", "url": "http://www.jstor.org/stable/25136053"}, {"citation": "\"Recent Changes in the Painting Galleries.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 2/3 (1918): 22-27.", "page_number": "Mentioned: p. 22", "url": "www.jstor.org/stable/25136174"}, {"citation": "W. M. M. \"French Art since Eighteen Hundred.\" <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 155-57.", "page_number": null, "url": "http://www.jstor.org/stable/25137246."}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 162", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Venturi, Lionello. <em>Les archives de l'impressionnisme. Lettres de Renoir, Monet, Pissaro, Sisley et autres. Me\u0301moires de Paul Durand-Ruel. Documents.</em> Paris, New York: Durand-Ruel, editeurs, 1939.", "page_number": "Reproduced: v. 1, p. 340.", "url": null}, {"citation": "Francis, Henry. \"Two Landscapes by Claude Monet.\" <em>The Bulletin of the Cleveland Museum of Art </em>35, no. 1 (January 1948): 4-7.", "page_number": "Mentioned: p. 5", "url": "https://www.jstor.org/stable/25141425"}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduction: v. 2, p. 252.", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Mentioned and Reproduced: cat. no. 68", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 503", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "Henning, E. B. \u201cCleveland Museum of Art: from Turner to Guston.\u201d <em>Apollo: The International Magazine for Collectors </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 485", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1966/page/n200"}, {"citation": "<em>Selected Works: Cleveland Museum of Art.</em> [Cleveland]: The Museum,1967.", "page_number": "Reproduced: no. 211.", "url": null}, {"citation": "Moore, Janet Gaylord. <em>The Many Ways of Seeing: An Introduction to the Pleasures of Art.</em> Cleveland: World Pub. Co, 1968.", "page_number": "Reproduced: p. 39.", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1969/page/n200"}, {"citation": "Henning, Edward B. \"Pablo Picasso-Bouteille, Verre et Fourchette.\" <em>The</em> <em>Bulletin of the Cleveland Museum of Art </em>LIX, (September 1972): 198-199.<em><br></em>", "page_number": "Reproduced: p. 198, fig. 11", "url": null}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: Biographie et Catalogue Raisonne\u0301.</em> Lausanne: La Bibliothe\u0300que des Arts, 1974.", "page_number": "Reproduced: v. 3, no. 1165", "url": null}, {"citation": "d'Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings.</em> Part 4, Vol. II, European Paintings of the 19th Century. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Reproduced: p. 456, no. 158", "url": null}, {"citation": "Johnson, Mark M. \"An Introduction to Landscape Painting.\" <em>Arts and <br>Activities </em>82, no. 3 (1977):34-39.", "page_number": "Reproduced: p. 38", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: p. 109, fig. 321", "url": null}, {"citation": "Borowitz, Helen O. \"The Rembrandt and Monet of Marcel Proust.\"<em> The Bulletin of the Cleveland Museum of Art </em>LXX, no.2 (February, 1983): 73-95.", "page_number": "Reproduced: p. 89, fig. 15", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960.</em> [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Reproduced: P. 34, pl. 1; Mentioned and reproduced: P. 96", "url": null}, {"citation": "Brooke, Janet M. <em>Discerning Tastes: Montreal Collectors, 1880-1920, the Montreal Museum of Fine Arts</em>. Montreal, Canada: Montreal Museum of Fine Arts, 1989.", "page_number": "Mentioned: cat. no. 45, p. 134", "url": null}, {"citation": "Ku\u0308ster, Bernd. <em>Monet: seine Reisen in den Su\u0308den.</em> Hamburg: Ellert &amp; Richter, 1992.", "page_number": "Reproduced: no. 13", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet.</em> Ko\u0308ln: Taschen, 1996.", "page_number": "Reproduced: v. 3, no. 1165", "url": null}, {"citation": "Isaacson, Joel. \"Claude Monet.\" In <em>The Dictionary of Art.</em> J. S. Turner, ed., 861-868. New York: Grove, 1996.", "page_number": "Mentioned: p. 867", "url": null}, {"citation": "Chong, Alan, \u201cCleveland Collectors a Century Ago\u201d, <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 05, May 1996", "page_number": "Mentioned & reproduced: p. 9", "url": "https://archive.org/details/CMAMM1996-05/page/n7"}, {"citation": "Pissarro, Joachim<em>. Monet and the Mediterranean</em>. New York: Rizzoli in association with the Kimbell Art Museum; Fort Worth, Texas, 1997.", "page_number": "Reproduced: no. 58, p. 130-131", "url": null}, {"citation": "Shackleford, George. \"Fort Worth and New York: Monet and the Mediterranean.\" <em>Burlington Magazine </em>139 (October 1997): 716-719.", "page_number": "Reproduced: p. 719", "url": null}, {"citation": "Kirsh, Andrea, and Rustin S. Levenson. <em>Seeing Through Paintings: Physical Examination in Art Historical Studies</em>. New Haven: Yale University Press, 2000.", "page_number": "Reproduced: verso no. 47, p. 42", "url": null}, {"citation": "<em>Kuro\u0304do Mone ten = Claude Monet</em>. To\u0304kyo\u0304: Asano Kenkyu\u0304jo, 2001.", "page_number": "Reproduced: p. 95.", "url": null}, {"citation": "Goldin, Marco. <em>L'oro e l'azzurro: i colori del sud da Ce\u0301zanne a Bonnard. </em>Conegliano [Italy]: Linea d'ombra Libri, 2003.", "page_number": "Reproduced: p. 100, fig. 14", "url": null}, {"citation": "Elue\u0300re, Christiane. <em>Monet et la Riviera</em>. [Paris?]: Citadelles &amp; Mazenod, 2006.", "page_number": "Reproduced: p. 170, fig. 129", "url": null}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55 : \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8e Kur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Reproduced: p. 133, fig. 7", "url": null}, {"citation": "Thomson, Richard. <em>Monet &amp; Architecture</em>. London, England: National Gallery Company, 2018.", "page_number": "Reproduced: p. 70-73, pl. 61", "url": null}, {"citation": "Bauer, Gunhild. \"Monet's Journeys of the 1880s: \"Plunging Both Hands Into the Ocean.\" In <em>Claude Monet: A Floating World.</em> Heinz Widauer and Dieter Buchhart, eds., 55-79. Vienna: The Albertina Museum, 2018.", "page_number": "Mentioned and reproduced: p. 126-129, cat. 47; reproduced: p. 241, fig. 7", "url": null}, {"citation": "Rubin, James Henry. Monet. 2020, 120.", "page_number": "Mentioned and reproduced; pp. 119-120, fig. 102.", "url": ""}, {"citation": "Rubin, James Henry. Monet. 2020.", "page_number": "Mentioned and reproduced; pp. 155-156, fig. 129", "url": ""}, {"citation": "Labarr\u00e8re, Andr\u00e9 Z. \"Antibes/Juan-les-Pins.\" In <em>Monet en Pleine Lumi\u00e8re, </em>edited by. Marianne Mathieu, 242-263. Exh. cat. Vanves: Hazan; Monaco: Grimaldi Forum Monaco, 2023.", "page_number": "Mentioned: p. 255; Reproduced: p. 257, cat. 87", "url": ""}, {"citation": "Lefebvre, G\u00e9raldine. \"Monet's Gardens: From Le Havre to Giverny.\" In <em>Monet\u2019s Ecology, </em>edited by Adriano Pedrosa and Fernando Oliva, 190-231. S\u00e3o Paulo: Museu de Arte de S\u00e3o Paulo Assis Chateaubriand (MASP), 2025.", "page_number": "Reproduced: p. 229, no. 141", "url": ""}], "url": "https://clevelandart.org/art/1916.1044", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_web.jpg", "width": "900", "height": "640", "filesize": "412101", "filename": "1916.1044_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_print.jpg", "width": "3400", "height": "2418", "filesize": "5866869", "filename": "1916.1044_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1044/1916.1044_full.tif", "width": "15628", "height": "11116", "filesize": "521195240", "filename": "1916.1044_full.tif"}}, "alternate_images": [{"date_created": "2005-09-26T14:55:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1044/1916.1044_alt0_web.jpg", "width": "900", "height": "636", "filesize": "435011"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1044/1916.1044_alt0_print.jpg", "width": "3400", "height": "2404", "filesize": "4307037"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1044/1916.1044_alt0_full.tif", "width": "5513", "height": "3898", "filesize": "64501116"}}, {"date_created": "2017-05-09T14:14:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1044/1916.1044_alt1_web.jpg", "width": "900", "height": "675", "filesize": "469288"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1044/1916.1044_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "6490285"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1044/1916.1044_alt1_full.tif", "width": "15995", "height": "11996", "filesize": "575661496"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95272, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Antibes"], "is_highlight": false, "updated_at": "2026-03-27 00:02:13.120000"}, {"id": 100824, "accession_number": "1920.120", "share_license_status": "CC0", "tombstone": "Heroic Head of Pierre de Wissant, One of the Burghers of Calais, 1886. Auguste Rodin (French, 1840\u20131917). Bronze; overall: 83.5 x 47 x 55.3 cm (32 7/8 x 18 1/2 x 21 3/4 in.). The Cleveland Museum of Art, The Norweb Collection, 1920.120", "current_location": null, "title": "Heroic Head of Pierre de Wissant, One of the Burghers of Calais", "creation_date": "1886", "creation_date_earliest": 1886, "creation_date_latest": 1886, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 83.5 x 47 x 55.3 cm (32 7/8 x 18 1/2 x 21 3/4 in.)", "dimensions": {"overall": {"height": 0.835, "width": 0.47, "depth": 0.553}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed at neck, left:  A.Rodin; inscribed lower back:  Alexis Rudier/Fondeur-Paris.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520084, "title": "Rodin", "description": "<i>Rodin</i>. The Museum of Modern Art, New York, NY (organizer) (April 29-September 8, 1963).", "opening_date": "1963-04-29T04:00:00"}, {"id": 309843, "title": "Lo\u00efe Fuller", "description": "<i>Lo\u00efe Fuller</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 10-June 3, 1984).", "opening_date": "1984-04-10T05:00:00"}, {"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": 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"}, {"id": 543896, "title": "Rodin\u2014100 Years", "description": "<i>Rodin\u2014100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 300186, "title": "Rodin-100 Years", "description": "<i>Rodin-100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 439224, "title": "Rodin in the United States: Confronting the Modern", "description": "<i>Rodin in the United States: Confronting the Modern</i>. Sterling and Francine Clark Art Institute, Williamstown, MA (organizer) (June 18-September 18, 2022) https://www.clarkart.edu/microsites/rodin/; High Museum of Art, Atlanta, GA (October 21, 2022-January 15, 2023).", "opening_date": "2022-06-18T04:00:00"}], "legacy": [{"description": "Museum of Modern Art, NY, Rodin Sculpture, April 29-September 8, 1963.", "opening_date": "1963-04-29T00:00:00"}]}, "provenance": [{"description": "Purchased by Mrs. Emery May Holden Norweb in 1917, but held in Paris and sent to the CMA in 1920.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This sculpture depicts the head of a figure from Rodin's large public monument <em>The Burghers of Calais</em> (1884-89). The CMA also owns a plaster version of the head.", "description": "This sculpture depicts one of the figures in Rodin\u2019s large public monument <em>The Burghers of Calais</em> (1884\u201389), featuring six French men who volunteered to be taken prisoner by the English in exchange for lifting the siege of Calais during the Hundred Years War (1337\u20131453). Pierre de Wissant\u2019s anguished expression suggests extreme mental suffering as he contemplates his expected execution. Rodin exhibited a life-size version of the figure as an independent work before completing the monument. He later made multiple versions in various sizes and media.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781122"], "internet_archive": ["https://archive.org/details/clevelandart-1920.120-heroic-head-of-pierr"]}, "citations": [{"citation": "\"Modern Sculpture at the Museum.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 6 (1917): 108-09.", "page_number": "Mentioned: pp. 108-109", "url": "http://www.jstor.org/stable/25136110"}, {"citation": "\"Rodin Memorial Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 9 (1917): 162-63.", "page_number": "Mentioned: p. 162", "url": "http://www.jstor.org/stable/25136150"}, {"citation": "\"Report of the Museum's Second Year.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 6/7 (1918): 69-79.", "page_number": "Mentioned: p. 70", "url": "www.jstor.org/stable/25136208"}, {"citation": "F. A. W. \"An Heroic Head by Rodin.\" <em>The Bulletin of the Cleveland Museum of Art</em> 7, no. 4 (1920): 43.", "page_number": "Reproduced: Front Matter; Mentioned: p. 43", "url": "http://www.jstor.org/stable/25136365"}, {"citation": "Tacha, Athena. <em>Rodin Sculpture in the Cleveland Museum of Art.</em> Cleveland: The Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 96, cat. no. IX, Reproduced: p. [44], Plate 62; p. 45, Plate 62a", "url": "https://archive.org/details/RodinSculpture/page/n110"}, {"citation": "Tacha, Athena. <em>A Supplement to Rodin Sculpture in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned: p. 129S, cat. no. IX", "url": null}, {"citation": "Rodin, Auguste, Antoinette Le Normand-Romain, Christina Buley-Uribe, Patrick R. Crowley, C. D. Dickerson, Laure de Margerie, Ve\u0301ronique Mattiussi, Elyse Nelson, Jennifer A. Thompson, and Nora M. Rosengarten. Rodin in the United States: Confronting the Modern. Williamstown, Massachusetts : Clark Art Institute, 2022.", "page_number": "Mentioned and reproduced: p. 134, cat. 46", "url": ""}], "url": "https://clevelandart.org/art/1920.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1920.120/1920.120_web.jpg", "width": "677", "height": "893", "filesize": "292465", "filename": "1920.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1920.120/1920.120_print.jpg", "width": "2576", "height": "3400", "filesize": "3732084", "filename": "1920.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1920.120/1920.120_full.tif", "width": "3792", "height": "5005", "filesize": "56966604", "filename": "1920.120_full.tif"}}, "alternate_images": [{"date_created": "2012-02-16T14:34:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.120/1920.120_alt0_web.jpg", "width": "839", "height": "893", "filesize": "132480"}, "print": {"url": 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"68980044"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 100824, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1920-04-05T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1886", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:43.406000"}, {"id": 143174, "accession_number": "1967.152", "share_license_status": "CC0", "tombstone": "Figure (ba\u00e0th\u00edl), c. 1900. Burkina Faso, Ghana, or C\u00f4te d\u2019Ivoire, Lobi\u2013style artist. Wood and organic materials; overall: 63.6 cm (25 1/16 in.). The Cleveland Museum of Art, Gift in memory of Mr. and Mrs. Ralph M. Coe from various donors, 1967.152", "current_location": "108A African", "title": "Figure (ba\u00e0th\u00edl)", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Burkina Faso, Ghana, or C\u00f4te d\u2019Ivoire, Lobi\u2013style artist"], "technique": "Wood and organic materials", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 63.6 cm (25 1/16 in.)", "dimensions": {"overall": {"height": 0.636}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Mathias Komor, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "by at least 1967", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1967-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Historically, figures like this <em>ba\u00e0th\u00edl</em> were associated with harmful spirits. Less common nowadays, they are used for different reasons, like to relieve suffering from malnutrition.", "description": "This headpost (<em>ba\u00e0th\u00edl</em>) was likely a temporary sanctuary for <em>kh\u00e9l\u00e9</em>, a harmful spirit released after killing a person or dangerous animal. Around 1900, members of the <em>Milku\u00f9r</em> religious association used ba\u00e0th\u00edla to counteract kh\u00e9l\u00e9. While the head resembles that of a teenage girl with pierced upper lip and earlobes, the roughly hewn, pole-like bottom suggests otherwise. Buried in an altar, devotees ritually applied materials that darkened the exposed head. When the owner died, the kh\u00e9l\u00e9 left the sculpture; no longer sacred, it was buried. Milku\u00f9r\u2019s strict rules ensure these objects are made from the appropriate wood and that artists\u2019 names remain secret.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043497"], "internet_archive": ["https://archive.org/details/clevelandart-1967.152-figure-baathil"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>Bulletin of the Cleveland Museum of Art</em> vol. 54, no. 10 (December 1967): 302-347.", "page_number": "Reproduced: p. 340, fig. 43 (detail); Mentioned: p. 342, no. 43", "url": "https://www-jstor-org.ingallslibrary.idm.oclc.org/stable/25152183?refreqid=excelsior%3A32710a59fa10a109230a2def69a633e2&seq=41#metadata_info_tab_contents"}, {"citation": "Meauze\u0301, Pierre. <em>African Art: Sculpture</em> [1st ed.] ed. Cleveland: World Pub. Co., 1968", "page_number": "Reproduced: pp. 48-49", "url": "https://ingallslibrary.on.worldcat.org/oclc/255836"}, {"citation": null, "page_number": "p 48-49, illustrated (1968, as M. Komor collection)", "url": null}], "url": "https://clevelandart.org/art/1967.152", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.152/1967.152_web.jpg", "width": "518", "height": "893", "filesize": "225749", "filename": "1967.152_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.152/1967.152_print.jpg", "width": "1972", "height": "3400", "filesize": "3459148", "filename": "1967.152_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.152/1967.152_full.tif", "width": "3383", "height": "5833", "filesize": "59230572", "filename": "1967.152_full.tif"}}, "alternate_images": [{"date_created": "2009-08-24T12:25:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt0_web.jpg", "width": "513", "height": "893", "filesize": "227205"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt0_print.jpg", "width": "1952", "height": "3400", "filesize": "3445311"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt0_full.tif", "width": "3475", "height": "6052", "filesize": "63123500"}}, {"date_created": "2009-08-24T12:36:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt1_web.jpg", "width": "523", "height": "893", "filesize": "222115"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt1_print.jpg", "width": "1991", "height": "3400", "filesize": "3511371"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt1_full.tif", "width": "3633", "height": "6204", "filesize": "67648708"}}, {"date_created": "2009-08-24T12:42:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt2_web.jpg", "width": "506", "height": "893", "filesize": "210502"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt2_print.jpg", "width": "1925", "height": "3400", "filesize": "3301837"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.152/1967.152_alt2_full.tif", "width": "3414", "height": "6029", "filesize": "61780220"}}], "creditline": "Gift in memory of Mr. and Mrs. Ralph M. Coe from various donors", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143174, "creators": [], "legal_status": "accessioned", "accession_date": "1967-10-27T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Head"], "is_highlight": false, "updated_at": "2026-03-27 00:07:28.894000"}, {"id": 136656, "accession_number": "1961.198", "share_license_status": "CC0", "tombstone": "Nursing Woman with Child, 1800s-1900s. Africa, West Africa, C\u00f4te d'Ivoire, reportedly Korhogo area, Senufo-style carver. Wood and organic material; overall: 63.6 cm (25 1/16 in.). The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1961.198", "current_location": "108A African", "title": "Nursing Woman with Child", "creation_date": "1800s-1900s", "creation_date_earliest": 1800, "creation_date_latest": 1961, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, reportedly Korhogo area, Senufo-style carver"], "technique": "Wood and organic material", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 63.6 cm (25 1/16 in.)", "dimensions": {"overall": {"height": 0.636}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302039, "title": "Year in Review (1961)", "description": "<i>Year in Review (1961)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-26, 1961).", "opening_date": "1961-11-01T05:00:00"}, {"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"id": 204227, "title": "Senufo: Art and Identity in West Africa", "description": "<i>Senufo: Art and Identity in West Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-May 31, 2015); Saint Louis Art Museum, St. Louis, MO (June 28-September 27, 2015); Mus\u00e9e Fabre, Montpellier, France (November 28, 2015-March 6, 2016).", "opening_date": "2015-02-22T00:00:00"}, {"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mathias Komor, New York, NY, 1961, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1961", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The mother\u2019s face, adorned with incisions and markings, resembles that of women who have reached puberty.", "description": "Beyond its specific depiction of a mother nursing her child, this sculpture symbolizes a larger concept of ancestral motherhood that is central to Senufo society, in which cultural inheritance is matrilineal. The darkened areas of wood come from oils applied to its surface as both libations and surface protectants. In some Senufo beliefs, one of the most important founding ancestors is the Great Mother or Ancient Woman (Katyeleeo or Maleeo). In groups that believe in the Great Mother, she suckles male initiates with the \"milk of knowledge.\" Through this process, youths gain the information they need to become adults (that is, fully human). The simplified appearance of the \"child\" in this sculpture reflects his unformed, pre-initiated state.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760770"], "internet_archive": ["https://archive.org/details/clevelandart-1961.198-nursing-woman-with-c"]}, "citations": [{"citation": "Kjersmeier, Carl, and Franc\u0327oise Juliette Isabelle Gleizal. 1967. <em>Centres De Style De La Sculpture Ne\u0300gre Africaine</em>. New York: Hacker Art Books, figs. 38-41.", "page_number": "", "url": ""}, {"citation": "Lem, F. H. 1948. <em>Sculptures Soudanaises</em>. Paris: Arts et Me\u0301tiers Graphiques, figs. 40-46.", "page_number": "", "url": ""}, {"citation": "Muensterberger, Werner. 1955. <em>Sculpture of Primitive Man</em>. New York: H.N. Abrams, fig. 9.", "page_number": "", "url": ""}, {"citation": "<em>The Sculpture of Africa : 405 Photographs</em>. 1958. New York: Frederick A. Praeger, figs. 96, 103.", "page_number": "", "url": ""}, {"citation": "Elsy Leuzinger, Africa (New York, 1960), Senufo seated female cf. fig. 26 and standing, pl. 12.", "page_number": "", "url": ""}, {"citation": "Museum of Primitive Art (New York, N.Y.), and Robert Goldwater. 1964. <em>Senufo Sculpture from West Africa</em>. Greenwich, Conn: Distributed by New York Graphic Society, p. 24.", "page_number": "", "url": ""}, {"citation": "Lee, Sherman E. \"Year in Review 1961.\" In <em>Bulletin of the Cleveland Museum of Art</em> 48, no. 9 (November 1961): 248, cat. 24; repr. p. 233.", "page_number": "p.248, cat. 24; repr. p. 233", "url": "http://www.jstor.org/stable/25142473"}, {"citation": "The Nelson Gallery of Art. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-literate People of the World</em>. Kansas City, MO: The Nelson Gallery of Art and Atkins Museum, 1962, 22, no. 27.", "page_number": "Mentioned: p. 22, cat. no. 27", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1966, 302.", "page_number": "Reproduced: p. 302", "url": "https://archive.org/details/CMAHandbook1966/page/n326"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1969, 302.", "page_number": "Reproduced: p. 302", "url": "https://archive.org/details/CMAHandbook1969/page/n326"}, {"citation": "Elizabeth Broudy and Elizabeth Youngblood. <em>Icon and Symbol: The Cult of the Ancestor in African Art</em>. Bloomfield Hills, Michigan: Cranbrook Academy of Art &amp; Museum, 1975, cat. 9.", "page_number": "cat. no. 9", "url": null}, {"citation": "Weisberg, Gabriel P.<em> Traditions and Revisions: Themes from the History of Sculpture</em>. Cleveland, OH: The Cleveland Museum of Art, 1975, cat. no. 54.", "page_number": "cat. no. 54", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1978, 410.", "page_number": "Reproduced: p. 410", "url": "https://archive.org/details/CMAHandbook1978/page/n430"}, {"citation": "Drewal, Henry John. <em>African Art: A Brief Guide to the Collection</em>. Cleveland: Cleveland Museum of Art, 1989, fig. 21.", "page_number": "fig. 21", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991, 149.", "page_number": "p.149", "url": "https://archive.org/details/CMAHandbook1991/page/n163"}, {"citation": "Gibbons, Martha B., and Jo Zuppan. <em>Interpretations: Sixty-five Works from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 1991, 42.", "page_number": "p. 42", "url": null}, {"citation": "Petridis, Constantine. <em>South of the Sahara: Selected Works of African Art</em>. Cleveland: The Cleveland Museum of Art, 2003, 47, color plate 8.", "page_number": "p.47, color plate 8.", "url": null}, {"citation": "Petridis, Constantine. \"A New Installation for African Art in Cleveland.\" In <em>Tribal</em> 3, no. 36 (Autumn/Winter 2004): 68-73.", "page_number": "p.68-73", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 29", "url": ""}, {"citation": "Gagliardi, Susan Elizabeth, and Constantijn Petridis. <em>Senufo Unbound: Dynamics of Art and Identity in West Africa. </em>Cleveland: The Cleveland Museum of Art, 2015.", "page_number": "p. 146, fig. 97", "url": ""}, {"citation": "Gagliardi, Susan Elizabeth and Constantine Petridis. \"Senufo Unbound: Dynamics of Art and Identity in West Africa.\" In <em>African Arts</em> 48, no. 1 (Spring 2015): 6-23.", "page_number": "Reproduced: p. 8, fig. 2.", "url": null}, {"citation": "Cyvoct, Colin. \u201cL'Afrique des Senufo au Musee Fabre.\u201d In <em>L'\u0152il </em>687 (Janvier 2016): 90.", "page_number": "Reproduced: p. 90", "url": "https://www.lejournaldesarts.fr/expositions/lafrique-des-senufo-au-musee-fabre-127856"}, {"citation": "Geoffroy-Schneiter, B\u00e9r\u00e9nice. \u201cL'Art Senufo au Sommet.\u201d <em>L'Estampille/L'Objet d'Art</em> 520 (F\u00e9vrier 2016): 6.", "page_number": "Reproduced: p. 6.", "url": "https://www.estampille-objetdart.com/numero-520/lyon-musees-tissus-arts-decoratifs-peril/l-art-senufo-sommet.40220.php"}, {"citation": "Cole, Herbert M. <em>Maternity: Mothers and Children in the Arts of Africa</em>. <br> Brussels: Mercatorfonds, 2017.", "page_number": "Mentioned and Reproduced: p. 145-146", "url": null}, {"citation": "Liebert, Emily, Nadiah Fellah, and William Griswold. <em>Picturing Motherhood Now.</em> Cleveland : Cleveland Museum of Art, 2021", "page_number": "Mentioned & Reproduced: P. 10-11, fig. 3", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1961.198", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.198/1961.198_web.jpg", "width": "563", "height": "893", "filesize": "239923", "filename": "1961.198_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.198/1961.198_print.jpg", "width": "2143", "height": "3400", "filesize": "3620299", "filename": "1961.198_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.198/1961.198_full.tif", "width": "3582", "height": "5682", "filesize": "61091168", "filename": "1961.198_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T13:21:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt0_web.jpg", "width": "603", "height": "893", "filesize": "257000"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt0_print.jpg", "width": "2294", "height": "3400", "filesize": "3917149"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt0_full.tif", "width": "3764", "height": "5579", "filesize": "63030428"}}, {"date_created": "2009-10-27T13:22:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt1_web.jpg", "width": "543", "height": "893", "filesize": "225395"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt1_print.jpg", "width": "2066", "height": "3400", "filesize": "3512124"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt1_full.tif", "width": "3538", "height": "5822", "filesize": "61826744"}}, {"date_created": "2009-10-27T13:24:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt2_web.jpg", "width": "559", "height": "893", "filesize": "243625"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt2_print.jpg", "width": "2130", "height": "3400", "filesize": "3702316"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt2_full.tif", "width": "3566", "height": "5692", "filesize": "60925232"}}, {"date_created": "2009-10-27T13:23:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt3_web.jpg", "width": "547", "height": "893", "filesize": "230120"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt3_print.jpg", "width": "2084", "height": "3400", "filesize": "3503674"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.198/1961.198_alt3_full.tif", "width": "3538", "height": "5772", "filesize": "61296152"}}], "creditline": "James Albert and Mary Gardiner Ford Memorial Fund", "image_credit": null, "sketchfab_id": "867a30f081df40d09597b4fb140b4cf3", "sketchfab_url": "https://sketchfab.com/models/867a30f081df40d09597b4fb140b4cf3", "gallery_donor_text": null, "athena_id": 136656, "creators": [], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Woman and Child (ancestor or maternity group?)"], "is_highlight": true, "updated_at": "2026-04-10 07:02:24.524000"}, {"id": 135515, "accession_number": "1958.54", "share_license_status": "CC0", "tombstone": "May Belfort, 1895. Henri de Toulouse-Lautrec (French, 1864\u20131901). Oil on millboard; sheet: 62.5 x 48.2 cm (24 5/8 x 19 in.); framed: 86 x 71.5 x 8.9 cm (33 7/8 x 28 1/8 x 3 1/2 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.54", "current_location": null, "title": "May Belfort", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on millboard", "support_materials": [{"description": "cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 62.5 x 48.2 cm (24 5/8 x 19 in.); Framed: 86 x 71.5 x 8.9 cm (33 7/8 x 28 1/8 x 3 1/2 in.)", "dimensions": {"framed": {"height": 0.86, "width": 0.715, "depth": 0.089}, "sheet": {"height": 0.625, "width": 0.482}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower right, in oil: HTLautrec", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520406, "title": "Toulouse-Lautrec", "description": "<i>Toulouse-Lautrec</i>. Palais de la Berbie, Albi, Albi, France (organizer) (June 1-September 30, 1964).", "opening_date": "1964-06-01T04:00:00"}, {"id": 515905, "title": "Seven Decades of Modern Art", "description": "<i>Seven Decades of Modern Art</i>. Rosenberg & Co., New York, NY (organizer) (April 26-May 21, 1966).", "opening_date": "1966-04-26T04:00:00"}, {"id": 304520, "title": "Art and the Stage", "description": "<i>Art and the Stage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 22-August 16, 1981).", "opening_date": "1981-05-22T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 177160, "title": "Toulouse-Lautrec and Montmartre", "description": "<i>Toulouse-Lautrec and Montmartre</i>. National Gallery of Art, Landover, MD (organizer) (March 20-June 12, 2005).", "opening_date": "2005-03-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 227953, "title": "Henri de Toulouse-Lautrec: Der Weg in die Moderne", "description": "<i>Henri de Toulouse-Lautrec: Der Weg in die Moderne</i>. Kunstforum Wien, Vienna, Austria (organizer) (October 16, 2014-January 25, 2015).", "opening_date": "2014-10-16T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Portraits and Other Works by Henri de Toulouse-Lautrec</em>. Goupil Gallery, London (1898).", "opening_date": null}, {"description": "<em>H. de Toulouse-Lautrec</em>. Galeries Durand-Ruel, Paris (May 14\u201331, 1902).", "opening_date": "2014-05-01T00:00:00"}, {"description": "<em>Toulouse-Lautrec (1864\u20131901)</em>. Bernheim-Jeune &amp; Cie, Paris (October 12\u201324, 1908).", "opening_date": "2012-10-01T00:00:00"}, {"description": "<em>Exposition de peintures et de lithographies originales de H. de Toulouse-Lautrec</em>. Palais du Louvre, Paris (January 24\u2013February 20, 1910).", "opening_date": "1910-02-20T00:00:00"}, {"description": "<em>L\u2019art franc\u0327ais au service de la science franc\u0327aise: Exposition d\u2019\u0153uvres d\u2019art des XVIIIe, XIXe et XXe sie\u0300cles au profit du Comite\u0301 national d\u2019aide de la recherche scientifique</em>. Chambre syndicale de la curiosite\u0301 et des beaux-arts, Paris (April 25\u2013May 15, 1923).", "opening_date": "1923-05-15T00:00:00"}, {"description": "<em>A Century of French Painting</em>. Alex. Reid &amp; Lef\u00e8vre at McLellan Galleries, Glasgow (May 1927).", "opening_date": "1927-05-01T00:00:00"}, {"description": "<em>Loan Exhibition of Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec, 1864\u20131901</em>. Art Institute of Chicago (December 23, 1930\u2013January 18, 1931).", "opening_date": "1930-12-23T00:00:00"}, {"description": "<em>Tenth Loan Exhibition: Lautrec, Redon</em>. Museum of Modern Art, New York (February 1\u2013March 2, 1931).", "opening_date": "1931-03-02T00:00:00"}, {"description": "<em>Memorial Exhibition: The Collection of the Late Miss Lizzie P. Bliss</em>. Museum of Modern Art, New York (May 17\u2013September 27, 1931).", "opening_date": "1931-09-27T00:00:00"}, {"description": "<em>The Lillie P. Bliss Collection</em>. Museum of Modern Art, New York (May 14\u2013September 12, 1934).", "opening_date": "1934-09-12T00:00:00"}, {"description": "<em>Six Masters of Post-Impressionism</em>. Wildenstein &amp; Co., New York (April 8\u2013May 8, 1948).", "opening_date": "1948-05-08T00:00:00"}, {"description": "<em>Toulouse-Lautrec: Exposition en l\u2019honneur du cinquanti\u00e8me anniversaire de sa mort</em>. Mus\u00e9e de l\u2019Orangerie, Paris (May\u2013August 1951).", "opening_date": "1951-08-01T00:00:00"}, {"description": "<em>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</em>. Museum of Modern Art, New York, NY (March 20\u2013May 6, 1956).", "opening_date": "1956-05-06T00:00:00"}, {"description": "<em>Centenaire de Toulouse-Lautrec</em>. Palais de la Berbie, Albi (June\u2013September, 1964); Petit Palais, Paris (October\u2013December 1964).", "opening_date": "1964-09-01T00:00:00"}, {"description": "<em>Henri de Toulouse Lautrec 1864\u20131901</em>. O\u0308sterreichisches Museum fu\u0308r Angewandte Kunst, Vienna (June\u2013July 1966).", "opening_date": "1966-07-01T00:00:00"}]}, "provenance": [{"description": "(Bernheim-Jeune, Paris)", "citations": [], "footnotes": null, "date": "?-by 1909", "sortorder": 1}, {"description": "(Etienne Bignou, Paris)", "citations": [], "footnotes": ["<div><!--block-->Toulouse-Lautrec fiches, Galerie \u00c9tienne Bignou Photo Archive, c. 1909-1950. Wildenstein Plattner Institute, Inc.</div>"], "date": "after 1909-?", "sortorder": 2}, {"description": "(Alexander Reid & Lefevre, Ltd., London)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "(Kraushaar Galleries, New York)", "citations": [], "footnotes": null, "date": "?-1927", "sortorder": 4}, {"description": "Lizzie P. Bliss [1864\u20131931], New York, by descent to her estate", "citations": [], "footnotes": null, "date": "1927-1931", "sortorder": 5}, {"description": "estate of Lizzie P. Bliss, New York", "citations": [], "footnotes": null, "date": "1931-after 1934", "sortorder": 6}, {"description": "George M. Moffett, Jr., Queenstown, MD", "citations": [], "footnotes": null, "date": "after 1934-1948", "sortorder": 7}, {"description": "(Maynard Walker Gallery, New York)", "citations": [], "footnotes": null, "date": "1948", "sortorder": 8}, {"description": "Leonard C. Hanna Jr. [1889\u20131957], Cleveland, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1948-1958", "sortorder": 9}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Henri de Toulouse-Lautrec depicted May Belfort in numerous prints, drawings, posters, and paintings.", "description": "Henri de Toulouse-Lautrec was inspired by caf\u00e9 concerts, popular places of Parisian entertainment that featured singers or other performers. This drawing depicts May Belfort, one such entertainer, who the artist discovered in 1895 during a visit to the popular nightclub Les D\u00e9cadents. Belfort soon became one of Lautrec's favorite models and is seen here wearing the ruffled dress and bonnet that became a signature of her performances. The singer adopted a babyish voice and stood motionless on the stage, encouraging her fans to shout lyrics along with her.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780795"], "internet_archive": ["https://archive.org/details/clevelandart-1958.54-may-belfort"]}, "citations": [{"citation": "<em>Portraits and Other Works by Henri de Toulouse-Lautrec</em>, no. 28. Exh. cat. London: Goupil Gallery, 1898.", "page_number": "Mentioned: p. 4, no. 28", "url": null}, {"citation": "<em>H. de Toulouse-Lautrec</em>. Exh. cat. Paris: Galeries Durand-Ruel, 1902.", "page_number": "Mentioned: no. 15", "url": null}, {"citation": "Duret, Th\u00e9odore. \u201cLes Affiches d\u2019art de Toulouse-Lautrec.\u201d <em>La Renaissance de l\u2019art fran\u00e7ais et des industries de luxe</em> 2 (1919): 381-83.", "page_number": "Reproduced: p. 383", "url": null}, {"citation": "R\u00e9gnier, Henri de. <em>L\u2019Art moderne et quelques aspects de l\u2019art d\u2019autrefois</em>. Paris: Bernheim-Jeune, 1919.", "page_number": "Reproduced: vol. 2, pl. 159", "url": null}, {"citation": "Duret, The\u0301odore. <em>Lautrec.</em> Paris: Bernheim-Jeune and Cie, 1920.", "page_number": "Reproduced: pl. XII", "url": null}, {"citation": "Coquiot, Gustave. <em>Lautrec, ou Quinze ans de moeurs parisiennes, 1885\u20131900</em>. Paris: Ollendorff, 1921.", "page_number": "Mentioned: pp. 164, 218", "url": null}, {"citation": "Joyant, Maurice. <em>Henri de Toulouse-Lautrec, 1864\u20131901, peintre</em>. Paris: Floury, 1926.", "page_number": "Mentioned: p. 290", "url": null}, {"citation": "<em>A Century of French Painting</em>. Exh. cat. Glasgow: Alex Reid and Lef\u00e8vre, 1927.", "page_number": "Mentioned: p. 30, no 41", "url": ""}, {"citation": "<em>Loan Exhibition of Paintings, Drawings, Prints and Posters by Henri de Toulouse-Lautrec, 1864\u20131901</em>. Exh. cat. Chicago: Art Institute of Chicago, 1930.", "page_number": "Mentioned: pp. 23\u201324, no. 25", "url": ""}, {"citation": "<em>Tenth Loan Exhibition: Lautrec, Redon</em>. Exh. cat. New York: Museum of Modern Art, 1931.", "page_number": "Mentioned: p. 15, no. 23; Reproduced: pl. 23", "url": "http://www.moma.org/d/c/exhibition_catalogues/W1siZiIsIjMwMDA2MTg0NSJdLFsicCIsImVuY292ZXIiLCJ3d3cubW9tYS5vcmcvY2FsZW5kYXIvZXhoaWJpdGlvbnMvMTk4MCIsImh0dHA6Ly93d3cubW9tYS5vcmcvY2FsZW5kYXIvZXhoaWJpdGlvbnMvMTk4MD9sb2NhbGU9ZW4iXV0.pdf?sha=309eae021828e073"}, {"citation": "<em>Memorial Exhibition: The Collection of the Late Miss Lizzie P. Bliss</em>. Exh. cat. New York: Museum of Modern Art, 1931.", "page_number": "Mentioned: p. 38, no. 142; Reproduced: pl. 142", "url": "https://www.moma.org/documents/moma_catalogue_1707_300061851.pdf"}, {"citation": "<em>The Lillie P. Bliss Collection</em>. Exh. cat. New York: Museum of Modern Art, 1934.", "page_number": "Mentioned: pp. 6, 69-70, no. 66; Reproduced: pl. 66", "url": "https://www.moma.org/documents/moma_catalogue_1995_300190550.pdf"}, {"citation": "Mack, Gerstle. <em>Toulouse-Lautrec</em>. New York: A. A. Knopf, 1938.", "page_number": "Mentioned: p. 176", "url": null}, {"citation": "Lassaigne, Jacques. <em>Toulouse-Lautrec</em>. London: Hyperion, 1939.", "page_number": "Reproduced: p. 102", "url": null}, {"citation": "<em>Six Masters of Post-Impressionism</em>. Exh. cat. New York: Wildenstein, 1948.", "page_number": "Mentioned: p. 37, no. 31; Reproduced: p. 40", "url": null}, {"citation": "Florisoone, Michel and M. G. Dortu. <em>Toulouse-Lautrec: Exposition en l\u2019honneur du cinquanti\u00e8me anniversaire de sa mort</em>. Exh. cat. Paris: Orangerie des Tuileries, 1951.", "page_number": "Mentioned: pp. 22-23, no. 62", "url": null}, {"citation": "<em>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</em>. Exh. cat. New York: Museum of Modern Art, 1956.", "page_number": "Mentioned: p. 46, no. 32; Reproduced: p. 20-21", "url": null}, {"citation": "<em>Centenaire de Toulouse-Lautrec</em>. Exh. cat. Paris: Re\u0301union des muse\u0301es nationaux, 1964.", "page_number": "Mentioned: pp. 74-76, no. 60; Reproduced: p. 75", "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. 179", "url": "https://archive.org/details/CMAHandbook1966/page/n203"}, {"citation": "<em>Henri de Toulouse-Lautrec, 1864\u20131901</em>. Exh. cat. Vienna: O\u0308sterreichisches Museum fu\u0308r Angewandte Kunst, 1966.", "page_number": "Mentioned: p. 62, no. 20; Reproduced: pl. 19", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "Caproni, Giorgio. <em>L\u2019Opera completa di Toulouse-Lautrec</em>. Milan: Rizzoli, 1969.", "page_number": "Mentioned and reproduced: p. 114 (ill.), no. 421a", "url": null}, {"citation": "Novotny, Fritz. <em>Toulouse-Lautrec</em>. New York: Phaidon, 1969.", "page_number": "Mentioned: p. 192; Reproduced: pl. 83", "url": null}, {"citation": "Dortu, M. G. <em>Toulouse-Lautrec et son \u0153uvre</em>. New York: Collectors Editions, 1971.", "page_number": "Mentioned: vol. 3, pp. 362, no. 588; Reproduced: p. 363", "url": null}, {"citation": "Thomson, Richard. <em>Toulouse-Lautrec</em>. London: Oresko Books, 1977.", "page_number": "Mentioned and reproduced: p. 84-85", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 222", "url": "https://archive.org/details/CMAHandbook1978/page/n242"}, {"citation": "Monneret, Sophie. <em>L'Impressionnisme et son </em>\u00e9poque. Paris: Denoel, 1979.", "page_number": "Mentioned: p. 314", "url": null}, {"citation": "Cooper, Douglas. <em>Henri de Toulouse-Lautrec</em>. New York: Abrams, 1982.", "page_number": "Mentioned: p. 106; Reproduced: p. 107", "url": null}, {"citation": "<em>Toulouse-Lautrec</em>. Exh. Cat. London: Hayward Gallery, 1991.", "page_number": "Mentioned and reproduced: p. 332", "url": null}, {"citation": "Denvir, Bernard. <em>Toulouse-Lautrec</em>. New York: Thames and Hudson, 1991.", "page_number": "Mentioned: p. 153; Reproduced: p. 22", "url": null}, {"citation": "Schimmel, Herbert. <em>The Letters of Henri de Toulouse-Lautrec</em>. Oxford: Oxford University Press, 1991.", "page_number": "Mentioned: p. 321n2", "url": ""}, {"citation": "Kokatsu, Reiko. <em>Henri de Toulouse-Lautrec</em>. Tokyo: Asahi Shinbunsha, 1994.", "page_number": "Reproduced: p. 44, no. 40", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned and reproduced: p. 3", "url": null}, {"citation": "Cate, Phillip Dennis, Mary Weaver Chapin, and Richard Thomson. <em>Toulouse-Lautrec and Montmartre</em>. Exh. cat. Washington, DC: National Gallery of Art, 2005.", "page_number": "Mentioned: pp. 141, 257, no. 198; Reproduced: p. 184", "url": ""}, {"citation": "Benesch, Evelyn and Ingried Brugger, eds. <em>Henri de Toulouse-Lautrec: Der Weg in die Moderne</em>. Exh. cat. Vienna: Kunstforum Wien, 2015.", "page_number": "Mentioned and reproduced: pp. 96, 242, no. 40", "url": ""}, {"citation": "Marchesseau, Daniel, et al . <em>Henri de Toulouse-Lautrec a\u0300 la Belle E\u0301poque, French Cancans: \u0152uvres graphiques, une collection priv\u00e9e</em>. Exh. cat. Martigny: Fondation Pierre Gianadda, 2017.", "page_number": "Reproduced: p. 141", "url": null}, {"citation": "Vircondelet, Alain. <em>Dans les Pas de Toulouse-Lautrec: Nuits de la Belle E\u0301poqu</em>e. Strasbourg: E\u0301ditions du Signe, 2019.", "page_number": "Mentioned and reproduced: pp. 136-37 (image identified incorrectly as CMA drawing)", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 176-181, no. 37b", "url": ""}, {"citation": "Walsh, Irene M.<em> Lillie P. Bliss: Collector, Advocate, and Visionary Benefactor of the Museum of Modern Art.</em> London: Bloomsbury Visual Arts, 2025.", "page_number": "Mentioned and reproduced: p. 70-74, fig. 3.10", "url": ""}], "catalogue_raisonne": "Dortu P588", "url": "https://clevelandart.org/art/1958.54", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.54/1958.54_web.jpg", "width": "677", "height": "893", "filesize": "122176", "filename": "1958.54_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.54/1958.54_print.jpg", "width": "2578", "height": "3400", "filesize": "1608839", "filename": "1958.54_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.54/1958.54_full.tif", "width": "5527", "height": "7288", "filesize": "120866060", "filename": "1958.54_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.54/1958.54_alt0_web.jpg", "width": "683", "height": "893", "filesize": "548032"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.54/1958.54_alt0_print.jpg", "width": "1536", "height": "2009", "filesize": "2680926"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.54/1958.54_alt0_full.tif", "width": "1536", "height": "2009", "filesize": "9260868"}}, {"date_created": "2012-08-23T13:39:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.54/1958.54_alt1_web.jpg", "width": "687", "height": "893", "filesize": "129113"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.54/1958.54_alt1_print.jpg", "width": "2615", "height": "3400", "filesize": "1736345"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.54/1958.54_alt1_full.tif", "width": "5836", "height": "7587", "filesize": "132856552"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135515, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:35.158000"}, {"id": 128363, "accession_number": "1951.323", "share_license_status": "CC0", "tombstone": "Villerville Seen from Le Ratier, 1855. Charles Fran\u00e7ois Daubigny (French, 1817\u20131878). Oil on fabric; framed: 80 x 141.5 x 7.5 cm (31 1/2 x 55 11/16 x 2 15/16 in.); unframed: 54.2 x 116.2 cm (21 5/16 x 45 3/4 in.). The Cleveland Museum of Art, Bequest of William G. Mather, 1951.323", "current_location": "220 19th Century European", "title": "Villerville Seen from Le Ratier", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 80 x 141.5 x 7.5 cm (31 1/2 x 55 11/16 x 2 15/16 in.); Unframed: 54.2 x 116.2 cm (21 5/16 x 45 3/4 in.)", "dimensions": {"framed": {"height": 0.8, "width": 1.415, "depth": 0.075}, "unframed": {"height": 0.542, "width": 1.162}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: Daubigny 1855\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520451, "title": "Charles Daubigny", "description": "<i>Charles Daubigny</i>. Paine Art Center and Gardens, Oshkosh, WI (organizer) (May 1-31, 1964); The Gallery of Modern Art, New York, NY (June 16-August 2, 1964).", "opening_date": "1964-05-01T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 224215, "title": "The Draw of the Normandy Coast", "description": "<i>The Draw of the Normandy Coast</i>. Portland Museum of Art, Portland, ME (organizer) (June 14-September 2, 2012).", "opening_date": "2012-06-14T00:00:00"}], "legacy": [{"description": "Louis Martinet, Boulevard des Italiens. Paris, France (January 1862).", "opening_date": null}, {"description": "<em>Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art</em>. Kinney and Levan Building, Cleveland, OH (1913).", "opening_date": "1913-01-01T00:00:00"}, {"description": "<em>Barbizon Revisited</em>. California Palace of the Legion of Honor, San Francisco, CA; Toledo Museum of Art, Toledo, OH; The Cleveland Museum of Art, Cleveland, OH; Museum of Fine Arts, Boston, MA (1962-63).", "opening_date": "1962-01-01T00:00:00"}, {"description": "<em>First American Retrospective Exhibition of Paintings, Drawings and Prints by Charles Fran\u00e7ois Daubigny.</em> Paine Art Center and Arboretum, Oshkosh, WI; Gallery of Modern Art, New York, NY (1964).", "opening_date": "1964-01-01T00:00:00"}]}, "provenance": [{"description": "Bought from the artist in 1878 by Count Armand Doria [1824-1896] Paris, France, for ff 2,500.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Galerie Heinemann, Munich, Germany, December 1912, sold to C.A. Platt for William G. Mather)", "citations": [], "footnotes": [], "date": "1912", "sortorder": 2}, {"description": "William G. Mather [1857-1951] Cleveland, OH, bequethed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1912-1951", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Daubigny turned his boat, <em>Le Botin</em> (Little Box), into a studio where he painted while cruising the Seine, Marne, and Oise rivers in France.", "description": "The town of Villerville on the Normandy coast appears just to the right of center in this expansive landscape by Daubigny, a pioneer of outdoor painting and a major influence on Claude Monet and the Impressionists. Daubigny introduced a new kind of natural landscape based on outdoor studies of light, water, and atmospheric conditions. Here, streaks of bright light along the horizon set off the dark masses of the rocky shore in the foreground.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515831"], "internet_archive": ["https://archive.org/details/clevelandart-1951.323-villerville-seen-fro"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "<em>Katalog franzo\u0308sischer und altspanischer Meister: permanente Ausstellung von Werken erstklassiger deutscher, franzo\u0308sischer, altenglischer und altspanischer Meister.</em> Galerie Heinemann; (Mu\u0308nchen). 1914.", "page_number": "Reproduced: unpaginated", "url": null}, {"citation": "Francis, Henry S. \"Bequest of William G. Mather: Paintaings.\" <em>The Bulletin of The Cleveland Museum of Art XXXVIII</em> no. 8 (October, 1951):197-198.", "page_number": "Mentioned: p. 198", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d September 26, 1951, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0030"}, {"citation": "\"Mather Bequest to Cleveland.\" <em>Art Digest </em>26 (October 15, 1951): 10.", "page_number": "Mentioned: P. 10", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 161, vol. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 496", "url": "https://archive.org/details/CMAHandbook1958/page/n91"}, {"citation": "Gregg, Richard N. \"Charles Francois Daubigny, Forerunner of Impressionism.\" <em>Antiques</em> 85 (May 1964): 548-551.", "page_number": "Reproduced: P. 550", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1966/page/n193"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1969/page/n193"}, {"citation": "Fidell-Beaufort, Madeleine, Charles Franc\u0327ois Daubigny, and Janine Bailly-Herzberg. <em>Daubigny</em>. Paris, France: Geoffroy-Dechaume, 1975.", "page_number": "Reproduced: p. 122, fig. 38", "url": null}, {"citation": "Hellebranth, Robert. <em>Charles-Franc\u0327ois Daubigny: 1817-1878</em>. Morges, Switzerland: Matute, 1976.", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 209", "url": "https://archive.org/details/CMAHandbook1978/page/n229"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 52", "url": null}, {"citation": "Hellebranth, Robert and Anne Hellebranth. <em>Charles-Franc\u0327ois Daubigny, 1817-1878</em>. France: [publisher not identified], 1996.", "page_number": null, "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "Burgess, Margaret E., Frances Fowle, and Richard Kendall. <em>The Draw of the Normandy Coast: 1860-1960</em>. Portland, ME: The Portland Museum of Art, 2012.", "page_number": "Reproduced: p. 22, fig. 6", "url": null}, {"citation": "Clarke, Michael, Frances Fowle, Lynne Ambrosini, Maite van Dijk, Nienke Bakker, and Rene\u0301 Boitelle. <em>Inspiring Impressionism: Daubigny, Monet, Van Gogh</em>. Edinburgh, Scotland: National Galleries of Scotland, 2015.", "page_number": "Mentioned and reproduced: P. 84-85, no. 75", "url": null}], "url": "https://clevelandart.org/art/1951.323", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.323/1951.323_web.jpg", "width": "1263", "height": "588", "filesize": "470851", "filename": "1951.323_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.323/1951.323_print.jpg", "width": "3400", "height": "1582", "filesize": "3570564", "filename": "1951.323_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.323/1951.323_full.tif", "width": "6105", "height": "2841", "filesize": "52063348", "filename": "1951.323_full.tif"}}, "alternate_images": [], "creditline": "Bequest of William G. Mather", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 128363, "creators": [{"id": 1626, "description": "Charles Fran\u00e7ois Daubigny (French, 1817\u20131878)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a painter, Charles Fran\u00e7ois Daubigny received his initial training from his father, Edmond Fran\u00e7ois Daubigny (1789-1843), a student of Bertin (q.v.). Daubigny's uncle, Pierre, and his uncle's wife were also painters. In order to finance a trip to Italy, Daubigny began painting decorative panels for the Mus\u00e9e de Versailles. By 1835 he had earned enough money for the excursion and, accompanied by Henri Mignon, traveled through Rome, Florence, Pisa, and Genoa, studying the Italian country-side. Upon his return to Paris in 1836 Daubigny began working for Granet (q.v.) in the paintings restoration depart-ment of the Louvre. He made his Salon debut two years later and would regularly show there until 1868. During this time he also learned etching, and it became a good source of income while still allowing him time to paint. Daubigny began to travel often, to Normandy in 1842, to the forest of Fontainebleau and on to Burgundy in 1843. He became friends with Corot (q.v.), and the two artists painted together in Switzerland and the Dauphin\u00e9. In 1857 Daubigny bought a boat that he converted into a studio and used to explore the Oise, Marne, and Seine rivers. The boat allowed him freedom to choose the best viewpoints for his landscapes, an idea that Monet (q.v.) would adopt years later. Daubigny achieved some financial success, received the Legion of Honor in 1859, and a year later built a home and studio in Auvers. In 1861, however, he was criticized because his works were becoming darker and sketchier. He was, in fact, one of the earliest artists to become interested in capturing the changing quality of nature by using light, rapid brush strokes.\r\nWhile experimenting with painting, Daubigny continued his interest in printmaking. In 1862 he participated in an exhibit funded by Cadart, a print publisher and dealer. The exhibition concerned artists who considered printmaking a legitimate art in itself, not a medium for simple reproduction. Cadart became Daubigny's exclusive publisher. Along with Corot, Daubigny also experimented with the clich\u00e9 verre technique. He continued to travel, in Brittany in 1867 and Spain in 1868-69. He was also supportive of other artists. As a member of the Salon jury of 1868, he was instrumental in having the works of Degas (q.v.), Morisot (q.v.), Pissarro (q.v.), Renoir (q.v.), Sisley (q.v.), Monet, and Fr\u00e9d\u00e9ric Bazille (1841-1870) accepted. Daubigny moved to London in 1870 to escape the Franco-Prussian War. There he introduced Pissarro and Monet to Paul Durand-Ruel, his art dealer, who had opened a gallery in London. Daubigny returned to Paris after the war, traveling around the French countryside until the end of his life.", "name_in_original_language": null, "birth_year": "1817", "death_year": "1878", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Coast near Villerville"], "is_highlight": false, "updated_at": "2026-03-27 00:05:20.147000"}, {"id": 142653, "accession_number": "1966.377", "share_license_status": "Copyrighted", "tombstone": "The Artist's Sister Lola, 1899\u20131900. Pablo Picasso (Spanish, 1881\u20131973). Oil on canvas; framed: 62.5 x 54 x 8 cm (24 5/8 x 21 1/4 x 3 1/8 in.); unframed: 46.7 x 37.5 cm (18 3/8 x 14 3/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. David S. Ingalls, 1966.377. \u00a9 Estate of  Pablo Picasso / Artists Rights Society (ARS), New York", "current_location": "223 20th Century Avant-Garde", "title": "The Artist's Sister Lola", "creation_date": "1899\u20131900", "creation_date_earliest": 1899, "creation_date_latest": 1900, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 62.5 x 54 x 8 cm (24 5/8 x 21 1/4 x 3 1/8 in.); Unframed: 46.7 x 37.5 cm (18 3/8 x 14 3/4 in.)", "dimensions": {"framed": {"height": 0.625, "width": 0.54, "depth": 0.08}, "unframed": {"height": 0.467, "width": 0.375}}, "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: \"P. Ruiz Picasso-\"; [signed upper left: \"Ruiz Picasso\"]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 442154, "title": "Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)", "description": "<i>Pablo Picasso: Fruhwerk und Blaue Periode (Pablo Picasso: Early Work and the Blue Period)</i>. Kunstmuseum Bern, Bern, Switzerland (organizer) (December 6, 1984-February 17, 1985).", "opening_date": "1984-12-06T05:00:00"}, {"id": 442114, "title": "Picasso, Mir\u00f3, Dali", "description": "<i>Picasso, Mir\u00f3, Dali</i>. Palais des Beaux-Arts, Brussels, Bruxelles, Belgium (September 26-December 22, 1985).", "opening_date": "1985-09-26T04:00:00"}, {"id": 441430, "title": "Picasso: The Artist before Nature", "description": "<i>Picasso: The Artist before Nature</i>. Auckland Art Gallery, New Zealand, Auckland, New Zealand (organizer) (September 21-November 12, 1989).", "opening_date": "1989-09-21T04:00:00"}, {"id": 177096, "title": "Picasso:  The Early Years, 1892-1906", "description": "<i>Picasso:  The Early Years, 1892-1906</i>. National Gallery of Art (organizer) (March 30-July 27, 1997); Museum of Fine Arts, Boston (September 10, 1997-January 4, 1998).", "opening_date": "1997-03-30T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 206339, "title": "Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)", "description": "<i>Barcelona & Modernity: Picasso, Gaud\u00ed, Mir\u00f3, Dal\u00ed (1868-1939)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 2006-January 7, 2007); The Metropolitan Museum of Art, New York, NY (co-organizer) (March 4-June 3, 2007).", "opening_date": "2006-10-15T00:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 304672, "title": "Spain: 500 Years of Spanish Painting from the Museum of Madrid", "description": "<i>Spain: 500 Years of Spanish Painting from the Museum of Madrid</i>. San Antonio Museum of Art, San Antonio, TX (organizer) (June 22-September 16, 2018).", "opening_date": "2018-06-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "Antonio Vancells, Barcelona, Spain", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Knoedler & Co., New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Jane Taft Ingalls, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-1966", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Picasso's younger sister, Maria Dolores Ruiz Picasso, known as Lola, was born in M\u00e1laga, Spain, in December 1884, several days after the city suffered an earthquake. The family sometimes affectionately called Lola \"La Terrem\u00f3tica\" (the little earthquake) partly because of the circumstances of her birth, but also because of her restless and inquisitive nature.", "description": "Pablo Picasso painted this portrait when he was 18 years old and sharing ideas with artists and writers in Barcelona who were dubbed modernists in the press. During this period, his younger sister, Maria Dolores Ruiz Picasso (1884\u20131958), known as Lola, was a favorite model. Picasso\u2019s bold handling of paint, the intense palette, and the way in which the figure\u2019s hands are merely suggested reveal the artist\u2019s early embrace of modernism. Lola\u2019s mantilla (a lace or silk scarf worn over the head and shoulders especially by Spanish and Latin American women) may allude to the family\u2019s Andalusian roots in southern Spain and their Catholic faith.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469688"], "internet_archive": ["https://archive.org/details/clevelandart-1966.377-the-artist-s-sister"]}, "citations": [{"citation": "McCully, Marilyn, ed. and Natasha Elena Staller. <em>Picasso--the Early Years, 1892-1906</em>. Washington, DC: National Gallery of Art, 1997.", "page_number": "Reproduced: p. 104", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models</em>. London, United Kingdom: Fitzroy Dearborn, 2001.", "page_number": "Reproduced: p. 427", "url": null}, {"citation": "Robinson, William H., Jordi Falga\u0300s, and Carmen Belen Lord. <em>Barcelona and Modernity: Picasso, Gaudi\u0301, Miro\u0301, Dali\u0301</em>. Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, New Haven and London, 2006.", "page_number": "Mentioned and Reproduced: p. 96", "url": null}, {"citation": "Serraller, F. Calvo, and Carmen Gime\u0301nez. <em>Picasso: Tradition and Avant-Garde : 6 June-4 September 2006</em>. Madrid, Spain: Museo Nacional del Prado, 2006.", "page_number": "Reproduced: p. 241", "url": null}, {"citation": "<em>19th Century European Paintings: Including Spanish Painting 1850-1930</em> London: Sotheby's, 2006.", "page_number": "Reproduced: p. 60", "url": ""}, {"citation": "Valle\u0300s, Eduard. <em>Picasso versus Rusin\u0303ol: Barcelona, Museu Picasso, 27 de mayo-5 de septiembre de 2010</em>. Barcelona, Spain: Ajuntament de Barcelona, Institut de Cultura, 2010.", "page_number": "Reproduced: p. 279", "url": null}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55 : \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8e Kur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Valle\u0300s, Eduard. <em>Picasso: obra catalana</em>. Barcelona: Enciclop\u00e8dia Catalana, 2015.", "page_number": "Reproduced: p. 34-[35]", "url": null}, {"citation": "Gual, Male\u0301n.<em> Lola Ruiz Picasso: La Custo\u0300dia del Tresor =The Custodian of the Treasure. </em>Barcelona: Fundacio\u0301 Museu Picasso de Barcelona, 2021.", "page_number": "Reproduced: P. 65; Mentioned: P. 117", "url": ""}, {"citation": "McCully, Marilyn. \"Lola Ruiz Picasso.\" In <em>Picasso: The Women in His Life: an Homage</em>. Margrit Bernard, 26-39. Munich: Hirmer, 2022.", "page_number": "Mentioned and reproduced: P. 32-33", "url": ""}], "url": "https://clevelandart.org/art/1966.377", "images": {}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. David S. Ingalls", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 142653, "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": "1966-11-05T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899\u20131900", "collapse_artists": false, "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": ["(Lola in a Spanish Dress)"], "is_highlight": false, "updated_at": "2026-04-03 13:35:08.986000"}, {"id": 150841, "accession_number": "1982.247", "share_license_status": "CC0", "tombstone": "A Painter, 1855. Ernest Meissonier (French, 1815\u20131891). Oil on mahogany; framed: 39 x 33.5 x 6.5 cm (15 3/8 x 13 3/16 x 2 9/16 in.); unframed: 27 x 21.1 cm (10 5/8 x 8 5/16 in.). The Cleveland Museum of Art, Gift of Mrs. Noah L. Butkin, 1982.247", "current_location": "220 19th Century European", "title": "A Painter", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on mahogany", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 39 x 33.5 x 6.5 cm (15 3/8 x 13 3/16 x 2 9/16 in.); Unframed: 27 x 21.1 cm (10 5/8 x 8 5/16 in.)", "dimensions": {"framed": {"height": 0.39, "width": 0.335, "depth": 0.065}, "unframed": {"height": 0.27, "width": 0.211}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: EMeissonier. 1855 [EM in monogram]\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 441330, "title": "Ernest Meissonier: R\u00e9trospective", "description": "<i>Ernest Meissonier: R\u00e9trospective</i>. Mus\u00e9e des Beaux-Arts de Lyon, 69001 Lyon, France (organizer) (March 25-June 27, 1993).", "opening_date": "1993-03-25T05:00:00"}], "legacy": [{"description": "<em>Salon</em>. Palais des Champs-Elys\u00e9es, Paris, France (1857).", "opening_date": null}, {"description": "International Exhibition. London, United Kingdom (1871).", "opening_date": null}, {"description": "<em>The Artist and the Studio in the Eighteenth and Nineteenth Centuries. </em>The Cleveland Museum of Art, Cleveland, OH (April 5 -August 13, 1978).", "opening_date": "1978-04-05T00:00:00"}, {"description": "Metropolitan Museum, New York, NY (1902)", "opening_date": "1902-01-01T00:00:00"}]}, "provenance": [{"description": "Countess Lehon [1808-1880], Paris, France, her sale, April 2-3,1861, lot 10, sold to Vente X . . . de Vienne", "citations": [], "footnotes": [], "date": "1861", "sortorder": 1}, {"description": "Vente X . . . de Vienne, 1861, (possibly Georg Plach [1818-1885], Vienna, Austria", "citations": [], "footnotes": ["<div><!--block-->There are at least two sales at Drouot, 20 April and 1-2 May 1861, though neither catalogue lists a painting by Meissonier.</div>"], "date": "1861-1871", "sortorder": 2}, {"description": "G. Simpson, by 1871", "citations": [], "footnotes": null, "date": "by 1871", "sortorder": 3}, {"description": "John Grant Morris [1811-1897], Allerton Priory, Liverpool, United Kingdom,1883, sold to Samuel P. Avery", "citations": [], "footnotes": null, "date": "1883-1884", "sortorder": 4}, {"description": "(Samuel P. Avery, New York, NY, by 1884, sold to William H. Vanderbilt)", "citations": [], "footnotes": null, "date": "by 1884", "sortorder": 5}, {"description": "William H. Vanderbuilt [1821-1885], New York, NY, by descent to his son, George W. Vanderbuilt", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "George W. Vanderbilt [1862-1914], New York, NY, by descent to Cornelius Vanderbilt III", "citations": [], "footnotes": null, "date": null, "sortorder": 7}, {"description": "Cornelius Vanderbilt III [1983-1942], New York, NY by descent to his widow, Mrs. Cornelius Vanderbilt III", "citations": [], "footnotes": null, "date": "1919-1945", "sortorder": 8}, {"description": "Mrs. Cornelius Vanderbilt III, his widow', [1870-1953], New York, NY, consigned to Parke-Bernet for sale", "citations": [], "footnotes": null, "date": "1945", "sortorder": 9}, {"description": "(Parke-Bernet Galleries, New York, NY, April 18-19, 1945, sold to Mrs. Derek Spence)", "citations": [], "footnotes": null, "date": "1945", "sortorder": 10}, {"description": "Mrs. Derek Spence [1905-1984], New York, NY, February 1976,  consigned to Hammer Gallery", "citations": [], "footnotes": null, "date": "1945-1976", "sortorder": 11}, {"description": "(Hammer Gallery, New York, NY, July 1976, sold to Shepherd Gallery)", "citations": [], "footnotes": null, "date": "1976", "sortorder": 12}, {"description": "(Shephard Gallery, New York, NY, July 1976, sold to Mr. and Mrs. Noah L. Butkin)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 13}, {"description": "Mrs. Noah L. Butkin [1915-2008], Shaker Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1976-1982", "sortorder": 14}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1982-", "sortorder": 15}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The fashionable attire worn by the subject of this painting is from the previous century. In order to ensure authenticity in his paintings, Meissionier collected accessories from local costume markets to assemble a \u201cwork library.\u201d", "description": "Meissonier often depicted artists and musicians of the 1600s and 1700s engaged in their work. This artist is busy painting a small canvas depicting a nymph and satyr. The artist\u2019s 18th-century costume\u2014nearly 100 years out of date at the time of the painting\u2019s creation\u2014transforms the scene into a charming historical fiction. Meissonier exhibited the painting at the Paris Salon of 1857.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474936"], "internet_archive": ["https://archive.org/details/clevelandart-1982.247-a-painter"]}, "citations": [{"citation": "Auvray, Louis.<em> Exposition des Beaux Arts Salon 1859 par Louis Auvray.</em> Paris: Emile Allard, 1857.", "page_number": "Mentioned: P. 49", "url": null}, {"citation": "Camp, M. de. <em>Le Salon de 1857: Peinture, Sculpture</em>. Paris: Librairie Nouvelle, 1857.", "page_number": "Mentioned: P. 54", "url": null}, {"citation": "Burty, Philippe. \"Les Oeuvres de M. Meissonier et les Photographies de M. Bingham.\" <em>Gazette des Beaux-arts </em>20 (1866):78-87.", "page_number": "Mentioned: P. 86", "url": null}, {"citation": "Mollett, John W. <em>Meissonier</em>. New York, NY: Scribner and Welford, 1882.", "page_number": null, "url": null}, {"citation": "Shinn, Earl. <em>Mr. Vanderbilt's House and Collection, Described by Edward Strahan [Pseud.]</em>. Boston, MA: G. Barrie, 1883.", "page_number": "Reproduced: p. 48, vol. 4", "url": null}, {"citation": "Waters, Clara Erskine Clement, and Laurence Hutton. <em>Artists of the Nineteenth Century and Their Works. A Handbook Containing Two Thousand and Fifty Biographical Sketches</em>. Boston, MA: Ticknor, 1884.", "page_number": "Reproduced: p. 209, vol. 2", "url": null}, {"citation": "<em>The Complete Works of E. Meissonier: With Biography</em>. New York. NY: J.W. Bouton, 1884.", "page_number": "Reproduced: pl.xxxviii", "url": null}, {"citation": "Durand-Greville, E. \"La Peinture aux Etats-Unis: Les Galeries Privees.\" <em>Gazette des Beaux-arts </em>36 (1887): 250-255.", "page_number": "Reproduced: P. 252", "url": null}, {"citation": "Chaumelin, Marius. <em>Portraits d'Artistes</em>. Paris: C. Marpon et E. Flammarion, 1887.", "page_number": "Mentioned: P. 43, no. 55", "url": null}, {"citation": "Stranahan, Clara Cornelia (Harrison). <em>A History of French Painting from Its Earliest to Its Latest Practice: Including an Account of the French Academy of Painting, Its Salons, Schools of Instruction and Regulations</em>. London, United Kingdom: Sampson Low, Marston, Searle, and Rivington, 1889.", "page_number": null, "url": null}, {"citation": "Gre\u0301ard, Octave. <em>Meissonier, His Life and His Art</em>. New York, NY: A.C. Armstrong, 1897.", "page_number": "Reproduced: p. 229", "url": null}, {"citation": "Avery, Samuel Putnam, Madeleine Fidell-Beaufort, H. L. Kleinfield, and Jeanne K. Welcher. <em>The Diaries, 1871-1882, of Samuel P. Avery, Art Dealer</em>. New York, NY: Arno Press, 1979.", "page_number": "Mentioned: p. 726-728; Reproduced: fig. 75", "url": null}, {"citation": "Lee, Sherman E. \" Annual Report for 1982.\" <em>The Bulletin of The Cleveland Museum of Art LXX, </em>no. 6 (June, 1983): 230-232.", "page_number": "Reproduced: p. 231", "url": null}, {"citation": "Turner, Evan H. \"Year in Review for 1983.\" <em>The Bulletin of The Cleveland Museum of Art LXXI </em>no. 2 (February, 1984): 39-64.", "page_number": "Reproduced: p. 61, fig. 19;", "url": null}, {"citation": "Vanderbilt, William H. <em>Collection of W.H. Vanderbilt, 640 Fifth Avenue. </em>New York. 1884.", "page_number": "Mentioned: P. 25, no. 41", "url": null}, {"citation": "Patterson, Jerry E. <em>The Vanderbilts</em>. New York: H.N. Abrams, 1989.", "page_number": "Mentioned: P. 105", "url": null}, {"citation": "Placidi, Kathleen S. \"Beyond Bootblacks: \"The Boat Builder\" and the Art of John George Brown.\" The Bulletin of the Cleveland Museum of Art 77, no. 10 (1990): 366-82.", "page_number": "Reproduced and Mentioned: p. 377-78", "url": "https://www.jstor.org/stable/25161306"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 152", "url": null}, {"citation": "Gotlieb, Marc. <em>The Plight of Emulation: Ernest Meissonier and French Salon Painting</em>. Princeton, NJ.: Princeton University Press, 1996.", "page_number": "Reproduced: p. 230, no. 53, fig. 38", "url": null}, {"citation": "Becker, Edwin, and Elizabeth Prettejohn. <em>Sir Lawrence Alma-Tadema</em>. New York, NY: Rizzoli, 1997.", "page_number": "Reproduced: p. 94", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. T<em>he Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 148", "url": null}, {"citation": "Hungerford, Constance Cain, and Jean Louis Ernest Meissonier. <em>Ernest Meissonier: Master in His Genre</em>. Cambridge, United Kingdom: Cambridge University Press, 1999.", "page_number": "Reproduced: p. 67, fig. 28", "url": null}, {"citation": "Antigu\u0308edad, Ma. Dolores, and Amaya Alzaga Ruiz. <em>Colecciones, expolio, museos y mercado arti\u0301stico en Espan\u0303a en los siglos XVIII y XIX</em>. Madrid, Spain: Editorial Universitaria Ramo\u0301n Areces, 2011.", "page_number": "Reproduced: p. 321, fig. 2", "url": null}, {"citation": "David Pullins, review of Delicious Decadence. The Rediscovery of French Eighteenth-Century Painting in the Nineteenth Century, ed. by Guillaume Faroult, Monica Preti and Christoph Vogtherr. The Burlington Magazine 157, no. 1349 (August 2015): 550.", "page_number": "Reproduced: P. 550, fig. 27", "url": null}], "url": "https://clevelandart.org/art/1982.247", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.247/1982.247_web.jpg", "width": "702", "height": "893", "filesize": "394981", "filename": "1982.247_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.247/1982.247_print.jpg", "width": "2674", "height": "3400", "filesize": "5614437", "filename": "1982.247_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.247/1982.247_full.tif", "width": "4719", "height": "6000", "filesize": "84973676", "filename": "1982.247_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 150841, "creators": [{"id": 1661, "description": "Ernest Meissonier (French, 1815\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ernest Meissonier had little formal or institutional artistic training, having studied only briefly in Cogniet's (q.v.) studio. Meissonier began his career making woodcuts for book illustrations, which must have served his craftsmanship and influenced his tendency toward working in a small format. From the beginning he was inspired by seventeenth-century Dutch and Flemish genre painters, as attested by his first Salon painting, Dutch Burghers (1834, Wallace Collection, London). His subjects would eventually have a more typical French flavor, representing artists, musicians, or members of the bourgeoisie involved in leisurely activities, and mostly in eighteenth-century settings. Meissonier joined the French army during the Austro-Italian War (1859), after which he frequently painted military scenes, such as Napoleon III at Solferino (1863, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Along with the many small depictions of the soldier's life, Meissonier also produced some military paintings on a grand scale. Such works were his attempt to make history paintings and served to counter the criticism that his subjects were frivolous. His military paintings culminated in a partly finished project of four large canvases depicting events in Napoleon I's military career that occupied him from 1864 through 1876. But no matter the size or subject of his paintings, they were always meticulously executed. The Franco-Prussian War also inspired some important works, such as Ruins of the Tuileries (1871, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Meissonier's work was extremely popular with the upwardly mobile mercantile elite who appreciated his craftsmanship. Criticism came from artists like Degas (q.v.) and Manet (q.v.), who advocated a more Courbet-like realism, addressing contemporary issues rather than painting idealized reflections of the past. Meissonier led the jury that excluded Courbet (q.v.) from the Salon of 1872 because of his involvement in the Paris Commune in 1871. Yet in 1889 Meissonier was also involved in founding the more progressive artist's organization and exhibitions of the Soci\u00e9t\u00e9 Nationale des Beaux-Arts that seceded from the traditional Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais. Meissonier received many honors and was the first artist to be promoted to the grand croix, the highest rank of the Legion of Honor (1899).", "name_in_original_language": null, "birth_year": "1815", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-12-20T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:40.657000"}, {"id": 164629, "accession_number": "2006.138", "share_license_status": "CC0", "tombstone": "Prestige stool (Kuo fo), possibly 1800s. Africa, Central Africa, Cameroon, Bandjoun Kingdom, Bamileke makers. Wood, cotton, plant fiber, glass beads, and indigo; overall: 51 x 38 x 43 cm (20 1/16 x 14 15/16 x 16 15/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2006.138", "current_location": null, "title": "Prestige stool (Kuo fo)", "creation_date": "possibly 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Cameroon, Bandjoun Kingdom, Bamileke makers"], "technique": "Wood, cotton, plant fiber, glass beads, and indigo", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Furniture and woodwork", "measurements": "Overall: 51 x 38 x 43 cm (20 1/16 x 14 15/16 x 16 15/16 in.)", "dimensions": {"overall": {"height": 0.51, "width": 0.38, "depth": 0.43}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "Pierre Harter, Arts anciens du Cameroun (Arnouville: Arts d'Afrique Noire, 1986), p. 280 (reproduces the field-photograph Father Frank Christol made in 1925, the original of which is preserved in the archives of the Mus\u00e9e de l'Homme, Paris).", "opening_date": "1925-01-01T00:00:00"}, {"description": "Pierre Harter, Les Rois sculpteurs, exh. cat. (Paris: RMN, 1993), p. 61.", "opening_date": "1993-01-01T00:00:00"}, {"description": "Jean-Paul Notue &amp; Bianca Triaca, Bandjoun (Milan: 5 Continets, 2005), p. 54.", "opening_date": "2005-01-01T00:00:00"}, {"description": "Bettina von Lintig, Cameroun, exh. cat. (Paris: Galerie Bernard Dulon, 2006), p. 125-26 (field photo), 127-29 (object as such).", "opening_date": "2006-01-01T00:00:00"}]}, "provenance": [{"description": "Possibly Fo (King) Fotso I and Fo Fotso II, Bandjoun Kingdom, Cameroon", "citations": [], "footnotes": ["<div><!--block-->Harter Pierre. 1986. <em>Arts Ancien Du Cameroun</em>. Arnouville: Arts d'Afrique Noire, p. 282</div><div><!--block--><br></div><div><!--block--><br></div><div><!--block--><br></div>"], "date": "19th century", "sortorder": 1}, {"description": "Fo Kamga II Joseph (1902-1975; r. 1925-1975), Bandjoun Kingdom, Cameroon possibly by descent from the above", "citations": [], "footnotes": [], "date": "by at least 1925-", "sortorder": 2}, {"description": "possibly Rev. Frank Christol (1884\u20131979)", "citations": [], "footnotes": ["<div><!--block-->Pierre Harter (b. 1928) suggested this may have been amongst a group of objects that Christol sold to Ratton. Unpublished/undated text, curatorial file.</div>"], "date": "1925", "sortorder": 3}, {"description": "Charles Ratton (1895\u20131986), Paris, France", "citations": [], "footnotes": [], "date": "before 1940 (perhaps earlier) to 1974", "sortorder": 4}, {"description": "Charles-Fran\u00e7ois Ratton (son of Charles), Paris by gift from the above", "citations": [], "footnotes": ["<div><!--block-->Nouveau Drouot auction house,&nbsp;<em>Arts Primitifs</em>, July 2, 1987. Lot 216, p 39. Note: though listed, this work did not sell at this auction.</div>"], "date": "1974-?", "sortorder": 5}, {"description": "Bernard Dulon, Paris, France", "citations": [], "footnotes": ["<div><!--block-->Email with Galerie Bernard Dulon, 2/23/2021; CMA Curatorial File.</div>"], "date": null, "sortorder": 6}, {"description": "Yves Develon", "citations": [], "footnotes": ["<div><!--block-->Email with Galerie Bernard Dulon, 2/23/2021; CMA Curatorial File.</div>"], "date": null, "sortorder": 7}, {"description": "Private collection, Paris by purchase from Yves Develon (sold on their behalf by Galerie Bernard Dulon, Paris, France, to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Email with Galerie Bernard Dulon, 2/23/2021; CMA Curatorial File.</div>"], "date": "-2006", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2006-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The beads on this stool were sewn on by hand. Look underneath the stool, however, and you can see commercially made printed fabric.", "description": "Bead-covered wooden stools and thrones are one of the most prevalent art forms among the various kingdoms and chiefdoms in the Cameroon Grassfields region. This example, once part of the royal treasury, belongs in the category of \"travel stools,\" usually used in conjunction with more private, minor ceremonies and rituals at the palace. The leopard imagery confirms the object\u2019s royal status. It alludes to the belief that the king could temporarily transform himself into this feared predator.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757358"], "internet_archive": ["https://archive.org/details/clevelandart-2006.138-prestige-stool-kuo", "https://archive.org/details/clevelandart-2006.138-prestige-stool-kuo-f"]}, "citations": [{"citation": "Biro, Yae\u0308lle. 2018. \u201cThe Canon and Its Consequences : The Reception of Bamileke Tsesah Crests.\u201d <em>Tribal Art:</em> 22 (2) No. 87 Spring 2018 Pages 118-131. Fig. 17 (ca. 1925 photograph by Frank Christol)", "page_number": "", "url": ""}, {"citation": "Print: Windmuller-Luna, Kristen. \"Sitting Pretty.\" <em>Apollo Magazine</em>, July/August 2023, pp. 60\u201365<br><br>Online: Windmuller-Luna, Kristen. \"How a leopard stool from Cameroon got its spots.\" <em>Apollo Magazine</em>. July 3, 2023.", "page_number": "", "url": "https://www.apollo-magazine.com/cameroonian-leopard-stool-cleveland-museum-of-art/"}, {"citation": "Harter, Pierre.<em> Arts anciens du Cameroun</em>. Arnouville: Arts d'Afrique noire, 1986.", "page_number": "p. 280", "url": ""}, {"citation": "Ho\u0302tel Drouot.<em> Arts primitifs.</em> 1987.", "page_number": "lot 216", "url": ""}, {"citation": "Muse\u0301e national des arts africains et oce\u0301aniens, Louis Perrois, and Henri Marchal.<em> Les rois sculpteurs: art et pouvoir dans le grassland camerounais : legs Pierre Harter.</em> Paris: Re\u0301union des muse\u0301es nationaux, 1993.", "page_number": "p. 61", "url": ""}, {"citation": "Notue\u0301, Jean-Paul, and Bianca Triaca.<em> Bandjoun: tre\u0301sors royaux au Cameroun : Bandjoun, tradition dynamique, cre\u0301ation et vie : catalogue du Muse\u0301e de Bandjoun</em>. Milan: 5 continents, 2005.", "page_number": "p. 54", "url": ""}, {"citation": "Lintig, Bettina von, and Hughes Dubois. <em>Cameroun</em>. [Montreuil]: [Gourcuff Gradenigo Paris], 2006.", "page_number": "pp. 127-29, 168-69", "url": ""}, {"citation": "<em>Annual Report, July 1, 2006--July 30, 2007.</em> Cleveland: Cleveland Museum of Art, 2007.", "page_number": "pp. 30-31", "url": ""}, {"citation": "Petridis, Constantine, \"King Kamga's Travel Stool\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 05, May/June 2007.", "page_number": "Mentioned & reproduced: pp. 6-7", "url": "https://archive.org/details/CMAMM2007-05/page/n5"}, {"citation": "Petridis, Constantine. \u201cNew Acquisitions of African Art at the Cleveland Museum of Art.\u201d <em>African Arts</em> 44, no. 1 (2011).", "page_number": "pp. 52-67, fig. 8, note 12", "url": "https://www.jstor.org/stable/41330706"}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 56 - 57", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "244-5", "url": ""}, {"citation": "Lintig, Bettina von. 2014. \"A Grasslands Beaded Leopard Skin.\" <em>Tribal Art</em> vol. 18:3, no. 72 (summer).", "page_number": "pp. 108-117, fig. 6", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art. </em>2022.", "page_number": "cat. no. 22, pp. 52, 316", "url": ""}, {"citation": "Petridis, Constantine. 2022. \"The Language of Beauty in African Art.\" <em>Tribal Art</em> vol. 26:4, no. 105 (autumn).", "page_number": "pp. 70-79 [reproduced as Fig. 6 on p. 73", "url": ""}, {"citation": "\"The Language of Beauty in African Art.\"<em> Kimbell Art Museum Members' Guide</em> (March\u2013September 2022): 2-7.", "page_number": "Reproduced:  P. 3.", "url": ""}], "url": "https://clevelandart.org/art/2006.138", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2006.138/2006.138_web.jpg", "width": "768", "height": "900", "filesize": "241222", "filename": "2006.138_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2006.138/2006.138_print.jpg", "width": "2902", "height": "3400", "filesize": "1981210", "filename": 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"accessioned", "accession_date": "2006-09-05T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "possibly 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Leopard Caryatid Stool (Kuo)"], "is_highlight": false, "updated_at": "2026-04-10 07:02:26.284000"}, {"id": 144968, "accession_number": "1970.162", "share_license_status": "CC0", "tombstone": "A Home in the Wilderness, 1866. Sanford Robinson Gifford (American, 1823\u20131880). Oil on canvas; framed: 114.9 x 173.7 x 16.5 cm (45 1/4 x 68 3/8 x 6 1/2 in.); unframed: 76.8 x 135.7 cm (30 1/4 x 53 7/16 in.); former: 96 x 154.5 x 9 cm (37 13/16 x 60 13/16 x 3 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund; The Butkin Foundation; Dorothy Burnham Memorial Collection and various donors by exchange, 1970.162", "current_location": "206 American Landscape", "title": "A Home in the Wilderness", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 114.9 x 173.7 x 16.5 cm (45 1/4 x 68 3/8 x 6 1/2 in.); Unframed: 76.8 x 135.7 cm (30 1/4 x 53 7/16 in.); Former: 96 x 154.5 x 9 cm (37 13/16 x 60 13/16 x 3 9/16 in.)", "dimensions": {"framed": {"height": 1.149, "width": 1.737, "depth": 0.165}, "unframed": {"height": 0.768, "width": 1.357}, "former": {"height": 0.96, "width": 1.545, "depth": 0.09}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: SR Gifford. 1866.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 207218, "title": "Hudson River School Visions: The Landscapes of Sanford R. Gifford", "description": "<i>Hudson River School Visions: The Landscapes of Sanford R. Gifford</i>. The Metropolitan Museum of Art, New York, NY (organizer) (October 7, 2003-February 8, 2004); Amon Carter Museum, Fort Worth, TX (March 6-May 16, 2004); National Gallery of Art, Landover, MD (June 27-September 26, 2004).", "opening_date": "2003-10-07T00:00:00"}], "legacy": [{"description": "Paris, Exposition Universelle (1867) as Un Interieur dans le desert, no. 19; as belonging to M. Knoedler", "opening_date": null}, {"description": "New York, NY, Metropolitan Museum of Art, Gifford Memorial (1880-81), accompanying publication of Memorial Catalogue.", "opening_date": null}, {"description": "Cleveland, OH, Cleveland Museum of Art, Year in Review, 1970 (7 February - 10 March 1971), no cat (see 1971 Bulletin).", "opening_date": "1971-02-07T00:00:00"}, {"description": "Santa Barbara, CA, Santa Barbara Museum of Art, America in Art: Fifty Great Paintings Celebrating Fifty Years (6 June - 11 August 1991), p. 40, ill. p. 41", "opening_date": "1991-06-06T00:00:00"}, {"description": "Metropolitan Musuem of Art (10/7/2003 - 2/8/2004); Amon Carter Museum (3/6/2004 - 5/16/2004); and National Gallery of Art (6/27/2004 - 9/26/2004): \"Hudson River School: The Landscapes of Sanford R. Gifford\" exh. cat. no. 70, p.172-174.", "opening_date": "2003-10-07T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 1}, {"description": "(Sloan & Roman, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Late 1960s-1970", "sortorder": 2}, {"description": "(The Terry DeLapp Gallery, Los Angeles, CA, sold to Sloan & Roman)1", "citations": [], "footnotes": ["<div><!--block-->1 A hand-typed fact sheet (in CMA curatorial file) presumably produced at the time of the painting\u2019s acquisition in 1970 lists a \u201cJohn Johnson\u201d in the provenance following the Terry DeLapp Gallery.&nbsp; While it is possible that Johnson, who appears to have owned or bought/sold at least one other Gifford painting, acted as an intermediary or agent in the sale of the painting, DeLapp emphatically states that he sold the painting directly to Sloan &amp; Roman.</div>"], "date": "c.1960-late1960s", "sortorder": 3}, {"description": "(T. Gilbert Brouillette [1906-1970], Staten Island, NY, sold to the Terry DeLapp Gallery) 1", "citations": [], "footnotes": ["<div><!--block-->1 Although Brouillette was a collector as well as a dealer, Terry DeLapp, to whom Brouillette sold the painting, indicates Brouillette acted as a dealer in the sale of this painting.&nbsp; Brouillette\u2019s papers at the Archives of American Art contain no reference to the painting.</div>"], "date": "Until c. 1960", "sortorder": 4}, {"description": "James M. Hartshorne [d. 1887?], New York, NY?", "citations": [], "footnotes": [], "date": "By 1880", "sortorder": 5}, {"description": "(M. Knoedler & Co., New York, NY) 1", "citations": [], "footnotes": ["<div><!--block-->1 The painting was exhibited at the Paris Universal Exposition of 1867, and the catalogue lists it as belonging to M. Knoedler, Esq.</div>"], "date": "By 1867", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gifford considered this painting to be one of his finest creations.", "description": "Gifford\u2019s view of Mount Hayes in New Hampshire records human intrusion into a remote landscape. On the left riverbank a log cabin stands amid a recently cleared patch of land with several tree stumps, while figures in its doorway greet a man who has arrived with a canoe of supplies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20737705"], "internet_archive": ["https://archive.org/details/clevelandart-1970.162-a-home-in-the-wilder"]}, "citations": [{"citation": "Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "B. Gertrude Denton, letter to William S. Talbot, April 20, 1971, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weiss, Ila Joyce Solomon. <em>Sanford Robinson Gifford: (1823-1880)</em>. New York, N.Y., Columbia Univ., Diss., 1968.", "page_number": null, "url": null}, {"citation": "B. Gertrude Denton, letter to William S. Talbot, April 20, 1971, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Terry DeLapp, email to Victoria Sears Goldman, Jan. 7, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Metropolitan Museum of Art (New York, N.Y.), and John F. Weir. <em>A Memorial Catalogue of the Paintings of Sanford Robinson Gifford, N.A</em>. [New York]: [Press of F. Hart &amp; Co.], 1881.", "page_number": null, "url": null}, {"citation": "Weiss, Ila Joyce Solomon. <em>Sanford Robinson Gifford: (1823-1880)</em>. New York, N.Y., Columbia Univ., Diss., 1968.", "page_number": null, "url": null}, {"citation": "Blake, William P. <em>Reports of the United States Commissioners to the Paris Universal Exposition, 1867: Published Under Direction of the Secretary of State by Authority of the Senate of the United States</em>. Washington, D.C.: G.P.O., 1869.", "page_number": null, "url": null}, {"citation": "Weiss, Ila Joyce Solomon. <em>Sanford Robinson Gifford: (1823-1880)</em>. New York, N.Y., Columbia Univ., Diss., 1968", "page_number": null, "url": null}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 26, no. 66", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \u201cLandscape and Light.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 9\u201320.", "page_number": "Mentioned and reproduced: p. 9-13, figs. 3-4; Reproduced: p. 18-19", "url": "http://www.jstor.org/stable/25152464"}, {"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. 229", "url": "https://archive.org/details/CMAHandbook1978/page/n249"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 66 - 67", "url": ""}, {"citation": "Cole, Mark, \"Picture Perfect\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 48 no. 8, October 2008.", "page_number": "Mentioned and reproduced (detail), p. 7", "url": "https://archive.org/details/CMAMM2008-08/page/6"}, {"citation": "Greenwald, Diana Seave. \"The Big Picture: Thomas Moran\u2019s The Grand Ca\u00f1on of the Yellowstone and the Development of the American West.\" <em>Winterthur Portfolio</em> 49, no. 4 (2015): 175-210.", "page_number": "Mentioned and reproduced: P. 196-197", "url": "https://www.jstor.org/stable/26478147"}, {"citation": "Henry Francis du Pont Winterthur Museum. Winterthur Portfolio. Chicago: University of Chicago Press, 1964.", "page_number": "Reproduced and mentioned; pp. 196-197, fig. 15", "url": ""}], "url": "https://clevelandart.org/art/1970.162", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_web.jpg", "width": "900", "height": "506", "filesize": "195547", "filename": "1970.162_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_print.jpg", "width": "3400", "height": "1910", "filesize": "2082175", "filename": "1970.162_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.162/1970.162_full.tif", "width": "13720", "height": "7707", "filesize": "317245928", "filename": "1970.162_full.tif"}}, "alternate_images": [{"date_created": "2004-10-12T14:53:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt0_web.jpg", "width": "1263", "height": "710", "filesize": "493703"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt0_print.jpg", "width": "3400", "height": "1910", "filesize": "3388197"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt0_full.tif", "width": "5000", "height": "2809", "filesize": "42156060"}}, {"date_created": "2019-08-01T20:33:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt1_web.jpg", "width": "900", "height": "597", "filesize": "272796"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt1_print.jpg", "width": "3400", "height": "2255", "filesize": "2905639"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt1_full.tif", "width": "12201", "height": "8093", "filesize": "296256464"}}, {"date_created": "2008-06-23T15:34:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt2_web.jpg", "width": "1263", "height": "839", "filesize": "768500"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt2_print.jpg", "width": "3400", "height": "2259", "filesize": "5349105"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt2_full.tif", "width": "4465", "height": "2966", "filesize": "39771420"}}, {"date_created": "2019-08-01T19:45:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt3_web.jpg", "width": "900", "height": "609", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt3_print.jpg", "width": "3400", "height": "2300", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.162/1970.162_alt3_full.tif", "width": "11165", "height": "7553", "filesize": ""}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund; The Butkin Foundation; Dorothy Burnham Memorial Collection and various donors by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 144968, "creators": [{"id": 2816, "description": "Sanford Robinson Gifford (American, 1823\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:16.348000"}, {"id": 135238, "accession_number": "1958.25", "share_license_status": "CC0", "tombstone": "Paul Lafond and Alphonse Cherfils Examining a Painting, c. 1878\u201380. Edgar Degas (French, 1834\u20131917). Oil on wood panel; framed: 42.5 x 50 x 6 cm (16 3/4 x 19 11/16 x 2 3/8 in.); unframed: 27 x 34 cm (10 5/8 x 13 3/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.25", "current_location": "222 Impressionism & Post-Impressionism", "title": "Paul Lafond and Alphonse Cherfils Examining a Painting", "creation_date": "c. 1878\u201380", "creation_date_earliest": 1873, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 42.5 x 50 x 6 cm (16 3/4 x 19 11/16 x 2 3/8 in.); Unframed: 27 x 34 cm (10 5/8 x 13 3/8 in.)", "dimensions": {"framed": {"height": 0.425, "width": 0.5, "depth": 0.06}, "unframed": {"height": 0.27, "width": 0.34}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in upper left: Degas / a [sic] ses chers amis\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338947, "title": "The Private Degas", "description": "<i>The Private Degas</i>. Whitworth Art Gallery, Manchester, United Kingdom of Great Britain and Northern Ireland (January 20-February 28, 1987); Fitzwilliam Museum, Cambridge CB2 1RB (March 17-May 3, 1987).", "opening_date": "1987-01-20T05:00:00"}, {"id": 216847, "title": "Faces of Impressionism: Portraits from American Collections", "description": "<i>Faces of Impressionism: Portraits from American Collections</i>. The Cleveland Museum of Art, Cleveland, OH (May 28-July 30, 2000).", "opening_date": "1999-10-10T00:00:00"}, {"id": 224301, "title": "Edgar Degas and the Italians in Paris", "description": "<i>Edgar Degas and the Italians in Paris</i>. Palazzo dei Diamanti, Ferrara (Galleria d'Arte Moderna et Contemporanea) (September 14-November 16, 2003); Royal Scottish Academy, Edinburgh, Scotland (December 12, 2003-February 29, 2004).", "opening_date": "2003-09-14T00:00:00"}, {"id": 282768, "title": "Degas and Rodin - Giants of Modernism", "description": "<i>Degas and Rodin - Giants of Modernism</i>. Von der Heydt-Museum, Wuppertal, Germany (organizer) (October 25, 2016-February 26, 2017).", "opening_date": "2016-10-25T04:00:00"}], "legacy": [{"description": "<em>Exposition Degas</em>. Galerie Georges Petit, Paris, France (1924).", "opening_date": "1924-01-01T00:00:00"}, {"description": "<em>Degas-Portraitiste Sculpteur</em>. Mus\u00e9e de l'Orangerie, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}]}, "provenance": [{"description": "Alphonse Cherfils, Pau, France, by descent to his son, Christian Cherfils", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Christian Cherfils, Pau, France", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Marcel Gu\u00e9rin [1873-1948], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Wildenstein & Co., New York, NY, January 10, 1950, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "1950", "sortorder": 4}, {"description": "Leonard C. Hannah [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1950-1958", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The gentlemen in this painting had close relationships with many Parisian artists and would go directly to their studios to purchase works that they wanted to exhibit or sell.", "description": "The upper left corner of this painting bears a dedication by Degas \"to his dear friends.\" The double portrait depicts Paul Lafond (left), future curator of the art museum at Pau, in southwestern France, and Alphonse Cherfils (right), an art collector and defender of the Impressionists. Through the influence of these friends, Degas's works were selected for the annual exhibitions of the Soci\u00e9t\u00e9 des Amis des Arts (Society of Friends of the Arts), and his painting, A Cotton Office (1873), was the first by the artist to be purchased by a museum. Since the painting held by the two men is probably by Degas, this intimate image commemorates both personal and business relationships.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60517762"], "internet_archive": ["https://archive.org/details/clevelandart-1958.25-paul-lafond-and-alph"]}, "citations": [{"citation": "Lafond, Paul. <em>Degas</em>. Paris, FR: H. Floury, 1918.", "page_number": "Reproduced: opp. title cover, vol. 2", "url": null}, {"citation": "Lemoisne, Paul-Andre\u0301. <em>Degas et son \u0153uvre.</em> Paris. FR: P. Brame et C.M. de Hauke, aux Arts et me\u0301tiers graphiques, 1947.", "page_number": "Reproduced: no. 647; vol 2", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr</em>. Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 11", "url": null}, {"citation": "Francis, Henry S. \"Report for the Year 1958: Painting Department.\" <em>The Bulletin of the Cleveland Museum of Art XXXXVI</em>, no. 6 (June, 1959): 111-122.", "page_number": "Mentioned: p. 22", "url": null}, {"citation": "Boggs, Jean Sutherland. <em>Portraits by Degas</em>. Berkeley, CA: University of California Press, 1962.", "page_number": "Reproduced: p. 94, no. 2", "url": null}, {"citation": "Parry, Eugenia. <em>Degas Monotypes;</em> Essay, Catalogue &amp; Checklist. Cambridge, MA: Fogg Art Museum, Harvard University; distributed by New York Graphic Society, Greenwich, Conn, 1968.", "page_number": "Reproduced: under no. 53", "url": null}, {"citation": "Russoli, Franco and Fiorella Minervino. <em>L'opera completa di Degas</em>. Milano: IT Rizzoli, 1970.", "page_number": "Reproduced: no. 580", "url": null}, {"citation": "Reff, Theodore. Degas: <em>The Artist's Mind</em>. New York, NY: Metropolitan Museum of Art, 1976.", "page_number": "Reproduced: p. 85-86", "url": null}, {"citation": "Nathanson, Carol and Edward Olszewski. \"Degas's Angel of The Apocalypse.\" The Bulletin of the Cleveland Museum of Art LXVII, no. 10 (October, 1980): 243-255.", "page_number": "Reproduced: p. 252, fig. 21; Mentioned: p. 251", "url": null}, {"citation": "Brettell, Richard R., and Suzanne Folds McCullagh. <em>Degas in the Art Institute of Chicago</em>. Chicago, IL: Art Institute of Chicago, 1984.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "Sutton, Denys. <em>Edgar Degas, Life and Work</em>. New York, NY: Rizzoli, 1986.", "page_number": "Reproduced: p. 283", "url": null}, {"citation": "Kendall, Richard. <em>Degas by Himself: Drawings, Prints, Paintings, Writings. </em>London, UK: Macdonald Orbis, 1987.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Thomson, Richard, and Edgar Degas. <em>The Private Degas</em>. New York, N.Y.: Thames and Hudson, 1987.", "page_number": "Referenced: cat. no. 59, p. 54, 140, Reproduced", "url": null}, {"citation": "Sutton, Denys, and Jean Adm\u00e9mar. \u201cLettres In\u00e9dites De Degas \u00c1 Paul Lafond Et Autres Documents.\u201d <em>Gazette Des Beaux Arts</em> 109, no. 129 (April 1987): 159\u201380.", "page_number": "Reproduced: p. 160", "url": null}, {"citation": "Brown, Marilyn R. \u201cDegas and a Cotton Office in New Orleans.\u201d <em>Burlington Magazine</em> 130 (March 1988): 216\u201321.", "page_number": "Reproduced: p. 219, fig. 38", "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. 58", "url": null}, {"citation": "Brown, Marilyn. <em>Degas and the Business of Art: A Cotton Office in New Orleans</em>. University Park, PA: Published for College Art Association by the Pennsylvania State University Press, 1994.", "page_number": "Reproduced: p. 109, fig. 31", "url": null}, {"citation": "Ives, Colta Feller, Susan Alyson Stein, and Julie A. Steiner. <em>The Private Collection of Edgar Degas: A Summary Catalogue</em>. New York, NY: Metropolitan Museum of Art, 1997.", "page_number": "Mentioned: p. 169; Reproduced: p. 170", "url": null}, {"citation": "Feigenbaum, Gail, and Jean Sutherland Boggs. <em>Degas and New Orleans: A</em> <em>French Impressionist in America. </em>New Orleans, LA: New Orleans Museum of Art, 1999.", "page_number": "Reproduced: p. 59, fig. 45", "url": null}, {"citation": "D' Argencourt, Louise, and Roger Diederen. <em>Catalogue of Paintings. Pt. 4. European Paintings of the 19th Centur</em>y. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: vol. 1, p. 78", "url": null}, {"citation": "Dumas, Ann. <em>Degas e gli italiani a Parigi: Ferrara, Palazzo dei Diamanti,</em> 14 settembre-16 novembre 2003. Ferrara, IT: Ferrara arte, 2003.", "page_number": "Mentioned: p. 222-223; Reproduced: no. 13", "url": null}, {"citation": "Pingeot, Anne. \"Rodin 1840-1917 und Degas (Bildhauer) 1834-1917: Umgang mit der Kunstkritik.\" In <em>Degas - Rodin: Wettlauf der Giganten der Moderne. </em>Gerhard Finckh, ed., 263-283. Wuppertal : Von der Heydt-Museum, 2016.", "page_number": "Reproduced: p. 269", "url": null}], "url": "https://clevelandart.org/art/1958.25", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.25/1958.25_web.jpg", "width": "1148", "height": "893", "filesize": "677044", "filename": "1958.25_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.25/1958.25_print.jpg", "width": "3400", "height": "2644", "filesize": "6110864", "filename": "1958.25_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.25/1958.25_full.tif", "width": "6000", "height": "4666", "filesize": "84019128", "filename": "1958.25_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 135238, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "c. 1878\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:08.957000"}, {"id": 150083, "accession_number": "1980.288", "share_license_status": "CC0", "tombstone": "Seaside (July: Specimen of a Portrait), 1878. James Tissot (French, 1836\u20131902). Oil on fabric; framed: 112.1 x 85.4 x 6.4 cm (44 1/8 x 33 5/8 x 2 1/2 in.); unframed: 87.5 x 61 cm (34 7/16 x 24 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.288", "current_location": "220 19th Century European", "title": "Seaside (July: Specimen of a Portrait)", "creation_date": "1878", "creation_date_earliest": 1878, "creation_date_latest": 1878, "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: 112.1 x 85.4 x 6.4 cm (44 1/8 x 33 5/8 x 2 1/2 in.); Unframed: 87.5 x 61 cm (34 7/16 x 24 in.)", "dimensions": {"framed": {"height": 1.121, "width": 0.854, "depth": 0.064}, "unframed": {"height": 0.875, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper left in window sash: J. J. Tissot\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 212970, "title": "James Tissot. Victorian Life/Modern Love", "description": "<i>James Tissot. Victorian Life/Modern Love</i>. Yale Center for British Art, New Haven, CT (September 22-November 28, 1999); Mus\u00e9e national des beaux-arts du Qu\u00e9bec,  Quebec City, Canada (December 15, 1999-March 12, 2000); Buffalo AKG Art Museum, Buffalo, NY (March 24-July 2, 2000).", "opening_date": "1999-09-22T00:00:00"}, {"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": 216780, "title": "Impressionism, Fashion, and Modernity", "description": "<i>Impressionism, Fashion, and Modernity</i>. Mus\u00e9e d'Orsay, Paris, France (September 25, 2012-January 12, 2013); The Metropolitan Museum of Art, New York, NY (February 19-May 27, 2013); The Art Institute of Chicago, Chicago, IL (organizer) (June 29-September 29, 2013).", "opening_date": "2012-09-25T00:00:00"}], "legacy": [{"description": "<em>Summer Exhibition</em>. Grosvenor Gallery, London, United Kingdom (1878).", "opening_date": null}, {"description": "Possibly Victoria &amp; Albert Museum, London, United Kingdom (according to Noah L. Butkin, in letter to The Cleveland Museum of Art; could not be verified).", "opening_date": null}]}, "provenance": [{"description": "(Knoedler & Co., New York, NY, May 31,1879, acquired form the artist).", "citations": [], "footnotes": [], "date": "1879", "sortorder": 1}, {"description": "Arrived in New York via Jos. Bulla, Paris, July 14, 1879, Femme au sofa (stock number 1645).", "citations": [], "footnotes": [], "date": "1879", "sortorder": 2}, {"description": "(Knoedler, New York, NY, October 4, 1879, sold to Henry Hilton, as Summer-days)", "citations": [], "footnotes": [], "date": "1879", "sortorder": 3}, {"description": "(American Art Galleries, New York, NY, Hilton Collection sale, February 13-16 February 1900 (lot 74), sold to Edward Brandus)", "citations": [], "footnotes": [], "date": "1900", "sortorder": 4}, {"description": "(W. Postar, Boston, MA, sold to Herbert Schwarz)", "citations": [], "footnotes": [], "date": "1971-1972", "sortorder": 5}, {"description": "Herbert Schwarz, Montreal", "citations": [], "footnotes": [], "date": "1972", "sortorder": 6}, {"description": "(Sotheby's, Los Angeles, CA, Parke-Bernet, May 22-23, 1972, lot 260, Jeune femme assise with unsustainable provenance)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 7}, {"description": "(Williams & Son, London, United Kingdom, May 1972)", "citations": [], "footnotes": [], "date": "1972", "sortorder": 8}, {"description": "Clarence Frisbee, London, October 1972.", "citations": [], "footnotes": [], "date": "1972", "sortorder": 9}, {"description": "(Christie's, London, United Kingdom, July 25, 1975, lot 115)", "citations": [], "footnotes": [], "date": "1975", "sortorder": 10}, {"description": "Mr. Noah L. Butkin [1918-1980] Shaker Heights, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1975-1980", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "From 1869 to 1876, under the pseudonym <em>Co\u00efd\u00e9</em>, James Tissot published political cartoons in the British weekly magazine <em>Vanity Fair</em>, causing circulation to skyrocket.", "description": "This painting depicts a woman reclining upon an upholstered couch on a summer day while light filters through a partially closed awning that provides a glimpse of a beach in the background. James Tissot\u2019s mature works from this time were <br>more likely to convey a mood\u2014here of a languid summer afternoon\u2014than a specific narrative. The model for this painting was Kathleen Newton, born Kathleen Ashburnham Kelly (1854\u20131882), the artist\u2019s lover from 1876 until her untimely death from tuberculosis at the age of 28.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474665"], "internet_archive": ["https://archive.org/details/clevelandart-1980.288-seaside-july-specime"]}, "citations": [{"citation": "\"Grosvenor Gallery. Second Notice.\" <em>The Magazine of Art </em>1 (1878): 81-82.", "page_number": "Mentioned: P. 82", "url": null}, {"citation": "Laver, James. <em>\"Vulgar Society\"; The Romantic Career of James Tissot, 1836-1902</em>. London, United Kingdom: Constable &amp; co., ltd, 1936.", "page_number": "Reproduced: p. 69", "url": null}, {"citation": "\"Salerooms.\" <em>The Connoisseur </em>190 (September 1975): 68-69.", "page_number": "Mentioned and reproduced: P. 68", "url": null}, {"citation": "Tissot, James Jacques Joseph. \u201cSeaside.\u201d <em>Apollo: The International Magazine for Collectors</em> 102 (November 1975): 392", "page_number": "Reproduced: P. 392", "url": null}, {"citation": "Wentworth, Michael.<em> James Tissot: Catalogue Raisonne\u0301 of His Prints</em>. Minneapolis, Minn. : Minneapolis Institute of Arts, 1978.", "page_number": "Reproduced: P. 160", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1980.\" <em>The Bulletin of The Cleveland Museum of Art LXVIII </em>no. 6 (June, 1981): 163-219.", "page_number": "Reproduced: p. 183; Mentioned: p. 182, p. 214, no. 117", "url": null}, {"citation": "Wentworth, Michael. <em>James Tissot</em>. Oxford, [Oxfordshire]: Clarendon Press, 1984.", "page_number": "Mentioned: p. 131, 142-145, 156, 202; reproduced: pl. 132", "url": null}, {"citation": "Krystyna Matyjaszkiewicz,ed. <em>James Tissot.</em> Oxford: Phaidon Press and Barbican Art Gallery, 1984.", "page_number": "Mentioned: P. 60-61, 119", "url": null}, {"citation": "Wood, Christopher. <em>Tissot: The Life and Work of Jacques Joseph Tissot, 1836-1902</em>. London, United Kingdom : Weidenfeld and Nicolson, 1986.", "page_number": "Mentioned: p. 101; Reproduced: p. 105, fig. 103", "url": null}, {"citation": "Ash, Russell.<em>James Tissot</em>. New York, NY: H.N. Abrams, 1992.", "page_number": "Mentioned: p. 30", "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. 238", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 211", "url": null}, {"citation": "Marshall, Nancy Rose, and Malcolm Warner. <em>James Tissot: Victorian Life, Modern Love</em>. New Haven, CT: American Federation of Arts, Yale University Press, 1999.", "page_number": "Reproduced: no. 52; Mentioned: p. 124-125", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models</em>. London, United Kingdom: Fitzroy Dearborn, 2001.", "page_number": "Reproduced: p. 399", "url": null}, {"citation": "Groom, Gloria Lynn. <em>Impressionism, Fashion, &amp; Modernity</em>. Chicago: Art Institute of Chicago, Chicago, IL, 2012.", "page_number": "Reproduced: p. 157, no. 39", "url": null}, {"citation": "Bougault, Valerie. \"L'Impressionisme en Habits.\" <em>Connaissance des Arts </em>(October 2012): 48-57.", "page_number": "Reproduced: P. 51", "url": null}], "url": "https://clevelandart.org/art/1980.288", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.288/1980.288_web.jpg", "width": "623", "height": "893", "filesize": "109807", "filename": "1980.288_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.288/1980.288_print.jpg", "width": "2358", "height": "3400", "filesize": "4714103", "filename": "1980.288_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.288/1980.288_full.tif", "width": "3467", "height": "5000", "filesize": "52036168", "filename": "1980.288_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 150083, "creators": [{"id": 1824, "description": "James Tissot (French, 1836\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a fabric merchant, Tissot left for Paris in 1856 in order to study at the \u00c9cole des Beaux-Arts under Louis Lamothe (1822-1869) and Hippolyte Flandrin (1809-1864). Just like Alma Tadema (q.v.), Tissot, in his early career, was influenced by Belgian history painter Henry Leys (1815-1869), which resulted in such paintings as those illustrating Goethe's Faust (1808-32). In Paris he became close friends with J. A. M. Whistler (1834-1903), Degas (q.v.), and later Morisot (q.v.) and Manet (q.v.). Tissot made his debut at the Salon of 1859, and in 1864 he showed his first works depicting scenes of modern life. He became quite successful, and by 1865 his financial troubles had disappeared. His fame had already spread to the other side of the Channel, and in 1864 he exhibited for the first time at the Royal Academy in London. Intrigued by Japanese art, Tissot amassed a renowned collection and painted some fashionable japonaiseries. In 1870 he fought in the Franco-Prussian War and joined the Paris Commune. He left the war-ravaged city in 1871 for London, where his success continued. Degas asked him to participate in the first impressionist exhibition in 1874, but he declined. Around 1875 he met Kathleen Newton, who became his companion until her death at age twenty-eight. Overcome with grief, he moved back to Paris. There he had a large solo exhibition in 1883 at the Palais de l'Industrie, showing paintings, works on paper, and enamels. Two years later he exhibited Quinze tableaux sur la femme \u00e0 Paris, depicting the life of the modern urban woman. From that point on, Tissot became deeply involved with spiritualism and religion. He departed completely from secular subjects and began illustrating the life of Christ.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1878, "date_added_to_oa": null, "date_text": "1878", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Seaside"], "is_highlight": false, "updated_at": "2026-03-27 00:09:52.966000"}, {"id": 127115, "accession_number": "1949.439", "share_license_status": "CC0", "tombstone": "Head of a Tahitian Woman, 1891. Paul Gauguin (French, 1848\u20131903). Graphite with stumping and graphite wash on parchment; sheet: 30.5 x 24.4 cm (12 x 9 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1949.439", "current_location": null, "title": "Head of a Tahitian Woman", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite with stumping and graphite wash on parchment", "support_materials": [{"description": "imitation vellum", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 30.5 x 24.4 cm (12 x 9 5/8 in.)", "dimensions": {"sheet": {"height": 0.305, "width": 0.244}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338420, "title": "Gauguin in Tahiti", "description": "<i>Gauguin in Tahiti</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (April 1-May 14, 1950).", "opening_date": "1950-04-01T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 702994, "title": "Work of Paul Gauguin", "description": "<i>Work of Paul Gauguin</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 12-March 29, 1959); The Metropolitan Museum of Art, New York, NY (April 22-May 3, 1959).", "opening_date": "1959-02-12T05:00:00"}, {"id": 518710, "title": "19th Century Master Drawings", "description": "<i>19th Century Master Drawings</i>. Newark Museum, Newark, NJ (organizer) (March 16-April 30, 1961).", "opening_date": "1961-03-16T05:00:00"}, {"id": 361385, "title": "Nineteenth Century Master Drawings", "description": "<i>Nineteenth Century Master Drawings</i>. Newark Museum, Newark, NJ (organizer) (March 16-April 30, 1961).", "opening_date": "1961-03-16T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 351191, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 361387, "title": "Gauguin", "description": "<i>Gauguin</i>. National Museum of Modern Art, Kyoto, Kyoto, Japan (October 5-November 7, 1969).", "opening_date": "1969-08-23T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 361388, "title": "Gauguin to Moore: Primitivism in Modern Sculpture", "description": "<i>Gauguin to Moore: Primitivism in Modern Sculpture</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (November 7, 1981-January 3, 1982).", "opening_date": "1981-11-07T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 361389, "title": "Paul Gauguin", "description": "<i>Paul Gauguin</i>. The National Museum of Modern Art, Tokyo, Tokyo, Japan (organizer) (March 6-May 17, 1987); Aichi Prefectural Museum of Art, Nagoya, Japan (June 12-28, 1987).", "opening_date": "1987-03-06T05:00:00"}, {"id": 441402, "title": "The Art of Paul Gauguin", "description": "<i>The Art of Paul Gauguin</i>. National Gallery of Art, Washington, D.C. (organizer) (May 1-July 31, 1988); The Art Institute of Chicago, Chicago, IL (September 17-December 11, 1988).", "opening_date": "1988-05-01T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary</em>. Wildenstein, New York (April 3 - May 4, 1946).", "opening_date": "1946-04-03T00:00:00"}]}, "provenance": [{"description": "(Hugo Perls, Berlin, sold to De Hauke & Co., Inc., New York)", "citations": [], "footnotes": null, "date": "?-1929", "sortorder": 1}, {"description": "(De Hauke & Co., Inc., sold to Mr. and Mrs. Lewis B. Williams, Cleveland, OH)", "citations": [], "footnotes": ["<div><!--block-->De Hauke inv. no. 1373.</div>"], "date": "1929", "sortorder": 2}, {"description": "Mr. [1880\u20131966] and Mrs. [1879\u20131980] Lewis B. Williams, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1929-1949", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1949 -", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In his writings, Gauguin often referred to his drawings as \"documents\"\u2014records of motifs and ideas he could use later.", "description": "This drawing belongs to a group of highly finished portrait drawings of Tahitians made by Paul Gauguin shortly after his arrival in the South Seas. While getting used to this new place, Gauguin initially avoided painting, preferring first to familiarize himself with the landscape and people through observation and drawing. The meticulous quality of this graphite study suggests that it was made from life. The woman\u2019s noble face and enigmatic expression allude to the spirituality and melancholy that Gauguin sought to conjure in his Polynesian work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780768"], "internet_archive": ["https://archive.org/details/clevelandart-1949.439-head-of-a-tahitian-w"]}, "citations": [{"citation": "Morice, Charles.<em> Paul Gauguin</em>. Paris: H. Floury, 1919.", "page_number": "Reproduced: p. 149", "url": null}, {"citation": "Rewald, John. <em>Gauguin</em>. New York: Hyperion Press, 1938.", "page_number": "Reproduced: p. 155", "url": null}, {"citation": "<em>A Loan Exhibition of Paul Gauguin For the Benefit of the New York Infirmary</em>. Exh. Cat. New York: Wildenstein, 1946.", "page_number": "Mentioned and reproduced: no. 53", "url": null}, {"citation": "\"Rare Drawings in Gauguin Exhibition.\" <em>The Minneapolis Institute of Arts Bulletin</em> 39, no. 15 (April 15, 1950): 74.", "page_number": "Mentioned: p. 74", "url": null}, {"citation": "Francis, Henry S. \"A Drawing by Gauguin.\" <em>The Bulletin of the Cleveland Museum of Art</em> 37, no. 8 (1950): 178-179.", "page_number": "Mentioned: pp. 178-179; Reproduced: p. 174", "url": "http://www.jstor.org/stable/25141656"}, {"citation": "Rewald, John. <em>Gauguin Drawings</em>. New York: Yoseloff, 1958.", "page_number": "Mentioned and reproduced: no. 93", "url": null}, {"citation": "Brooks, Van Wyck, trans. <em>Paul Gauguin's Intimate Journals</em>. Bloomington: Indiana University Press, 1958.", "page_number": "Reproduced: p. 23", "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. 606", "url": "https://archive.org/details/CMAHandbook1958/page/n113"}, {"citation": "Rousseau, Theodore, Jr. <em>Gauguin: Paintings, Drawings, Prints, Sculpture</em>. Exh. Cat. Chicago: Art Institute of Chicago, in association with the Lakeside Press, 1959.", "page_number": "Mentioned: p. 65, no. 82", "url": null}, {"citation": "<em>Nineteenth Century Master Drawings</em>. Exh. Cat. Newark, NJ: Newark Museum, 1961.", "page_number": "Mentioned and reproduced: no. 52", "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. 181", "url": "https://archive.org/details/CMAHandbook1966/page/n205"}, {"citation": "<em>Gauguin</em>. Exh. Cat. Seibu: Grand Magazin Seibu, 1969.", "page_number": "Mentioned and reproduced: no. 52", "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. 181", "url": "https://archive.org/details/CMAHandbook1969/page/n205"}, {"citation": "Pickvance, Ronald. <em>The Drawings of Paul Gauguin</em>. London: Hamlyn, 1970.", "page_number": "Mentioned: p. 34; Reproduced: plate 70", "url": null}, {"citation": "Martini, Alberto. Paul Gauguin. Milano: Fratelli Fabbri Editori, 1977.", "page_number": "Reproduced: p. 3", "url": null}, {"citation": "Wadley, Nicholas. <em>Gauguin</em>. London: Phaidon, 1978.", "page_number": "Mentioned and reproduced: no. 56", "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. 223", "url": "https://archive.org/details/CMAHandbook1978/page/n243"}, {"citation": "McFee, June King, and Rogena M. Degge. <em>Art, Culture, and Environment: A Catalyst for Teaching</em>. New York: Kendall Hunt, 1980.", "page_number": "Reproduced: p. 274", "url": null}, {"citation": "Wilkinson, Alan G. <em>Gauguin to Moore: Primitivism in Modern Sculpture</em>. Exh. Cat. Toronto: Art Gallery of Ontario, 1982.", "page_number": "Mentioned and reproduced: p. 59, no. 18", "url": null}, {"citation": "Prather, Marla, and Charles F. Stuckey, ed. <em>Gauguin: A Retrospective</em>. New York: Hugh Lauter Levin Associates, 1987.", "page_number": "Reproduced: p. 174", "url": null}, {"citation": "<em>Paul Gauguin</em>. Exh. Cat. Tokyo: National Museum of Modern Art, 1987.", "page_number": "Reproduced: p. 92", "url": null}, {"citation": "Barskai\ufe20a\ufe21, A. G., and M. A. Bessonova. <em>Paul Gauguin in Soviet Museums.</em> Leningrad: Aurora Art Publishers, 1988.", "page_number": "Mentioned and reproduced: p. 67", "url": null}, {"citation": "Huyghe, Ren\u00e9. <em>Gauguin</em>. New York: Crown, 1988.", "page_number": "Reproduced: p. 61", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin</em>. Paris: Flammarion, 1988.", "page_number": "Reproduced: p. 146", "url": null}, {"citation": "Brettell, Richard, Fran\u00e7oise Cachin, Claire Fr\u00e8ches-Thory, and Charles F. Stuckey. <em>Gauguin</em>. Exh. Cat. Paris: Galeries nationales du Grand Palais, 1989.", "page_number": "Mentioned: pp. 212, 224, no. 118; Reproduced: p. 224", "url": null}, {"citation": "Cachin, Franc\u0327oise. <em>Gauguin: \"Ce malgre\u0301 moi de sauvage.\"</em> Paris: Gallimard, 1989.", "page_number": "Mentioned: p. 191; Reproduced: p. 73", "url": null}, {"citation": "Clement, Russell T. <em>Paul Gauguin: A Bio-Bibliography</em>. New York: Greenwood Press, 1991.", "page_number": "Mentioned: p. 189", "url": null}, {"citation": "Thomson, Belinda, ed. <em>Gauguin by Himself.</em> London: Bulfinch Press, 1993.", "page_number": "Mentioned: p. 307; Reproduced: p. 168", "url": null}, {"citation": "Amishai-Maisels, Ziva, Marina Bessonova, Albert Kostenevic, and Maria Grazia Messina. <em>Paul Gauguin e l'avanguardia Russa</em>. Firenze: Artificio, 1995.", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: p.5, pp. 142-43, p. 291; Reproduced: p. 143", "url": null}, {"citation": "Cable, Patrick Shaw. \"From North Africa to the Black Sea: Nineteenth-Century French Orientalist Drawings.\" <em>Cleveland Studies in the History of Art</em> 7 (2002): 104-25.", "page_number": "Mentioned and reproduced: p. 118", "url": "http://www.jstor.org/stable/20079721"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 162-165, no. 31", "url": ""}], "url": "https://clevelandart.org/art/1949.439", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.439/1949.439_web.jpg", "width": "713", "height": "893", "filesize": "399263", "filename": "1949.439_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.439/1949.439_print.jpg", "width": "2715", "height": "3400", "filesize": "7184914", "filename": "1949.439_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.439/1949.439_full.tif", "width": "4618", "height": "5782", "filesize": "80131448", "filename": "1949.439_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.439/1949.439_alt0_web.jpg", "width": "702", "height": "893", "filesize": "474426"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.439/1949.439_alt0_print.jpg", "width": "1536", "height": "1955", "filesize": "2494188"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.439/1949.439_alt0_full.tif", "width": "1536", "height": "1955", "filesize": "9011948"}}], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127115, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-11-09T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:08:13.411000"}, {"id": 144967, "accession_number": "1970.161", "share_license_status": "CC0", "tombstone": "Point Judith, Rhode Island, 1867\u201368. Martin Johnson Heade (American, 1819\u20131904). Oil on canvas; framed: 97 x 153.5 x 14 cm (38 3/16 x 60 7/16 x 5 1/2 in.); unframed: 72.3 x 128 cm (28 7/16 x 50 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund and Gift of Delbert Gutridge in memory of Orrel A. Parker by exchange, 1970.161", "current_location": "206 American Landscape", "title": "Point Judith, Rhode Island", "creation_date": "1867\u201368", "creation_date_earliest": 1867, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 97 x 153.5 x 14 cm (38 3/16 x 60 7/16 x 5 1/2 in.); Unframed: 72.3 x 128 cm (28 7/16 x 50 3/8 in.)", "dimensions": {"framed": {"height": 0.97, "width": 1.535, "depth": 0.14}, "unframed": {"height": 0.723, "width": 1.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: M.J. Heade", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}], "legacy": [{"description": "New York, NY, Whitney Museum of American Art, Martin Johnson Heade (10 November - 21 December 1969), not in cat.", "opening_date": "1969-11-10T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Year in Review for 1970 (7 February - 10 March 1971).", "opening_date": "1971-02-07T00:00:00"}, {"description": "Buffalo, NY, Albright-Knox Art Gallery Heritage and Horizon - American Painting 1776 - 1976 (6 March - 11 April 1976); traveled to Detroit, MI, Detroit Institute of Arts (5 May - 13 June 1976); traveled to Toledo, OH, Toledo Museum of Art (4 July - 15 August 1976); traveled to Cleveland, Cleveland Museum of Art (8 September - 10 October 1976); cat. no. 13, ill.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Visions of Landscape: East and West (17 February - 21 March 1982), no cat.", "opening_date": "1982-02-17T00:00:00"}, {"description": "Cincinnati, OH, Taft Museum of Art, Night Lights - 19th and 20th Century American Nocturne Paintings (2 May - 30 June 1985), p. 4, ill. p. 10.", "opening_date": "1985-05-02T00:00:00"}, {"description": "Providence, RI, Museum of Art, Rhode Island School of Design, The Eden of America: Rhode Island Landscapes, 1820 - 1920 (23 January - 27 April 1986), cat. no. 15, ill. p. 35.", "opening_date": "1986-01-23T00:00:00"}, {"description": "Fort Worth, TX, Amon Carter Museum, Ominous Hush: The Thunderstorm Paintings of Martin Johnson Heade (12 February - 1 May 1994); traveled to Shelburne, VT, Shelburne Museum (4 June - 5 September 1994); traveled to New York, NY, Metropolitan Museum of Art (4 October 1994 - 8 January 1995), cat. no. 5, pl. 6, figs 36-7, p. 29-33.", "opening_date": "1994-02-12T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1970-", "sortorder": 1}, {"description": "(Hirschl & Adler Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1969-1970", "sortorder": 2}, {"description": "James H. and Adeline [b. 1933] Anderson, consigned to Hirschl & Adler 1", "citations": [], "footnotes": ["<div><!--block-->1 In July 1969, Anderson appears to have consigned the painting to Vose Galleries in Boston; their records mention a painting by Heade, \"Moonlight on the Bay,\" with dimensions almost exactly the same as those of the CMA painting. This is almost certainly the CMA painting, as Theodore Stebbins, author of the Heade catalogue raisonn\u00e9, notes that Heade painted only three moonlit scenes, and that the other two are significantly smaller in size. An inscription on the back of the CMA painting's stretcher reads, \"7.29.69 J.H. Anderson,\" which may refer to the date Vose acquired the painting.&nbsp; However, it apparently failed to sell, and it was returned to Anderson on August 8th.&nbsp; He then consigned it to Hirschl &amp; Adler later that year.</div><div><!--block--><br></div><ul><li><!--block--><br></li></ul>"], "date": "Probably 1969", "sortorder": 3}, {"description": "Lucy Joseph Harris, Providence and Little Compton, RI, by descent to her daughter and son-in-law, Adeline and James H. Anderson", "citations": [], "footnotes": null, "date": "1953-1969", "sortorder": 4}, {"description": "Benjamin P. Harris, Jr. [1901-1953], Providence, RI, by descent to his wife, Lucy Joseph Harris", "citations": [], "footnotes": null, "date": "1944-1953", "sortorder": 5}, {"description": "Mona Elizabeth Tower Harris [1871-1944], Providence, RI, by descent to her son, Benjamin P. Harris, Jr.", "citations": [], "footnotes": null, "date": "1943=1944", "sortorder": 6}, {"description": "Benjamin P. Harris, Providence, RI [1873-1943], by descent to his wife, Mona Elizabeth Tower Harris", "citations": [], "footnotes": null, "date": "1922-1943", "sortorder": 7}, {"description": "Sarah Bullock Harris [1834-1922], Providence, RI, by descent to her son, Benjamin P. Harris", "citations": [], "footnotes": null, "date": "By 1898-1922", "sortorder": 8}, {"description": "Thomas Harris [1825-1898], Providence, RI, by descent to his wife, Sarah Bullock Harris", "citations": [], "footnotes": null, "date": null, "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Home to Point Judith, the beach town of Narragansett has its population double during summertime.", "description": "One of only a handful of nocturnal scenes painted by Heade, this evocative painting captures the effects of glimmering moonlight on land, sea, and sky. Although the artist depicts a specific location, his nighttime rendering shrouds most details in shadow, imparting a greater sense of mood than place. Human presence manifests itself through two sailing ships on the left side of the composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20742561"], "internet_archive": ["https://archive.org/details/clevelandart-1970.161-point-judith-rhode-i"]}, "citations": [{"citation": "Stebbins, Theodore E., Martin Johnson Heade, Janet L. Comey, and Karen E. Quinn. <em>The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonne\u0301</em>. New Haven: Yale University Press, 2000.", "page_number": null, "url": null}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 27, no. 81", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Talbot, William S. \u201cLandscape and Light.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 9\u201320.", "page_number": "Mentioned and reproduced: p. 13-16, figs. 5-6", "url": "http://www.jstor.org/stable/25152464"}, {"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. 229", "url": "https://archive.org/details/CMAHandbook1978/page/n249"}, {"citation": "Talbot, William S. \u201cVisions of Landscape: East and West.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 3 (March 1983): 112\u2013135.", "page_number": "Mentioned and reproduced: p. 124-126, fig. 21", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 78 - 79", "url": ""}], "url": "https://clevelandart.org/art/1970.161", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1970.161/1970.161_web.jpg", "width": "1263", "height": "702", "filesize": "502266", "filename": "1970.161_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.161/1970.161_print.jpg", "width": "3400", "height": "1891", "filesize": "3705553", "filename": "1970.161_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.161/1970.161_full.tif", "width": "5721", "height": "3183", "filesize": "54662704", "filename": "1970.161_full.tif"}}, "alternate_images": [{"date_created": "2012-02-27T20:33:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.161/1970.161_alt0_web.jpg", "width": "1263", "height": "701", "filesize": "94587"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.161/1970.161_alt0_print.jpg", "width": "3400", "height": "1888", "filesize": "877955"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.161/1970.161_alt0_full.tif", "width": "6349", "height": "3527", "filesize": "67202620"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund and Gift of Delbert Gutridge in memory of Orrel A. Parker by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 144967, "creators": [{"id": 2813, "description": "Martin Johnson Heade (American, 1819\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1819", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867\u201368", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:51.230000"}, {"id": 150353, "accession_number": "1981.13", "share_license_status": "CC0", "tombstone": "Ruins of an Ancient City, c. 1810\u201320. John Martin (British, 1789\u20131854). Oil on paper, mounted on canvas; framed: 118.5 x 142 x 8 cm (46 5/8 x 55 7/8 x 3 1/8 in.); unframed: 95.6 x 118.6 cm (37 5/8 x 46 11/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1981.13", "current_location": "203B British Painting and Decorative Arts", "title": "Ruins of an Ancient City", "creation_date": "c. 1810\u201320", "creation_date_earliest": 1810, "creation_date_latest": 1820, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on paper, mounted on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 118.5 x 142 x 8 cm (46 5/8 x 55 7/8 x 3 1/8 in.); Unframed: 95.6 x 118.6 cm (37 5/8 x 46 11/16 in.)", "dimensions": {"framed": {"height": 1.185, "width": 1.42, "depth": 0.08}, "unframed": {"height": 0.956, "width": 1.186}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: j. martin\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 292699, "title": "Artlens Exhibition 2017", "description": "<i>Artlens Exhibition 2017</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24, 2017-May 29, 2019).", "opening_date": "2017-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "William Ropner, 1864-1947 (West Hartlepool, England), by 1898, when it was withdrawn from a Christie's sale.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Privat collection (sold, Christie's, London, 24 November 1978, lot 160) as An Extensive Classical Landscape with a Ruined City, ca. 1812-15, for \u00a36,000 to Hazlitt, Gooden & Fox.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Hazlitt, Gooden & Fox, (London, England), sold to the Cleveland Museum of Art, 1981.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The painting depicts an imagined scene of a ruined ancient city bathed in the nostalgic glow of twilight. The artist's detailed, almost archeological, interest in these Greek or Roman buildings is characteristic of neoclassicism, although the composition\u2014which plunges suddenly from the foreground into a deep valley\u2014and dramatic lighting are typical of Romantic painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20354689"], "internet_archive": ["https://archive.org/details/clevelandart-1981.13-ruins-of-an-ancient"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 51; Mentioned: p. 78, no. 20", "url": "http://www.jstor.org/stable/25159758"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 420-422, Vol. II, no. 145", "url": ""}], "url": "https://clevelandart.org/art/1981.13", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.13/1981.13_web.jpg", "width": "1111", "height": "893", "filesize": "585605", "filename": "1981.13_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.13/1981.13_print.jpg", "width": "3400", "height": "2732", "filesize": "5294842", "filename": "1981.13_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.13/1981.13_full.tif", "width": "5500", "height": "4420", "filesize": "72961628", "filename": "1981.13_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 150353, "creators": [{"id": 2786, "description": "John Martin (British, 1789\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Northumberland, John Martin began his career as a coach and ceramics painter before exhibiting oil paintings at the Royal Academy, London. His first critical success, Sadak in Search of the Waters of Oblivion (1812, Saint Louis Art Museum), introduced his penchant for dramatic compositions with diminutive figures in vast and often threatening landscapes. Joshua Commanding the Sun to Stand Still upon Gideon (1816, United Grand Lodge of England) and Belshazzar's Feast (1821, private collection) combined meticulous biblical and archaeological research with imaginative pictorial narrative and sensational architectural perspective to create a unique genre of the apocalyptic sublime. Martin was an inveterate self-promoter, and in an effort to broaden his commercial support in the 1820s he designed and engraved nearly a hundred mezzotint illustrations to the Bible and to Milton's Paradise Lost (1667), thus becoming one of the principal exponents and arguably the most accomplished practitioner of that printmaking technique in the nineteenth century. A number of unrealized engineering schemes that were as grandiose as the subjects of many of his most imposing pictures preoccupied Martin in the 1830s and 1840s, diverting much of his energy from his art. These plans included a water system and sewage disposal plan for the city of London. In his final years he returned to the cataclysmic inspiration of his middle period and painted a magnificent trilogy of Last Judgment pictures now in the Tate Gallery, London.", "name_in_original_language": null, "birth_year": "1789", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-03-09T00:00:00", "sortable_date": 1810, "date_added_to_oa": null, "date_text": "c. 1810\u201320", "collapse_artists": false, "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": ["A Ruined City in a Classical Landscape"], "is_highlight": false, "updated_at": "2026-03-27 00:04:12.587000"}, {"id": 129221, "accession_number": "1952.113", "share_license_status": "CC0", "tombstone": "The Laundress, 1888. Henri de Toulouse-Lautrec (French, 1864\u20131901). Black and gray wash with white paint, scratched away in places, on gray cardboard prepared with white ground; sheet: 75.9 x 63.1 cm (29 7/8 x 24 13/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1952.113", "current_location": null, "title": "The Laundress", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and gray wash with white paint, scratched away in places, on gray cardboard prepared with white ground", "support_materials": [{"description": "gray cardboard prepared with a white ground", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 75.9 x 63.1 cm (29 7/8 x 24 13/16 in.)", "dimensions": {"sheet": {"height": 0.759, "width": 0.631}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in brush and ink and black crayon: T-Lautrec; inscribed, on verso, upper center, in graphite: M", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361398, "title": "Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum", "description": "<i>Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum</i>. Philadelphia Museum of Art (organizer) (October 29-December 11, 1955); The Art Institute of Chicago, Chicago, IL (January 2-February 15, 1956).", "opening_date": "1955-10-29T04:00:00"}, {"id": 360866, "title": "Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs", "description": "<i>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</i>. The Museum of Modern Art, New York, NY (organizer) (March 20-May 6, 1956).", "opening_date": "1956-03-20T05:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 519406, "title": "French Drawings of the 1800's", "description": "<i>French Drawings of the 1800's</i>. University of Michigan Museum of Art, Ann Arbor, MI (organizer) (April 22-May 29, 1962).", "opening_date": "1962-04-22T05:00:00"}, {"id": 361400, "title": "A Generation of Draughtsmen", "description": "<i>A Generation of Draughtsmen</i>. University of Michigan Museum of Art, Ann Arbor, MI (organizer) (April 25-May 29, 1962).", "opening_date": "1962-04-25T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 361401, "title": "Toulouse-Lautrec", "description": "<i>Toulouse-Lautrec</i>. Wildenstein & Co., New York, NY (February 7-March 14, 1964).", "opening_date": "1964-02-07T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361402, "title": "Henri de Toulouse-Lautrec, 1864-1901", "description": "<i>Henri de Toulouse-Lautrec, 1864-1901</i>. MAK, the \u00d6sterreichisches Museum f\u00fcr angewandte Kunst/Gegenwartskunst, Vienna, Austria (organizer).", "opening_date": "1966-06-01T04:00:00"}, {"id": 516254, "title": "Henri de Toulouse-Lautrec", "description": "<i>Henri de Toulouse-Lautrec</i>. MAK, the \u00d6sterreichisches Museum f\u00fcr angewandte Kunst/Gegenwartskunst, Vienna, Austria (June 2-July 31, 1966).", "opening_date": "1966-06-02T04:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 361399, "title": "Vincent van Gogh and the Birth of Cloisonism", "description": "<i>Vincent van Gogh and the Birth of Cloisonism</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (January 24-March 22, 1981); Rijksmuseum, Amsterdam, Netherlands (April 9-June 14, 1981).", "opening_date": "1981-01-24T05:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}, {"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": [{"description": "<em>Henri de Toulouse-Lautrec, 1864\u20131901</em>. \u00d6sterreichisches Museum f\u00fcr Angewandte Kunst, Vienna (June\u2013July 1966).", "opening_date": "1966-07-01T00:00:00"}]}, "provenance": [{"description": "Roger Marx [1859\u20131913], Paris", "citations": [], "footnotes": ["<div><!--block-->Marx's stamp (not in Lugt) was on an old backing board, now lost, recorded in CMA files.</div>"], "date": "?-1914", "sortorder": 1}, {"description": "(his sale, Galerie Manzi-Joyant, Paris, May 11\u201312, 1914, no. 222, sold to Simon Oppenheimer)", "citations": [], "footnotes": ["<div><!--block-->Sold for 7,000 F, according to annotated sale catalogue, Institut National d'Histoire de l'Art, Paris.</div>"], "date": "1914", "sortorder": 2}, {"description": "(Simon Oppenheimer, Germany, sold to Otto Gerstenberg, Berlin)", "citations": [], "footnotes": null, "date": "After 1914", "sortorder": 3}, {"description": "Otto Gerstenberg [1848\u20131935], Berlin, by descent to Margarethe Scharf, Berlin", "citations": [], "footnotes": null, "date": "1914-1935", "sortorder": 4}, {"description": "Margarethe Scharf [1889\u20131961], Berlin", "citations": [], "footnotes": null, "date": "1935-1936", "sortorder": 5}, {"description": "Deposited in Statens Museum for Kunst, Copenhagen", "citations": [], "footnotes": null, "date": "1936-1950", "sortorder": 6}, {"description": "(Jean-Pierre Durand-Matthiesen, Geneva)", "citations": [], "footnotes": null, "date": "1951-1952", "sortorder": 7}, {"description": "(M. Knoedler & Co., New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Inventory no. WCA1442. M. Knoedler &amp; Co. records, Getty Research Institute Special Collections.</div>"], "date": "1952", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1952-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To create this drawing, Henri de Toulouse-Lautrec painted a board white and then both scraped the material away in areas and drew with black ink to create a variety of tones throughout the image.", "description": "Henri de Toulouse-Lautrec produced this drawing to illustrate an article about Parisian summers. It presents the type of poorly paid worker who remained in the city while others traveled to escape the urban heat. Because the image was to be reproduced in black and white, Toulouse-Lautrec thinned and brushed ink, scraping into it to expose fine white highlights. Like several artworks in Cleveland\u2019s collection, the drawing was formerly owned by Roger Marx, a French collector, curator, and art critic who built perhaps the most substantial holdings of Toulouse-Lautrec\u2019s work around the turn of the century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780947"], "internet_archive": ["https://archive.org/details/clevelandart-1952.113-the-laundress"]}, "citations": [{"citation": "Michelet, \u00c9mile. \u201cL\u2019\u00c9t\u00e9 \u00e0 Paris.\u201d <em>Paris illustr\u00e9</em> 6 (1888).", "page_number": "Reproduced: p. 425", "url": null}, {"citation": "<em>Catalogue des tableaux, pastels, dessins, aquarelles </em>[. . .] <em>faisant partie de la collection Roger Marx</em>. Paris: Galerie Manzi-Joyant, 1914.", "page_number": "Mentioned: p. 105, no. 222; Reproduced: n.p.", "url": "bibliotheque-numerique.inha.fr/idviewer/22422/122"}, {"citation": "Astre, Achille. <em>H. de Toulouse-Lautrec</em>. Paris: Nilsson, 1926.", "page_number": "Mentioned: p. 96", "url": null}, {"citation": "Joyant, Maurice. <em>Henri de Toulouse-Lautrec, 1964\u20131901: Dessins, estampes, affiches</em>. Paris: H. Floury, 1927.", "page_number": "Mentioned: pp. 191, 279; Reproduced: p. 17", "url": null}, {"citation": "Mack, Gerstle. <em>Toulouse-Lautrec</em>. New York: Alfred A. Knopf, 1938.", "page_number": "Mentioned: p. 293", "url": null}, {"citation": "Francis, Henry S. \"La Blanchisseuse by Toulouse-Lautrec.\" <em>Bulletin of the Cleveland Museum of Art</em> 40, no. 3 (March 1953): 51-53.", "page_number": "Mentioned and reproduced: pp. 51-53", "url": null}, {"citation": "Neugass, Fritz. \"Henri de Toulouse-Lautrec und der Kunstmarkt.\" <em>Weltkunst</em> 34 (March 1953): 139.", "page_number": "Mentioned and reproduced: p. 139", "url": null}, {"citation": "<em>Toulouse-Lautrec: Exhibition Organized in Collaboration with the Albi Museum</em>. Exh. cat. Philadelphia: Philadelphia Museum of Art, 1955.", "page_number": "Reproduced: no. 85", "url": null}, {"citation": "<em>Toulouse-Lautrec: Paintings, Drawings, Posters and Lithographs</em>. Exh. cat. New York: Museum of Modern Art, 1956.", "page_number": "Mentioned: p. 46, no. 51", "url": null}, {"citation": "Perruchot, Henri. <em>La vie de Toulouse-Lautrec</em>. Paris: Hachette, 1958.", "page_number": "Mentioned: p. 139", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 605", "url": "https://archive.org/details/CMAHandbook1958/page/n113"}, {"citation": "<em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned: no. 108", "url": null}, {"citation": "Julien, Edouard, and Henri Focillon. <em>Dessins de Toulouse-Lautrec.</em> Lausanne: Mermod, 1959.", "page_number": "Mentioned: p. 68, under no. 17", "url": null}, {"citation": "<em>Collection M. L.: Ensemble exceptionnel d'estampes originales, livres illustre\u0301s, important dessin aux crayons de couleur de Henri de Toulouse-Lautrec</em>. Paris: Galerie Charpentier, 1959.", "page_number": "Mentioned: under no. 257", "url": null}, {"citation": "<em>A Generation of Draughtsmen.</em> Exh. cat. Ann Arbor: University of Michigan Museum of Art, 1962.", "page_number": "Mentioned and reproduced: no. 156, pl. XIIc (ill.)", "url": null}, {"citation": "Negri, Renata.<em> Toulouse-Lautrec, I maestri del colore</em>. Milan: Fabbri, 1964.", "page_number": "Reproduced: fig. 4", "url": null}, {"citation": "Huisman, Philippe and M. G. Dortu. <em>Lautrec by Lautrec</em>. New York: Galahad, 1964.", "page_number": "Mentioned and reproduced: p. 253", "url": null}, {"citation": "<em>Toulouse-Lautrec</em>. Exh. cat. New York: Wildenstein, 1964.", "page_number": "Mentioned and reproduced: no. 64", "url": ""}, {"citation": "Neugass, Fritz. \u201cHenri de Toulouse-Lautrec und der Kunstmarkt.\u201d <em>Weltkunst</em> 34, no. 5 (March 1, 1964).", "page_number": "Reproduced: p. 139", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1966/page/n203"}, {"citation": "<em>Henri de Toulouse-Lautrec, 1864\u20131901</em>. Exh. cat. Vienna: \u00d6sterreichisches Museum f\u00fcr Angewandte Kunst, 1966.", "page_number": "Mentioned: p. 66, no. 39", "url": null}, {"citation": "Novotny, Fritz. <em>Toulouse-Lautrec</em>. Translated by Michael Glenney. London: Phaidon, 1969.", "page_number": "Mentioned: p. 184, no. 15; Reproduced: plate 15", "url": null}, {"citation": "Sugana, G. M. <em>The Complete Paintings of Toulouse-Lautrec</em>. New York: Harry N. Abrams, 1969.", "page_number": "Mentioned and reproduced: p. 101, no. 223", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "Dortu, M. G. <em>Toulouse-Lautrec et son \u0153uvre</em>. New York: Collectors Editions, 1971.", "page_number": "Mentioned: vol. 5, p. 492, no. D3.029; Reproduced: p. 493", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 222", "url": "https://archive.org/details/CMAHandbook1978/page/n242"}, {"citation": "Thomson, Richard. <em>Toulouse-Lautrec</em>. London: Universal Books, 1980.", "page_number": "Mentioned: p. 46", "url": null}, {"citation": "Welsh-Ovcharov, Bogomila. <em>Vincent van Gogh and the Birth of Cloisonism</em>. Exh. cat. Toronto: Art Gallery of Ontario, 1981.", "page_number": "Mentioned: p. 336; Reproduced: p. 337", "url": null}, {"citation": "Cooper, Douglas. <em>Henri de Toulouse-Lautrec</em>. New York: Abrams, 1982.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Adriani, Go\u0308tz. <em>Toulouse-Lautrec</em>. London: Thames and Hudson, 1987.", "page_number": "Mentioned: p. 76", "url": null}, {"citation": "Sonn, Richard D. <em>Anarchism and Cultural Politics in Fin de Sie\u0300cle France</em>. Lincoln: University of Nebraska Press, 1989.", "page_number": "Mentioned: pp. 156, pp. 322-23; Reproduced: p. 157", "url": null}, {"citation": "Schimmel, Herbert. <em>The Letters of Henri De Toulouse-Lautrec</em>. Oxford: Oxford University Press, 1991.", "page_number": "Mentioned: p. 126, under nos. 163 and 164", "url": null}, {"citation": "Julien, E\u0301douard. <em>Toulouse-Lautrec</em>. New York: Flammarion, 1991.", "page_number": "Reproduced: p. 84", "url": null}, {"citation": "<em>Toulouse-Lautrec</em>, 198 (ill.). Exh. cat. London: Hayward Gallery, 1991.", "page_number": "Reproduced: p. 198", "url": null}, {"citation": "Murray, Gale B. <em>Toulouse-Lautrec: The Formative Years, 1878\u20131891</em>. Oxford: Clarendon Press, 1991.", "page_number": "Mentioned: pp. xvii, 167-70, 249; Reproduced: p. 168", "url": null}, {"citation": "Murray, Gale B. <em>Toulouse-Lautrec: A Retrospective</em>. New York: Hugh Lauter Levin, 1992.", "page_number": "Mentioned: p. 102; Reproduced: p. 103", "url": null}, {"citation": "Frey, Julia Bloch. <em>Toulouse-Lautrec: A Life</em>. London: Phoenix, 1994.", "page_number": "Mentioned: pp. 245-46", "url": null}, {"citation": "Mendelowitz, Daniel M., and Duane A. Wakeham. <em>A Guide to Drawing</em>. Fort Worth: Harcourt Brace Jovanovich, 2000.", "page_number": "Mentioned and reproduced: p. 37", "url": null}, {"citation": "DeGrazia, Diane and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 140-141, p. 291, no. 56; Reproduced: p. 141", "url": null}, {"citation": "<em>Old Master, Modern &amp; Contemporary Prints</em>. London: Sotheby's, 2001.", "page_number": "Mentioned: p. 130, under no. 262", "url": null}, {"citation": "Scharf, Julietta, and Hanna Strzoda. <em>Die Historische Sammlung Otto Gerstenberg</em>. Berlin: Hatje Cantz, 2012.", "page_number": "Mentioned and reproduced: vol. 2, p. 221, no. 1366", "url": null}, {"citation": "Prat, Louis-Antoine. \u201cL\u2019Enfer des Juliette.\u201d In <em>Toulouse-Lautrec: R\u00e9solument moderne</em>, edited by St\u00e9phane Gu\u00e9gan. Exh. cat. Paris: Mus\u00e9e d\u2019Orsay, 2019.", "page_number": "Mentioned: p. 287", "url": ""}, {"citation": "Toulouse-Lautrec, Henri de, Edgar Degas, and Florence Saragoza. Quand Toulouse-Lautrec regarde Degas. Albi : Muse\u0301e Toulouse-Lautrec, 2022.", "page_number": "Mentioned and reproduced: pp. 61-62, fig. 32", "url": ""}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 126, no.19", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 158-161, no. 30", "url": ""}], "catalogue_raisonne": "Dortu D3.029", "url": "https://clevelandart.org/art/1952.113", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.113/1952.113_web.jpg", "width": "749", "height": "900", "filesize": "231530", "filename": "1952.113_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.113/1952.113_print.jpg", "width": "2831", "height": "3400", "filesize": "2445219", "filename": "1952.113_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.113/1952.113_full.tif", "width": "4363", "height": "5239", "filesize": "68607524", "filename": "1952.113_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129221, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-03-27T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:54.334000"}, {"id": 135341, "accession_number": "1958.344", "share_license_status": "CC0", "tombstone": "At the Concert Parisien, 1887\u201388. Georges Seurat (French, 1859\u20131891). Cont\u00e9 crayon heightened with white chalk on cream handmade modern laid paper; sheet: 31.4 x 23.6 cm (12 3/8 x 9 5/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1958.344", "current_location": null, "title": "At the Concert Parisien", "creation_date": "1887\u201388", "creation_date_earliest": 1887, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "cont\u00e9 crayon heightened with white chalk on cream handmade modern laid paper", "support_materials": [{"description": "cream modern laid paper", "watermarks": ["MICHALLET"]}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 31.4 x 23.6 cm (12 3/8 x 9 5/16 in.)", "dimensions": {"sheet": {"height": 0.314, "width": 0.236}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on verso, at bottom, in blue crayon: G. Seurat / L (?) [upside down]; on verso, right center, in red crayon: 299 [posthumous inventory number]; watermark, upper left: MICHALLET", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 351191, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 304520, "title": "Art and the Stage", "description": "<i>Art and the Stage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 22-August 16, 1981).", "opening_date": "1981-05-22T04:00:00"}, {"id": 309513, "title": "Paper: The Continuous Thread", "description": "<i>Paper: The Continuous Thread</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 31-October 24, 1982).", "opening_date": "1982-08-31T04:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 361471, "title": "Georges Seurat: Zeichnungen", "description": "<i>Georges Seurat: Zeichnungen</i>. Kunsthalle Bielefeld, D-33602 Bielefeld, Germany (organizer) (October 30-December 25, 1983); Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (March 27-May 15, 1984).", "opening_date": "1983-10-30T04:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 361472, "title": "Georges Seurat, 1859-1891", "description": "<i>Georges Seurat, 1859-1891</i>. The Metropolitan Museum of Art, New York, NY (September 24, 1991-January 12, 1992).", "opening_date": "1991-04-09T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 175422, "title": "Georges Seurat: The Drawings", "description": "<i>Georges Seurat: The Drawings</i>. The Museum of Modern Art, New York, NY (organizer) (October 23, 2007-January 7, 2008).", "opening_date": "2007-10-23T00:00:00"}, {"id": 207443, "title": "Seurat\u2019s Circus Sideshow", "description": "<i>Seurat\u2019s Circus Sideshow</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 17-May 29, 2017).", "opening_date": "2017-02-17T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "Possibly <em>Exposition posthume Seurat. </em>La Revue Blanche, Paris (1892). [according to inscription on old backing].", "opening_date": null}, {"description": "Possibly <em>Les dessins de Georges Seurat</em> <em>1859-1891)</em>, Bernheim-Jeune, Paris (November 29 - December 24, 1926). [according to inscription on old backing].", "opening_date": "1926-11-29T00:00:00"}, {"description": "Van Diemen-Lilienfeld Galleries, New York (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>Exhibition of Drawings of the Nineteenth and Twentieth Centuries. </em>American-British Art Center, New York (January 5 - 22, 1944).", "opening_date": "1944-01-05T00:00:00"}, {"description": "<em>Seurat: His Drawings.</em> Buchholz Gallery, New York (March 4 - 29, 1947).", "opening_date": "1947-03-04T00:00:00"}]}, "provenance": [{"description": "Studio of the artist [1859-1891], Paris", "citations": [], "footnotes": ["<div><!--block-->Posthumous inv. no. 299 inscribed on verso.</div>"], "date": "1888-1891", "sortorder": 1}, {"description": "(Galerie Hessel, Paris)", "citations": [], "footnotes": [], "date": "by 1926", "sortorder": 2}, {"description": "(Van Diemen-Lilienfeld Galleries, New York, NY)", "citations": [], "footnotes": [], "date": "after 1926-by 1937", "sortorder": 3}, {"description": "(Buchholz Gallery, New York, NY)", "citations": [], "footnotes": [], "date": "after 1937-by 1944", "sortorder": 4}, {"description": "Alexander Bing [1879-1959], New York, NY", "citations": [], "footnotes": [], "date": "by 1944-1958", "sortorder": 5}, {"description": "(C\u00e9sar de Hauke, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1958", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Despite Georges Seurat's brief lifespan, he created a large number of drawings, working almost exclusively with the waxy Cont\u00e9 crayon and textured paper used for this sheet.", "description": "Caf\u00e9-concerts were popular places of entertainment for the middle classes in Paris during the late 1800s and usually featured singers or other forms of vaudeville entertainers. Georges Seurat created eight drawings depicting caf\u00e9-concerts, some showing known establishments. This drawing has an innovative viewpoint, in which we peer through the bowler hats of male viewers listening to a female singer on stage. Seurat typically used a black crayon manufactured by the Cont\u00e9 company, and its waxy quality allowed him to exploit the texture of paper to striking effect.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757372"], "internet_archive": ["https://archive.org/details/clevelandart-1958.344-cafe-concert", "https://archive.org/details/clevelandart-1958.344-at-the-concert-paris"]}, "citations": [{"citation": "<em>Trente ans d'art ind\u00e9pendant, 1884-1914</em>. Exh. Cat. Paris: Soci\u00e9t\u00e9 des artistes ind\u00e9pendants, 1926.", "page_number": "Mentioned: p. 203, no. 3323", "url": ""}, {"citation": "<em>Seurat: His Drawings</em>. Exh. Cat. New York: Buchholz Gallery, 1947.", "page_number": "Mentioned: no. 26", "url": ""}, {"citation": "Seligman, Germain. <em>The Drawings of Georges Seurat</em>. New York: Curt Valentin, 1947.", "page_number": "Mentioned: p. 84, no. 57; Reproduced: pl. XLV", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d July 20, 1959, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0413"}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d July 24, 1959, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0416"}, {"citation": "Hauke, C\u00e9sar M de. <em>Seurat et son oeuvre</em>. 2 vols. Paris: Gr\u00fcnd, 1961.", "page_number": "Mentioned: vol. 2, p. 272, no. 687; Reproduced: p. 273", "url": ""}, {"citation": "Herbert, Robert L. <em>Seurat's Drawings</em>. New York: Shorewood, 1962.", "page_number": "Mentioned: pp. 141-42, 185, no. 124; Reproduced: p. 142", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 180", "url": "https://archive.org/details/CMAHandbook1966/page/n204"}, {"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. 180", "url": "https://archive.org/details/CMAHandbook1969/page/n204"}, {"citation": "Rubin, J.H. \"Seurat and Theory: The Near-Identical Drawings of the Caf\u00e9-Concert.\" <em>Gazette des Beaux-Arts</em> 6, no. 76 (October 1970): 237-46.", "page_number": "Mentioned: p. 246 n. 2", "url": ""}, {"citation": "Chastel, Andr\u00e9. <em>L'opera completa di Seurat</em>. Milan: Rizzoli, 1972.", "page_number": "Mentioned: p. 115; Reproduced: p. 114", "url": ""}, {"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. 223", "url": "https://archive.org/details/CMAHandbook1978/page/n243"}, {"citation": "Breitman, Ellen. <em>Art and the Stage</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1981.", "page_number": "Mentioned: pp. 57-59; Reproduced: p. 57", "url": ""}, {"citation": "Webb, Sheila. <em>Paper: The Continuous Thread. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art. 1982.", "page_number": "Mentioned: p. 22, 66, cat. no. 8; Reproduced: p. 22", "url": null}, {"citation": "O'Toole, Judith Hansen. \"Henri-Gabriel Ibels and Georges Seurat: An Attribution Confirmed.\" <em>Bulletin of the Cleveland Museum of Art</em> 69, no. 7 (September 1982): 236-42.", "page_number": "Mentioned and reproduced: p. 236", "url": "https://www.jstor.org/stable/25159782"}, {"citation": "Franz, Erich and Bernd Growe. <em>Georges Seurat: Zeichnungen</em>. Exh. Cat. Bielefeld: Kunsthalle Bielefeld, 1983.", "page_number": "Mentioned: pp. 87, 193, 194, no. 82; Reproduced: pl. 82", "url": ""}, {"citation": "Clark, T.J. <em>The Painting of Modern Life: Paris in the Art of Manet and His Followers. </em>New York: Knopf, 1984.", "page_number": "Reproduced: p. 215", "url": ""}, {"citation": "Thomson, Richard. <em>Seurat</em>. Oxford: Phaidon, 1985.", "page_number": "Mentioned: p. 197", "url": ""}, {"citation": "Katzive, David H. <em>Fringe Patterns: Six Contemporary Works with Scientific or Metaphoric Ties to the 1887 Michelson-Morley Experiment</em>. Exh. Cat. Cleveland: Cleveland Center for Contemporary Art, 1987.", "page_number": "Reproduced: p. 7", "url": ""}, {"citation": "Miller, Michael J. <em>Drawing: A Glossary of Materials, Selections from the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1987.", "page_number": "Reproduced: n.p.", "url": ""}, {"citation": "Lebensztejn, Jean-Claude. <em>Chahut</em>. Paris: Hazan, 1989.", "page_number": "Mentioned and reproduced: p. 140", "url": ""}, {"citation": "Madeleine-Perdrillat, Alain. <em>Seurat</em>. New York: Rizzoli, 1990.", "page_number": "Mentioned and reproduced: p. 123", "url": ""}, {"citation": "Tinterow, Gary. \u201cThe Caf\u00e9-Concert, 1886\u20131888.\u201d In <em>Georges Seurat, 1859-1891</em>, edited by Robert L. Herbert<em>.</em> Exh. Cat. New York: Metropolitan Museum of Art, 1991.", "page_number": "Mentioned and reproduced: p. 302, no. 197", "url": null}, {"citation": "Zimmerman, Michael F. <em>Seurat and the Art Theory of His Time</em>. Antwerp: Mercator, 1991.", "page_number": "Mentioned: pp. 366-68, 372; Reproduced: p. 372", "url": ""}, {"citation": "Coven, Jeffrey. <em>Baudelaire's Voyages: The Poet and His Painters</em>. Exh. Cat. Huntington, NY: Heckscher Museum, 1993.", "page_number": "Mentioned: p. 86; Reproduced: p. 85", "url": ""}, {"citation": "Hammacher, A.M. <em>Silhouette of Seurat</em>. Otterlo: Kro\u0308ller-Mu\u0308ller Museum, 1994.", "page_number": "Reproduced: p. 58", "url": ""}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 8, 138-39, 291; Reproduced: p. 139", "url": null}, {"citation": "Herbert, Robert L. <em>Seurat: Drawings and Paintings</em>. New Haven, CT: Yale University Press, 2001.", "page_number": "Mentioned: pp. 113-15; Reproduced: p. 114", "url": ""}, {"citation": "Stuckey, Charles. \"I mattini sulla Senna di Monet.\" In <em>Monet, la Senna le ninfee: Il grande fiume e il nuovo secolo,</em> edited by Marco Goldin, 119-22. Exh. Cat. Brescia: Museo di Santa Giulia, 2004.", "page_number": "Reproduced: p. 122", "url": ""}, {"citation": "Jodi Hauptman, ed. <em>Georges Seurat: The Drawings. </em>Exh. Cat. New York: Museum of Modern Art, 2007.", "page_number": "Mentioned: pp. 180-81, 254; Reproduced: p. 237, no. 128", "url": ""}, {"citation": "McCaughey, Patrick. \"The Dark Side of Georges Seurat.\" <em>Art in America</em> (March 2008): 138-143.", "page_number": "Mentioned and reproduced: p. 142", "url": ""}, {"citation": "Getlein, Mark. <em>Living with Art</em>. 8th ed. Boston: McGraw Hill, 2008.", "page_number": "Mentioned and reproduced: p. 158", "url": ""}, {"citation": "Prendeville, Brendan. \"Seurat and the Act of Sensing: Perception as Artifact.\" In <em>Seurat Re-Viewed</em>, edited by Paul Smith, 149-62. College Park: Pennsylvania State University Press, 2009.", "page_number": "Mentioned: p. 158; Reproduced: p. 159", "url": ""}, {"citation": "Kr\u010dma, Ed. \"Film, Drawing and the Body.\" In <em>Tacita Dean: Film</em>, edited by Nicholas Cullinan. Exh. Cat. London: Tate Modern, 2012.", "page_number": "Mentioned and reproduced: p. 91", "url": ""}, {"citation": "Foa, Michelle. <em>Georges Seurat: The Art of Vision</em>. New Haven: Yale University Press, 2015.", "page_number": "Mentioned: p. 192; Reproduced: p. 193", "url": ""}, {"citation": "Thomson, Richard. \"Seurat's <em>Circus Sideshow</em>: A <em>Parade</em> of Paradoxes.\" In <em>Seurat's Circus Sideshow, </em>edited by Richard Thomson, 15-106<em>.</em> New York: Metropolitan Museum of Art, 2017.", "page_number": "Mentioned: pp. 21, 77, 79-80, 130, Reproduced: p. 81", "url": null}, {"citation": "\u201cCreativity in Action,\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 4 (Fall 2020): 26.", "page_number": "Reproduced and Mentioned: P. 26.", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 138-141, no. 25b", "url": ""}], "catalogue_raisonne": "Hauke 687", "url": "https://clevelandart.org/art/1958.344", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.344/1958.344_web.jpg", "width": "685", "height": "893", "filesize": "627096", "filename": "1958.344_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.344/1958.344_print.jpg", "width": "2607", "height": "3400", "filesize": "8889614", "filename": "1958.344_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.344/1958.344_full.tif", "width": "4606", "height": "6006", "filesize": "83020392", "filename": "1958.344_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.344/1958.344_alt0_web.jpg", "width": "674", "height": "893", "filesize": "603629"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.344/1958.344_alt0_print.jpg", "width": "2565", "height": "3400", "filesize": "8131220"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.344/1958.344_alt0_full.tif", "width": "3549", "height": "4704", "filesize": "50102484"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135341, "creators": [{"id": 1816, "description": "Georges Seurat (French, 1859\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Georges Seurat entered the \u00c9cole Municipale de Sculpture et de Dessin in Paris at the age of fifteen, where he studied with the sculptor Justin Lequien (1826-1882) and met Aman-Jean (q.v.). At the \u00c9cole des Beaux-Arts three years later he was taught by Henri Lehmann (1814-1882), a former pupil of Ingres (q.v.). He developed an interest in the color theory of Michel-Eug\u00e8ne Chevreul, who had postulated how the isolation and juxtaposition of colors can affect their perception. In the Louvre he studied the works of two master colorists, Rubens (1577-1640) and Delacroix (q.v.). Seurat attended the Fourth Impressionist Exhibit in 1879, and he later confessed to be particularly shocked by the works of Monet (q.v.) and Pissarro (q.v.). After spending a year in military service on the Breton coast, Seurat started experimenting with drawing, using cont\u00e9 crayon and heavily textured \"Ingres\" paper to build up his figures through a wide range of tones, avoiding contour outlines. He also probably read Ogden Rood's Th\u00e9orie Scientifique des Couleurs, which further investigated the perception of color and advocated the use of pure color in painting. Seurat additionally undertook to analyze the optical and emotional effects of various color combinations in his paintings, initiating studies for the Bathers at Asni\u00e8res (1883, National Gallery, London). This painting appeared at the 1884 Salon des Ind\u00e9pendants, where he met Paul Signac (1863-1935), who became an important spokesman for neo-impressionism. Seurat's next major painting, Sunday Afternoon on the Island of La Grande Jatte (1884-86, Art Institute of Chicago), established him as the leader of the neo-impressionists. He began spending his summers on the Normandy coast, where he often started his large canvases that he would finish in his Paris studio during the winter. He was protective of his position as leader of the neo-impressionists, causing arguments with Pissarro and Signac in the late 1880s. His interest in using pure color influenced the symbolists as well as later \"hard edge\" painters of the modern era.", "name_in_original_language": null, "birth_year": "1859", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-10-23T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887\u201388", "collapse_artists": false, "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": ["At the Concert Parisien", "Caf\u00e9-Concert"], "is_highlight": true, "updated_at": "2026-03-27 00:01:22.739000"}, {"id": 115161, "accession_number": "1935.308", "share_license_status": "CC0", "tombstone": "Knife-sheath tip (sika boha), 1800s. Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild. Gold; overall: 6.9 cm (2 11/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1935.308", "current_location": "108C African Jewelry and Metalwork", "title": "Knife-sheath tip (sika boha)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1896, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Arms and Armor", "measurements": "Overall: 6.9 cm (2 11/16 in.)", "dimensions": {"overall": {"height": 0.069}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"id": 297093, "title": "The Power of Gold: Asante Royal Regalia from Ghana", "description": "<i>The Power of Gold: Asante Royal Regalia from Ghana</i>. The Dallas Museum of Art, Dallas, TX (organizer) (April 15-August 12, 2018).", "opening_date": "2018-04-15T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935: \"African Negro Art,\" cat. no. 162, (also to CMA 9/27 - 10/27, 1935).", "opening_date": "1927-09-01T00:00:00"}, {"description": "Portland Art Museum, Exhibition of Jewelry, November 21-December 28, 1952.", "opening_date": "1952-11-21T00:00:00"}, {"description": "NY: The Brooklyn Museum, Masterpieces of African Art, October 18, 1954-January 2, 1955.", "opening_date": "1954-10-18T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68.", "opening_date": "2000-02-01T00:00:00"}]}, "provenance": [{"description": "Treasury of asantehene (King) Agyeman Prempeh I, Kumasi, Ghana", "citations": [], "footnotes": null, "date": "?\u20131896", "sortorder": 1}, {"description": "(Charles Ratton Gallery, Paris, France via Pierre Matisse, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Original object card, 9/14/35 (Curatorial File)</div>"], "date": "?\u20131935", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gold objects like this were frequently melted down to make new objects in new fashions.", "description": "Gold sheaths covered the cast iron blade of a king\u2019s ceremonial knife (<em>sikay</em>), wrapping them with symbolism. In Akan states like the Asante Kingdom, gold embodies lifeforce (<em>kra</em>) and is the sun\u2019s earthly counterpart. Only goldsmiths\u2019 guild members could make gold ornaments for the royals and their entourage, or for the royal treasury. Here, the goldsmith used a tool to push the raised floral, leaf, and geometric designs from the back of soft sheet of gold (repouss\u00e9 technique). Small dots outlining some motifs were punched into the metal. Similarly decorated gold sheets and solid ornaments capped a knife\u2019s handle.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008265"], "internet_archive": ["https://archive.org/details/clevelandart-1935.308-knife-sheath-tip-sik"]}, "citations": [{"citation": "Ratton, Charles. \u00ab Les bijoux en forme de disque etc. \u00bb Special Issue,<em> Pr\u00e9sence Africaine </em>: <em>L'Art </em>N\u00e8gre 10-11. Paris : Aux Editions du Seuil (1951).", "page_number": "Ill. opp. p. 192, no. 101, text p. 152.", "url": ""}, {"citation": "Wixom, William D. \u201cAfrican Art in the Cleveland Museum of Art,\u201d <em>African Arts</em> 10, no. 3 (April 1977): 16-24.", "page_number": "Repr. p. 21.", "url": ""}, {"citation": "L'Art Negre, Presence Africaine, 10-11, Aux Editions du Seuil, opp. p. 192, no. 101, text p. 152.", "page_number": "", "url": ""}, {"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art.</em> New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 39, no. 162", "url": null}, {"citation": "Milliken, William. \"Exhibition of Gold.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 9 (November 1947): 211-212.", "page_number": "Mentioned: p. 211-212; Reproduced: p. 235", "url": "https://www.jstor.org/stable/25141408"}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955</em>. [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 39", "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. 388", "url": "https://archive.org/details/CMAHandbook1958/page/n72"}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter. <em>African Art in American Collections, Survey 1989</em>. Washington: Smithsonian Institution Press, 1989.", "page_number": "Mentioned and Reproduced: p. 202-203, fig. 517", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935.</em> New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 22; Reproduced: p. 23, fig. 13, p. 68, no. 18", "url": null}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 19, p. 68 - 69", "url": ""}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 112", "url": null}, {"citation": "Walker, Roslyn A., Martha J. Ehrlich, Christraud M. Geary, M. D. McLeod, and Doran H. Ross. The Power of Gold: Asante Royal Regalia from Ghana. Yale University Press, New Haven and London. Dallas : Dallas Museum of Art, 2018.", "page_number": "Mentioned: p. 29; Reproduced: p. 95, cat. 42", "url": null}], "url": "https://clevelandart.org/art/1935.308", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.308/1935.308_web.jpg", "width": "636", "height": "893", "filesize": "337502", "filename": "1935.308_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.308/1935.308_print.jpg", "width": "2423", "height": "3400", "filesize": "4771087", "filename": "1935.308_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.308/1935.308_full.tif", "width": "3116", "height": "4372", "filesize": "40890524", "filename": "1935.308_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115161, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ornament"], "is_highlight": false, "updated_at": "2026-03-27 00:02:38.618000"}, {"id": 168757, "accession_number": "2010.459", "share_license_status": "CC0", "tombstone": "Pair of Figures, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver. Wood, iron alloy, copper alloy, glass beads, plant fiber, and cloth; part 1: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.); part 2: 41 x 13 x 11.5 cm (16 1/8 x 5 1/8 x 4 1/2 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.459", "current_location": "108A African", "title": "Pair of Figures", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": -1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver"], "technique": "Wood, iron alloy, copper alloy, glass beads, plant fiber, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Part 1: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.); Part 2: 41 x 13 x 11.5 cm (16 1/8 x 5 1/8 x 4 1/2 in.)", "dimensions": {"part 1": {"height": 0.45, "width": 0.155, "depth": 0.092}, "part 2": {"height": 0.41, "width": 0.13, "depth": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338062, "title": "Afrikanische Kunstwerke: Kulturen am Niger", "description": "<i>Afrikanische Kunstwerke: Kulturen am Niger</i>. Villa H\u00fcgel (March 25-June 13, 1971).", "opening_date": "1971-03-25T05:00:00"}, {"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 31, 1970 - February 10, 1971)", "opening_date": "1970-10-31T00:00:00"}, {"description": "Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, BE (March 25-June 5, 1988)", "opening_date": "1988-03-25T00:00:00"}, {"description": "Museum Ludwig, Cologne, Germany (July 7-September 30, 1990)", "opening_date": "1990-07-07T00:00:00"}, {"description": "Gemeentemuseum Den Haag, The Hague, Netherlands (November-January 1991)", "opening_date": "1991-11-01T00:00:00"}, {"description": "Centre Wallonie-Bruxelles, Paris, FR, June 2000", "opening_date": "2000-06-01T00:00:00"}]}, "provenance": [{"description": "Jef and Ren\u00e9 Vanderstraete, Lasne, BE, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": null, "date": "?\u20131959", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1959\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Odette Delenne, the collector of this pair, once stated that these figures reminded her of herself and her husband, Ren\u00e9.", "description": "Carving of paired figures is quite well documented among the Ngbandi and its neighbors the Ngbaka-Minagende, where such sculptures are said to represent the mythical ancestor Seto and his sister-wife, Nabo. Field-based research cannot confirm the existence of figurative couples among the Ngbandi.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075142"], "internet_archive": ["https://archive.org/details/clevelandart-2010.459-pair-of-figures"]}, "citations": [{"citation": "Leuzinger, Elsy. Afrikanische Kunstwerke: Kulturen am Niger, exh. cat. (March 25-June 13, 1971), Villa H\u00fcgel, Essen, Belgium. Recklinghausen: Verlag Aurel Bongers, 1971 [p. 335, cat. X27]", "page_number": "", "url": ""}, {"citation": "Leuzinger, Elsy. <em>Die Kunst von Schwarz-Afrika</em>, 331. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Kunsthaus Z\u00fcrich, October 31, 1970-February 10, 1971.", "page_number": "Reproduced: p. 331, cat. x27", "url": null}, {"citation": "Bastin, Marie-Louise, et al. <em>Utotombo. L'Art d'Afrique noire dans les collections priv\u00e9es belges: Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>, 248, 309. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "Reproduced: p. 248; mentioned: p. 309, cat. 257-258", "url": null}, {"citation": "Grootaers, Jan-Lodewijk, ed. <em>Ubangi. Art et cultures au Coeur de l'Afrique</em>, 154-155. Exh. Cat. Brussels: Fonds Mercator, in association with Afrika Museum, October 13, 2007-March 31, 2008.", "page_number": "Reproduced: 154-155, fig. 4.17", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 120.", "page_number": "Reproduced: p. 120, fig. 5", "url": null}, {"citation": "Franklin, David. \"Recent acquisitions (2005-11) at the Cleveland Museum of Art.\" In <em>The Burlington Magazine</em> 154, no. 1312 (July 2012): 525.", "page_number": "Reproduced: p. 525, fig. I", "url": "https://www.jstor.org/stable/23232806"}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 05, September/October 2013", "page_number": "Mentioned and reproduced: p. 10-11", "url": "https://archive.org/details/CMAMM2013-05/page/10"}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 26, 89, 94-95.", "page_number": "Mentioned: pp. 12, 26, 89-91, 108, 114 ; reproduced: pp. 33, 94-95, cat. 32", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 38", "url": ""}, {"citation": "Bangerter, Walter, and Elsy Leuzinger. <em>Afrikanische Kunstwerke: Kulturen am Niger</em>, 335. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Villa H\u00fcgel, March 25-June 13, 1971.", "page_number": "Reproduced: p. 335, cat. no. X 27", "url": null}, {"citation": "Heymer, Kay, and Siegfried Gohr. <em>Afrikanische Skulptur: Die Erfindung der Figur</em>, 200. Exh. Cat. Cologne: Museum Ludwig, July 7-September 30, 1990.", "page_number": "Reproduced: p. 200, fig. 95", "url": null}], "url": "https://clevelandart.org/art/2010.459", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.459/2010.459_web.jpg", "width": "852", "height": "900", "filesize": "146007", "filename": "2010.459_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.459/2010.459_print.jpg", "width": "3220", "height": "3400", "filesize": "1849583", "filename": "2010.459_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.459/2010.459_full.tif", "width": "4391", "height": "4637", "filesize": "61111948", "filename": "2010.459_full.tif"}}, "alternate_images": [{"date_created": "2011-05-09T18:14:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459/2010.459_alt0_web.jpg", "width": "900", "height": "876", "filesize": "150844"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459/2010.459_alt0_print.jpg", "width": "3400", "height": "3310", "filesize": "1925859"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459/2010.459_alt0_full.tif", "width": "4823", "height": "4695", "filesize": "67962192"}}, {"date_created": "2011-05-11T15:12:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459/2010.459_alt1_web.jpg", "width": "879", "height": "900", "filesize": "160833"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459/2010.459_alt1_print.jpg", "width": "3322", "height": "3400", "filesize": "2108203"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459/2010.459_alt1_full.tif", "width": "4405", "height": "4509", "filesize": "59617448"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168757, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:28.219000"}, {"id": 168759, "accession_number": "2010.459.2", "share_license_status": "CC0", "tombstone": "Female Figure of a Pair, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver. Wood, iron alloy, glass beads, plant fiber, and cloth; overall: 41 x 13 x 11.5 cm (16 1/8 x 5 1/8 x 4 1/2 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.459.2", "current_location": "108A African", "title": "Female Figure of a Pair", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver"], "technique": "Wood, iron alloy, glass beads, plant fiber, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 41 x 13 x 11.5 cm (16 1/8 x 5 1/8 x 4 1/2 in.)", "dimensions": {"overall": {"height": 0.41, "width": 0.13, "depth": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 31, 1970 - February 10, 1971)", "opening_date": "1970-10-31T00:00:00"}, {"description": "<em>Afrikanische Kunstwerke: Kulturen am Niger</em>. 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Field-based research cannot confirm the existence of figurative couples among the Ngbandi.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746827"], "internet_archive": ["https://archive.org/details/clevelandart-2010.459.2-female-figure-of-a-p"]}, "citations": [{"citation": "Leuzinger, Elsy. <em>Afrikanische Kunstwerke: Kulturen am Niger</em>, exh. cat. (March 25-June 13, 1971), Villa H\u00fcgel, Essen, Belgium. Recklinghausen: Verlag Aurel Bongers, 1971 [p. 335, cat. X27]", "page_number": "", "url": ""}, {"citation": "\"Recent acquisitions (2005-11) at the Cleveland Museum of Art.\" The Burlington Magazine 1312:154 (July 2012): 525-32. Fig I, pg 525.", "page_number": "", "url": ""}, {"citation": "Leuzinger, Elsy. <em>Die Kunst von Schwarz-Afrika</em>, 331. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Kunsthaus Z\u00fcrich, October 31, 1970-February 10, 1971.", "page_number": "p. 331", "url": null}, {"citation": "Bastin, Marie-Louise, et al. <em>Utotombo. L'Art d'Afrique noire dans les collections priv\u00e9es belges: Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>, 248, 309. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "p. 248", "url": null}, {"citation": "Grootaers, Jan-Lodewijk, ed. <em>Ubangi. Art et cultures au Coeur de l'Afrique</em>, 154-155. Exh. Cat. Brussels: Fonds Mercator, in association with Afrika Museum, October 13, 2007-March 31, 2008.", "page_number": "pp. 154-155", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): pp. 118-124.", "page_number": "p. 120", "url": null}, {"citation": "Franklin, David. \"Recent acquisitions (2005-11) at the Cleveland Museum of Art.\" In <em>The</em> <em>Burlington Magazine</em> 154, no. 1312 (July 2012): 525-532.", "page_number": "p. 525", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 26, 89, 94-95.", "page_number": "pp. 12, 26, 89-91", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 38", "url": ""}, {"citation": "Bangerter, Walter, and Elsy Leuzinger. <em>Afrikanische Kunstwerke: Kulturen am Niger</em>, 335. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Villa H\u00fcgel, March 25-June 13, 1971.", "page_number": "p. 335", "url": null}, {"citation": "Heymer, Kay, and Siegfried Gohr. <em>Afrikanische Skulptur: Die Erfindung der Figur</em>, 200. Exh. Cat. Cologne: Museum Ludwig, July 7-September 30, 1990.", "page_number": "p. 200", "url": null}], "url": "https://clevelandart.org/art/2010.459.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.459.2/2010.459.2_web.jpg", "width": "614", "height": "893", "filesize": "260349", "filename": "2010.459.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.459.2/2010.459.2_print.jpg", "width": "2336", "height": "3400", "filesize": "4761214", "filename": "2010.459.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.459.2/2010.459.2_full.tif", "width": "3720", "height": "5413", "filesize": "60441460", "filename": "2010.459.2_full.tif"}}, "alternate_images": [{"date_created": "2011-05-09T14:57:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt0_web.jpg", "width": "702", "height": "893", "filesize": "281724"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt0_print.jpg", "width": "2671", "height": "3400", "filesize": "5235983"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt0_full.tif", "width": "4245", "height": "5403", "filesize": "68839056"}}, {"date_created": "2011-05-09T14:39:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt1_web.jpg", "width": "609", "height": "893", "filesize": "259409"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt1_print.jpg", "width": "2318", "height": "3400", "filesize": "4618380"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt1_full.tif", "width": "3521", "height": "5163", "filesize": "54568192"}}, {"date_created": "2011-05-09T15:37:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt2_web.jpg", "width": "677", "height": "893", "filesize": "275970"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt2_print.jpg", "width": "2578", "height": "3400", "filesize": "5186833"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt2_full.tif", "width": "4001", "height": "5276", "filesize": "63362568"}}, {"date_created": "2011-05-09T18:33:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt3_web.jpg", "width": "922", "height": "893", "filesize": "562567"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt3_print.jpg", "width": "3400", "height": "3293", "filesize": "8259308"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.2/2010.459.2_alt3_full.tif", "width": "3210", "height": "3109", "filesize": "29970464"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168759, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2010.459", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Female Figure of a Pair"], "is_highlight": false, "updated_at": "2026-03-26 23:59:15.640000"}, {"id": 167142, "accession_number": "2009.157", "share_license_status": "CC0", "tombstone": "Portrait of a Man, 1880. Gustave Caillebotte (French, 1848\u20131894). Oil on canvas; unframed: 81.3 x 65.6 cm (32 x 25 13/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2009.157", "current_location": "222 Impressionism & Post-Impressionism", "title": "Portrait of a Man", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 81.3 x 65.6 cm (32 x 25 13/16 in.)", "dimensions": {"unframed": {"height": 0.813, "width": 0.656}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 216780, "title": "Impressionism, Fashion, and Modernity", "description": "<i>Impressionism, Fashion, and Modernity</i>. Mus\u00e9e d'Orsay, Paris, France (September 25, 2012-January 12, 2013); The Metropolitan Museum of Art, New York, NY (February 19-May 27, 2013); The Art Institute of Chicago, Chicago, IL (organizer) (June 29-September 29, 2013).", "opening_date": "2012-09-25T00:00:00"}, {"id": 177300, "title": "Gustave Caillebotte: The Painter's Eye", "description": "<i>Gustave Caillebotte: The Painter's Eye</i>. National Gallery of Art, Landover, MD (organizer) (June 28-October 4, 2015); Kimbell Art Museum, Fort Worth, TX (November 8, 2015-February 14, 2016).", "opening_date": "2015-06-28T00:00:00"}, {"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"}, {"id": 543250, "title": "Gustave Caillebotte (1848-1894): Painting Men", "description": "<i>Gustave Caillebotte (1848-1894): Painting Men</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (October 8, 2024-January 19, 2025); J. Paul Getty Museum, Los Angeles, CA (February 25-May 25, 2025); The Art Institute of Chicago, Chicago, IL (June 29-October 5, 2025).", "opening_date": "2024-10-08T04:00:00"}], "legacy": [{"description": "<em>Gustave Caillebotte.</em> Galeries Nationales du Grand Palais, Paris, France (1994); Art Institute of Chicago, Chicago, IL (1995).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Faces of Impressionism: Portraits from American Collections.</em> Baltimore Museum of Art, Baltimore, MD; Museum of Fine Arts, Houston, TX; Cleveland Museum of Art, Cleveland, OH (1999).", "opening_date": "1999-01-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Braume and Lorenceau, Paris, France, acquired from the artist's family)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Noah Butkin [1918-1980], Shaker Heights, OH by inheritance to his wife, Muriel Butkin [1915-2008]", "citations": [], "footnotes": null, "date": "1972-2009", "sortorder": 2}, {"description": "Estate of Muriel Butkin, Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-2009", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2009-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The subject of this portrait is Albert Courtier, Gustave Caillebotte's notary as well as a lifelong family friend.", "description": "This portrait of Albert Courtier was painted in the fourth-floor apartment at 31 boulevard Hausmann in Paris that Gustave Caillebotte shared with his brother Martial. The interior and balcony of this apartment provided the setting for numerous paintings of men in Caillebotte\u2019s social circle surveying the city. Courtier\u2019s pose and unguarded gaze suggest a comfortable rapport with the artist. Their relationship was close: Courtier posed for Caillebotte on several occasions, owned four of the artist\u2019s paintings, and designated his friend as godfather to his eldest daughter.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480468"], "internet_archive": ["https://archive.org/details/clevelandart-2009.157-portrait-of-a-man"]}, "citations": [{"citation": "Berhaut, Marie. <em>Caillebotte: sa vie et son oeuvre : catalogue raisonne\u0301 des peintures et pastels</em>. Paris, France: La Bibliothe\u0300que des Arts, 1978.", "page_number": "Reproduced: p, 125", "url": null}, {"citation": "Berhaut, Marie, and Sophie Pietri. <em>Gustave Caillebotte: catalogue raisonne\u0301 des peintures et pastels</em>. Paris, France: Wildenstein Institute, 1994.", "page_number": "Reproduced: p. 126", "url": null}, {"citation": "Distel, Anne. <em>Gustave Caillebotte, Urban Impressionist</em>. Paris, France: Re\u0301union des Muse\u0301es Nationaux, 1995.", "page_number": "Reproduced: p. 206-207", "url": null}, {"citation": "Distel, Anne. <em>Gustave Caillebotte: The Unknown Impressionist</em>. London, United Kingdom: Royal Academy of Arts, in association with Ludion Press, Ghent, 1996.", "page_number": "Reproduced: p. 206-207, Mentioned: p. 244-245", "url": null}, {"citation": "Johnston, Sona, Susan Bollendorf, and John House. <em>Faces of Impressionism: Portraits from American Collections</em>. Baltimore, MD: Baltimore Museum of Art in association with Rizzoli International, 1999.", "page_number": "Reproduced: p. 46-47", "url": null}, {"citation": "Groom, Gloria Lynn. <em>L'impressionnisme et la mode</em>. Paris, France: Musee d'Orsay, 2012.", "page_number": "Reproduced: p. 212, no. 142", "url": null}, {"citation": "Groom, Gloria Lynn. <em>Impressionism, Fashion, &amp; Modernity</em>. Chicago, IL: Art Institute of Chicago, 2012.", "page_number": "Reproduced: p. 145, 294", "url": null}, {"citation": "Bougault, Val\u00e9rie. \u201cL\u2019Impressionisme en Habits.\u201d <em>Connaissance Des Arts </em>708 (October 2012): 48\u201357.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "Morton, Mary G., George T. M. Shackelford, and Gustave Caillebotte. <em>Gustave Caillebotte: The Painter's Eye</em>. Washington, DC : National Gallery of Art ; Chicago, IL : Hardcover copublished by the University of Chicago Press, 2015.", "page_number": "Reproduced: P. 143, no. 7", "url": null}, {"citation": "Marrinan, Michael. <em>Gustave Caillebotte: Painting the Paris of Naturalism, 1872-1887. </em>Los Angeles: Getty Research Institute, 2016.", "page_number": "Reproduced: p. 220, fig. 111 Mentioned: p. 224,226, 229, 232", "url": null}, {"citation": "Ng, Aimee, Xavier F. Salomon, Stephen Truax, Hanya Yanagihara, and Jonathan Anderson. <em>Living Histories: Queer Views and Old Masters</em>. New York : The Frick Collection ; Lewes : in association with D Giles Limited, 2023.", "page_number": "Mentioned and reproduced: pp. 68-69, fig. 17", "url": ""}, {"citation": "Christie, Manson &amp; Woods. <em>Masterpieces from the Collection of Sam Josefowitz: A Lifetime of Discovery and Scholarship.</em> London: Christie's, 2023.", "page_number": "Reproduced: p. 223", "url": ""}, {"citation": "Allan, Scott, Gloria Lynn Groom, and Paul Perrin, eds. <em>Gustave Caillebotte: Painting Men</em>. Los Angeles: J. Paul Getty Museum, 2024.", "page_number": "Mentioned: p. 71-72, 212; Reproduced: p. 143, no. 59", "url": ""}, {"citation": "Mus\u00e9e d\u2019Orsay, J. Paul Getty Museum, and Art Institute of Chicago. <em>Caillebotte: Peindre Les Hommes, </em>edited by Scott Allan, Gloria Lynn Groom, and Paul Perrin. Vanves, Paris: Hazan; Mus\u00e9e d\u2019Orsay, 2024.", "page_number": "Reproduced: p. 137, no. 106", "url": ""}, {"citation": "Ameille, Brice. \u201cLes intuitions d'un Portraitiste.\" <em>Dossiers de l\u2019Art</em> 321 (September 2024): 50-55", "page_number": "Reproduced: p. 51; Mentioned: p. 52", "url": ""}], "url": "https://clevelandart.org/art/2009.157", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.157/2009.157_web.jpg", "width": "723", "height": "900", "filesize": "205965", "filename": "2009.157_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.157/2009.157_print.jpg", "width": "2732", "height": "3400", "filesize": "2947505", "filename": "2009.157_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.157/2009.157_full.tif", "width": "11481", "height": "14288", "filesize": "492153660", "filename": "2009.157_full.tif"}}, "alternate_images": [{"date_created": "2009-06-23T13:03:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.157/2009.157_alt0_web.jpg", "width": "714", "height": "893", "filesize": "456701"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.157/2009.157_alt0_print.jpg", "width": "2720", "height": "3400", "filesize": "6870571"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.157/2009.157_alt0_full.tif", "width": "4290", "height": "5362", "filesize": "69041392"}}, {"date_created": "2009-06-23T12:57:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.157/2009.157_alt1_web.jpg", "width": "723", "height": "893", "filesize": "501362"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.157/2009.157_alt1_print.jpg", "width": "2753", "height": "3400", "filesize": "8982202"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.157/2009.157_alt1_full.tif", "width": "4545", "height": "5614", "filesize": "76578040"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 167142, "creators": [{"id": 26343, "description": "Gustave Caillebotte (French, 1848\u20131894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1894", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-06-08T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:16.179000"}, {"id": 153389, "accession_number": "1986.74", "share_license_status": "CC0", "tombstone": "David:  \"Oh, that I had wings like a Dove!  For then would I fly away, and be at rest.\" Psalm 55:6, 1865. Frederic Leighton (British, 1830\u20131896). Oil on fabric; framed: 125 x 152.4 x 4.5 cm (49 3/16 x 60 x 1 3/4 in.); unframed: 96.5 x 122.5 cm (38 x 48 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1986.74", "current_location": "219 19th Century European", "title": "David:  \"Oh, that I had wings like a Dove!  For then would I fly away, and be at rest.\" Psalm 55:6", "creation_date": "1865", "creation_date_earliest": 1865, "creation_date_latest": 1865, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 125 x 152.4 x 4.5 cm (49 3/16 x 60 x 1 3/4 in.); Unframed: 96.5 x 122.5 cm (38 x 48 1/4 in.)", "dimensions": {"framed": {"height": 1.25, "width": 1.524, "depth": 0.045}, "unframed": {"height": 0.965, "width": 1.225}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 380184, "title": "Frederic Leighton 1830-1896 (Frederic, Lord Leighton)", "description": "<i>Frederic Leighton 1830-1896 (Frederic, Lord Leighton)</i>. Royal Academy of Arts (organizer) (February 15-April 21, 1996).", "opening_date": "1996-02-15T05:00:00"}, {"id": 228369, "title": "Artist as Narrator: Nineteenth Century Narrative Art in England and France", "description": "<i>Artist as Narrator: Nineteenth Century Narrative Art in England and France</i>. Oklahoma City Museum of Art, Oklahoma City, OK (organizer) (September 8-November 27, 2005).", "opening_date": "2005-09-08T00:00:00"}], "legacy": [{"description": "London, Royal Academy. (1865), no. 5, David; \"Oh that I had wings like a Dove!\"", "opening_date": null}, {"description": "London, Royal Academy. Exhibition of Works by the Late Lord Leighton of Stretton, Winter Exhibition (1897), no. 18, David, 1865, lent by Mrs. Leathart.", "opening_date": null}, {"description": "London, Peter Nahum and Chris Beetles. Inaugural Exhibition. A Celebration of British and European Painting of the Nineteenth and Twentieth Centuries (London, 1985), 32-35 (repr.). Text by Christopher Newall.", "opening_date": "1985-01-01T00:00:00"}, {"description": "London, Royal Academy. Frederic Leighton 1830-1896 (1996), no. 34 (repr.).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Oklahoma City Art Museum (9/8/2005 - 11/27/2005):  \"Artist as Narrator:  Nineteenth Century Narrative Art in England and France\", p. 16.", "opening_date": "2005-09-08T00:00:00"}]}, "provenance": [{"description": "Possibly Henry Graves & Co., London sale, Christie's, 7 March 1868. James Leathart by 1884, London sale, Christie's, 19 June 1897 (lot 39), 130 gns. to Colnaghi. Different Properties, London sale, Christie's, 21 July 1919 (lot 121), \u00a350.80 to Sampson. Peter Nahum, London. Purchased by the CMA in 1986.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "From the many events in the turbulent life of the biblical King David, Leighton chose to depict his moment of gravest doubt. Having just learned of the death of his rebellious son Absalom at the hands of his own army, David has withdrawn to a chamber above the city gate. Casting aside his crown, which lies on the floor, the ruler muses on the conflicting demands of family and nation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475912"], "internet_archive": ["https://archive.org/details/clevelandart-1986.74-david-oh-that-i-had"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1986.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (February 1987): 38\u201379.", "page_number": "Reproduced: p. 53; Mentioned: p. 62, no. 36", "url": "http://www.jstor.org/stable/25159974"}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition in Focus: Lord Leighton\u2019s King David, October 21 \u2013 November 29, 1987\u201d October 8, 1987, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3492"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 396-397, Vol. II, no. 137", "url": ""}], "url": "https://clevelandart.org/art/1986.74", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.74/1986.74_web.jpg", "width": "1143", "height": "893", "filesize": "574957", "filename": "1986.74_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.74/1986.74_print.jpg", "width": "3400", "height": "2656", "filesize": "5470381", "filename": "1986.74_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.74/1986.74_full.tif", "width": "5500", "height": "4296", "filesize": "70915060", "filename": "1986.74_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 153389, "creators": [{"id": 2844, "description": "Frederic Leighton (British, 1830\u20131896)", "extent": null, "qualifier": null, "role": "artist", "biography": "Frederic Leighton was unique among eminent Victorian artists. He trained almost exclusively on the Continent, initially with the Nazarene artist Edward von Steinle (1810-1886) in Frankfurt, 1850-52, where his father, a successful doctor, had moved the family, and subsequently with Giovanni Costa (1826-1903) in Rome, 1852, where he painted his first masterwork, Cimabue's Celebrated Madonna Is Carried in Procession through the Streets of Florence (Her Majesty the Queen). While in Paris from 1855 to 1859, he associated with many of the leading artists of the century, including Ingres (q.v.), Delacroix (q.v.), Corot (q.v.), and Millet (q.v.), which had the beneficial consequences of relieving the ardent veracity of his Nazarene style with a more painterly approach and of introducing greater naturalism and atmosphere into his landscape studies. Settling in London in 1859, Leighton at first antagonized the art establishment, which found his style of painting and his predilection for the French \"art for art's sake\" doctrine vexing; however, he was welcomed by the Pre-Raphaelites and their adherents. The year 1864 was decisive in that Leighton was elected an associate of the Royal Academy after the public success of three exhibition pictures-a historical illustration, Dante in Exile (Sir Andrew Lloyd Webber, London); Orpheus and Eurydice (Leighton House Art Gallery and Museum, London) with its new classicism; and his personal favorite, Golden Hours (Tapeley Chattels Trust, Tapeley), in which the palette, execution, and subject evoke the most sumptuous of sixteenth-century Venetian painting. In the late 1860s Leighton's interests gradually transferred from historical and biblical themes to Greek classicism. Jonathan's Token to David (1868, Minneapolis Institute of Arts), for instance, with its overt reference to Michelangelo's David, transformed a biblical subject into a classicizing essay on male beauty. Numerous trips to the Near East and to Greece reinforced this pursuit of the ideal, a preoccupation that placed Leighton at the center of a growing group of younger aesthetic classical painters in London, including Sandys (q.v.), Albert Moore (1841-1893), and Edward Poynter (1836-1919). The final phase of Leighton's development was already fully evident in such works as Hercules Wrestling with Death for the Body of Alcestis (1869-71, Wadsworth Atheneum, Hartford). Like Delacroix, Leighton's inexhaustible creativity and expansive interests prompted him also to undertake monumental decorative schemes, most notably the Arts of Industry murals at the South Kensington Museum (1871-83), and to participate in the revival of British sculpture with such masterworks of the genre as the bronze Athlete Wrestling with a Python (1877, Tate Gallery, London). Although little known for portraiture, his half-length painting of explorer Sir Richard Burton (National Portrait Gallery, London) is a tour-de-force of characterization. His draftsmanship was also consistently exceptional. With his election to the presidency of the Royal Academy in 1878, Leighton legitimately assumed his distinguished place in the gallery of British academics, alongside Sir Joshua Reynolds (1723-1792) and Sir Thomas Lawrence (1769-1830). Yet despite the obligations of his office, he remained extremely productive, with no diminution in output or inspiration. Of the important pictures of his last decade, Captive Andromache (1888, Manchester City Art Gallery) and Flaming June (1895, Museo de Arte de Ponce) remain consummate statements of the aesthetic movement's eroticism. Leighton was obsessive, controlling, and self-absorbed, but also generous to younger artists and deeply committed to his profession. On the eve of his death, he became the first British artist to receive a barony.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1896", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-11-19T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:23.565000"}, {"id": 154244, "accession_number": "1988.57", "share_license_status": "CC0", "tombstone": "Countess Sz\u00e9chenyi, 1828. Ferdinand Georg Waldm\u00fcller (Austrian, 1793\u20131865). Oil on fabric; framed: 121.5 x 102 x 10.5 cm (47 13/16 x 40 3/16 x 4 1/8 in.); unframed: 97.8 x 78.5 cm (38 1/2 x 30 7/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1988.57", "current_location": "219 19th Century European", "title": "Countess Sz\u00e9chenyi", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["Austria"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 121.5 x 102 x 10.5 cm (47 13/16 x 40 3/16 x 4 1/8 in.); Unframed: 97.8 x 78.5 cm (38 1/2 x 30 7/8 in.)", "dimensions": {"framed": {"height": 1.215, "width": 1.02, "depth": 0.105}, "unframed": {"height": 0.978, "width": 0.785}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed below the parrot: Waldm\u00fcl[. . .] 1828 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 179243, "title": "Object in Focus: Countess Sz\u00e9chenyi and Her Prestigious Kashmir Shawl", "description": "<i>Object in Focus: Countess Sz\u00e9chenyi and Her Prestigious Kashmir Shawl</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 25, 2003-January 4, 2004).", "opening_date": "2003-11-25T00:00:00"}], "legacy": [{"description": "Vienna, Galerie St. Lucas. Winterausstellung (1987-88), no. 25, Portr\u00e4t einer Gr\u00e4fin Szechenyi (repr.).", "opening_date": "1987-01-01T00:00:00"}]}, "provenance": [{"description": "Possibly Dr. Izidor Deutsch [d. 1906], Budapest", "citations": [], "footnotes": ["<div><!--block-->A red wax seal on the back of the painting reads: \u201cDr. Deutsch \u00dcgyved [attorney] Budapest.\u201d&nbsp; This seal may refer to Dr. Izidor Deutsch, a Hungarian attorney who lived in Budapest, although thus far no documentary confirmation of his ownership has been located.&nbsp; His will, for instance, makes no references to any paintings or to an art collection.&nbsp;</div>"], "date": "Before 1906", "sortorder": 1}, {"description": "Maximilian Mauthner, Schloss Feistritz, Wechsel, Austria", "citations": [], "footnotes": ["<div><!--block-->Mautner, a banker, purchased Schloss Feistritz in 1922, so if the attachment of Feistritz to Mautner\u2019s name in Rupert Feuchtm\u00fcller's Waldm\u00fcller catalogue raisonn\u00e9 is at all linked with Mautner\u2019s place of residence when he owned the painting, then his earliest possible year of ownership would be 1922.&nbsp;</div>"], "date": "Probably until 1925", "sortorder": 2}, {"description": "(Sale, Dorotheum, Vienna, June 15, 1925, lot 69)", "citations": [], "footnotes": ["<div><!--block-->Feuchtm\u00fcller's catalogue raisonn\u00e9 says that Mautner had the painting until 1925. However, because the Dorotheum\u2019s records do not include buyer/consignor information for sales prior to the late 1960s, that Mautner was the consignor to the sale has not been confirmed.</div>"], "date": "1925", "sortorder": 3}, {"description": "Possibly Dr. Paul Eger [1881-1947], Basel", "citations": [], "footnotes": ["<div><!--block-->The catalogue raisonn\u00e9 lists Dr. Paul Eger as a former owner of the Waldm\u00fcller, while the information provided to CMA by David Carritt, Ltd. situates it in a Basel private collection, presumably Eger's, prior to Galerie Nathan, although it is unknown whether Carritt knew of Eger\u2019s identity.&nbsp; In 1993 CMA curator Ann Tzeutschler Lurie wrote to dealer Peter Nathan to inquire whether the Waldm\u00fcller had been in the possession of Eger.&nbsp; Nathan responded that \u201cit is very well possible that [Eger], whom I myself knew, owned the painting\u201d; his name, however, does not appear in Galerie Nathan\u2019s records.&nbsp; The original source for the inclusion of Eger in this provenance is unclear.&nbsp; Eger was a theatre director and dramaturg who worked at the Stadttheaters Luzern and the Deutsches Schauspielhaus in Hamburg.&nbsp; Eger\u2019s former assistant did not think that he had an art collection (Brigitte Abeida (Luzerner Theater), email to Victoria Sears Goldman, Aug. 24, 2015), a recollection that is at odds with Peter Nathan\u2019s thoughts on Eger as a possible former owner of the painting.&nbsp; Another possibility is that Paul Eger was not a former owner of the painting: Izidor Deutsch was the brother-in-law of the Egger brothers, B\u00e9la Bern\u00e1t, Henrik, Jakab, and David, of Egger &amp; Co., a Budapest electrical company.&nbsp; Deutsch\u2019s will does make several mentions of the Egger family, although it does not refer to his art collection. &nbsp; Deutsch was also named guardian of one of his brother-in-laws\u2019 sons.&nbsp; While it could certainly be nothing more than a coincidence that Deutsch (if he was indeed the owner of the Waldm\u00fcller) was closely related to the Egger family, one must consider the possibility that the name \u201cEg[g]er\u201d was seen at some point in connection with the painting, and Paul Eger, who was involved in artistic circles and who knew Peter Nathan, was assumed to have been the Eger who owned the painting.&nbsp; If it was in fact the Egger family who had the Waldm\u00fcller, then their positioning in the provenance could be incorrect: perhaps \u201cPaul Eger\u201d was placed after the Dorotheum sale due to his life dates when in fact \u201cEgger\u201d belongs directly after Deutsch, with Mautner following.</div>"], "date": "Before 1940", "sortorder": 4}, {"description": "(Sale, Galerie Fischer, Lucerne, Nov. 7-9, 1940, lot 1250, sold to Galerie Nathan)", "citations": [], "footnotes": null, "date": "1940", "sortorder": 5}, {"description": "(Galerie Nathan, Z\u00fcrich)", "citations": [], "footnotes": ["<div><!--block-->The records of Galerie Nathan include a photograph of the Waldm\u00fcller in the gallery's 1941-1942 album and describe its sale \u201cdurch [through] Fischer LU[cerne],\u201d which suggests that the painting was purchased at the Galerie Fischer sale in 1941.&nbsp; Gallery records do not show to whom Nathan sold the painting, although Peter Nathan wrote to Ann Tzeutschler Lurie in 1993 that it was possible the buyer was von Kreibig, although they had no confirming documentation. Johannes Fischer suspected that Nathan may have sold the painting again through Fischer in 1941 or 1942, perhaps in a private sale.</div>"], "date": "1940-", "sortorder": 6}, {"description": "(Erich von Kreibig, Munich)", "citations": [], "footnotes": ["<div><!--block-->In late 1970, Munich dealer Erich von Kreibig corresponded extensively with CMA curator Ann Tzeutschler Lurie regarding the museum\u2019s interest in possibly acquiring the Waldm\u00fcller from Kreibig.&nbsp; In January 1971, Lurie informed Kreibig that the museum would not be purchasing the painting, in part due to budget considerations.&nbsp; Bruno Grimschitz\u2019s Waldm\u00fcller monograph, published in 1957, gives a Munich private collector as the painting\u2019s current owner, and CMA records situate the painting with von Kreibig in that year.&nbsp; While it is certainly possibly that von Kreibig had the painting in his personal collection by 1957 and then offered it to CMA in 1970, there are no indications in the documentation that Kreibig himself owned the painting for a lengthy period of time. All that is known about von Kreibig\u2019s acquisition of the Waldm\u00fcller is that his family bought it in Switzerland.&nbsp; Thus, it may be that an unidentified Munich collector owned it in 1957 who may or may not have consigned the painting to von Kreibig by 1970.</div>"], "date": "By 1970", "sortorder": 7}, {"description": "(Sale, Neumeister, Munich, Sept. 20-22, 1972, lot 1689", "citations": [], "footnotes": ["<div><!--block-->In 1997, Neumeister informed CMA that the painting had previously been in the collection of a Munich private collector who had died some time earlier; it is unknown whether or not this refers to Erich von Kreibig, and whether Neumeister is referring to the consignor to the auction or to a prior owner. Kreibig wrote to Ann Tzeutschler Lurie on December 31, 1971 (in CMA curatorial file) that he had been unable to sell the painting, so he may have consigned it to Neumeister for sale. &nbsp;</div>"], "date": "1972", "sortorder": 8}, {"description": "(Galerie Gr\u00fcnwald, Munich)", "citations": [], "footnotes": ["<div><!--block-->The order in which Galerie Gr\u00fcnwald and the unidentified Munich private collector should appear in this provenance is unclear.&nbsp; According to the provenance information provided to CMA by David Carritt, Ltd., the painting was in a Munich private collection in 1987.&nbsp; The catalogue raisonn\u00e9 situates the painting with Galerie Gr\u00fcnwald in 1986, although his sources for the inclusion of Gr\u00fcnwald in the provenance are not specified, while CMA records indicate the painting was with Gr\u00fcnwald in 1972.&nbsp; This would suggest that Gr\u00fcnwald was the unknown buyer at the 1972 Neumeister sale, but it seems unlikely that the gallery would still have had the painting in its possession in 1986, as Feuchtmu\u0308ller's chronology suggests. Carritt\u2019s provenance makes no mention of Gr\u00fcnwald, and so it may be that Gr\u00fcnwald was the buyer at the Neumeister sale, and the painting was then sold to the private collector listed by Carritt.&nbsp; Alternatively, Gr\u00fcnwald may have been the intermediary between the private collector and Carritt/Sanct Lucas, although this, too, seems doubtful because Roman Herzig of Galerie Sanct Lucas does not recall Gr\u00fcnwald\u2019s involvement. &nbsp;</div>"], "date": "From 1972?", "sortorder": 9}, {"description": "Private collection, Munich", "citations": [], "footnotes": ["<div><!--block-->See note 6.</div>"], "date": "By 1987?", "sortorder": 10}, {"description": "(David Carritt, Ltd./Artemis Group, London, and Galerie Sanct Lucas, Vienna, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1988", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1988-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This portrait typifies painting in Vienna between 1815 and 1865, an era known as the Biedermeier period, during which the Habsburg government promoted positive artistic depictions of Viennese life and culture. The mountains in the background express both the artist's romantic fascination with nature and patriotic devotion to his Austrian homeland. The sitter, Crescentia Seilern, was a prestigious member of the aristocracy who married Hungarian reformist patriot Istv\u00e1n Sz\u00e9chenyi.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476309"], "internet_archive": ["https://archive.org/details/clevelandart-1988.57-countess-szechenyi"]}, "citations": [{"citation": "David Carrit, Ltd., invoice, July 14, 1988, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "Roman Herzig, email to Victoria Sears Goldman, March 19, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Carritt, Ltd., painting information sheet, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Neumeister, letter to Hannelore Osborne, March 3, 1997, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Erich von Kreibig, letter to Ann Tzeutschler Lurie, Oct. 11, 1970, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Ann Tzeutschler Lurie, fax to Peter Nathan, Jan. 26, 1993, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Peter Nathan, letter to Ann Tzeutschler Lurie, Feb. 2, 1993, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<br>Johannes Nathan, email to Victoria Sears Goldman, Feb. 24, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Fischer. <em>Nachlass des Herrn R., Genf ; aus Glarner und anderem Privatbesitz...italienische Meister des 14. bis zum 19. Jahrhundert, spanisiche, franzo\u0308sische, deutsche, englische und holla\u0308ndische Schule, schweizer Meister</em>. Lucerne: Galerie Fischer, Nov. 7-9, 1940.", "page_number": null, "url": null}, {"citation": "Val\u00e9rie Matzner, email to Victoria Sears Goldman, April 9, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Johannes Nathan, email to Victoria Sears Goldman, Feb. 25, 2015, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Dorotheum (Wien). <em>Gema\u0308lde des 19. Jahrhunderts, Gema\u0308lde alter Meister, Aquarelle, Miniaturen, Antiquita\u0308ten, Bronzen, Mo\u0308bel, Keramik, Graphik</em>.  June 15-16, 1925.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Katja Fischer, email to Victoria Sears Goldman, Nov. 24, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": null, "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "David Carritt, Ltd., painting information sheet, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Les Vince, email to Victoria Sears Goldman and Louis Adrean, Sept. 4, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Reproduced: cover, details p. 9-11; Mentioned: p. 3-17", "url": "https://www.jstor.org/stable/25161437"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 637-638, Vol. II, no. 223", "url": ""}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland; New Haven: Cleveland Museum of Art; Yale University Press, 2015.", "page_number": "Mentioned and reproduced: P. 441, fig. 10.31", "url": ""}], "url": "https://clevelandart.org/art/1988.57", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.57/1988.57_web.jpg", "width": "719", "height": "900", "filesize": "194076", "filename": "1988.57_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.57/1988.57_print.jpg", "width": "2716", "height": "3400", "filesize": "2394744", "filename": "1988.57_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.57/1988.57_full.tif", "width": "5758", "height": "7207", "filesize": "124526488", "filename": "1988.57_full.tif"}}, "alternate_images": [{"date_created": "2008-02-25T16:30:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt0_web.jpg", "width": "716", "height": "893", "filesize": "425437"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt0_print.jpg", "width": "2725", "height": "3400", "filesize": "5718640"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt0_full.tif", "width": "4458", "height": "5563", "filesize": "74434720"}}, {"date_created": "2014-09-02T09:37:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt1_web.jpg", "width": "731", "height": "900", "filesize": "182280"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt1_print.jpg", "width": "2761", "height": "3400", "filesize": "3297807"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt1_full.tif", "width": "6000", "height": "7389", "filesize": "133033104"}}, {"date_created": "2014-09-02T09:48:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt2_web.jpg", "width": "700", "height": "900", "filesize": "274949"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt2_print.jpg", "width": "2645", "height": "3400", "filesize": "3017932"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.57/1988.57_alt2_full.tif", "width": "2990", "height": "3843", "filesize": "34506272"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 154244, "creators": [{"id": 2810, "description": "Ferdinand Georg Waldm\u00fcller (Austrian, 1793\u20131865)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ferdinand Georg Waldm\u00fcller was the leading innovator for Austrian portrait, landscape, and genre painting of the romantic period, substantially contributing to a style that came to be known as Biedermeier.1 His earliest art lessons were in flower painting with porcelain painter Josef Zintler (d. 1826). From 1808 until 1813 Waldm\u00fcller attended the Vienna Academy at intervals, studying with Hubert Maurer (1738-1818) and Johann Baptist Lampi (1775-1837). The next two years Waldm\u00fcller engaged in painting portrait miniatures. He undoubtedly perfected his painting technique significantly by studying and copying the great masters in the major Viennese galleries well into the 1820s. Between 1825 and 1856 he traveled to Italy, as well as to France and England, in Paris being presented to Emperor Napoleon III and in London to Queen Victoria.\r\nIn 1827, the year before he painted Cleveland's Countess Zichy, Waldm\u00fcller had been introduced to the imperial court of Emperor Franz I and received the great honor of painting his portrait. In 1829 Prince Metternich appointed Waldm\u00fcller curator of the Lamberg Painting Gallery and professor of the Vienna Academy. However, his radical proposals to change academic teaching methods, by insisting that observation of and truth to nature were the only sources of art, would have ended his academic career in 1846 had Prince Metternich not intervened. Nevertheless, in 1855 his continued open criticism of academic procedures cost him his retirement, which, thanks to Emperor Franz I of Austria, was reinstated in 1863. Waldm\u00fcller's convincing honesty in portraying his sitters exactly as they were reflected the growing confidence of the bourgeoisie after the French revolutionary wars and Napoleon's final defeat in 1815. The artist's faithfulness to nature on the one hand, and his talent in portraying the elegance and luxury of his sitters' attire on the other, appealed to both the bourgeoisie and aristocracy.\r\n1. The name Biedermeier was derived from a fictitious poet named Gottlieb Biedermaier (or Biedermeier) who was featured in the mid-nineteenth-century magazine Fliegende Bl\u00e4tter. \"Bieder\" describes a simple but honest and upstanding person, while \"Meier\" is a common German surname. The style pervaded all of Europe, but particularly Austria, Germany, Switzerland, and Scandinavia, centering mainly in cities with active academies. See also Amerling, The Young Eastern Woman, no. 4.", "name_in_original_language": null, "birth_year": "1793", "death_year": "1865", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1828, "date_added_to_oa": null, "date_text": "1828", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Crescentia, Countess Zichy (1799-1875)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:43.190000"}, {"id": 173167, "accession_number": "1915.682", "share_license_status": "CC0", "tombstone": "Winding Yarn (Interior of a Nantucket Kitchen), 1872. Eastman Johnson (American, 1824\u20131906). Oil on board; framed: 70.2 x 85.4 x 10.2 cm (27 5/8 x 33 5/8 x 4 in.); unframed: 37.5 x 54.6 cm (14 3/4 x 21 1/2 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.682", "current_location": "207 American Realism", "title": "Winding Yarn (Interior of a Nantucket Kitchen)", "creation_date": "1872", "creation_date_earliest": 1872, "creation_date_latest": 1872, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 70.2 x 85.4 x 10.2 cm (27 5/8 x 33 5/8 x 4 in.); Unframed: 37.5 x 54.6 cm (14 3/4 x 21 1/2 in.)", "dimensions": {"framed": {"height": 0.702, "width": 0.854, "depth": 0.102}, "unframed": {"height": 0.375, "width": 0.546}, "former": {"height": 0.527, "width": 0.699, "depth": 0.051}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  E. Johnson 1872", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 360895, "title": "Painting Today and Yesterday in the United States", "description": "<i>Painting Today and Yesterday in the United States</i>. Santa Barbara Museum of Art, Santa Barbara, CA (organizer) (June 5-September 1, 1941).", "opening_date": "1941-06-05T04:00:00"}, {"id": 311952, "title": "Art, A Means to World Understanding", "description": "<i>Art, A Means to World Understanding</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 16-April 10, 1949).", "opening_date": "1949-03-16T05:00:00"}], "legacy": [{"description": "<em>Catalogue of Finished Pictures, Studies, and Drawings by the late Eastman Johnson</em>,<em> N.A</em>.. American Art Association, New York, NY (February 26\u201327,1907).", "opening_date": "1907-02-26T00:00:00"}, {"description": "<em>Eastman Johnson at Nantucket</em>. Kenneth Taylor Gallery, Nantucket, MA (July 1945).", "opening_date": "1945-07-01T00:00:00"}, {"description": "<em>Sesquicentennial Celebration.</em> Miami University, Oxford, OH (May15\u2013June 15, 1959).", "opening_date": "1959-05-15T00:00:00"}, {"description": "<em>Object Lessons: Cleveland Creates an Art Museum. </em>The Cleveland Museum of Art, Cleveland, OH (June 6\u2013September 8, 1991).", "opening_date": "1991-06-06T00:00:00"}]}, "provenance": [{"description": "H. B. Hurlbut, Cleveland (1878).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["355.1915"], "did_you_know": "Eastman Johnson was a cofounder of the Metropolitan Museum of Art in New York.", "description": "Set in a rustic kitchen on Nantucket Island, Massachusetts, this painting depicts a woman who winds a ball of yarn from a coil looped in the hands of a man sitting across from her at a respectable distance. At the time, winding yarn was a common symbol of courtship that carried humorous overtones of a woman ensnaring her suitor. The second woman in the composition is likely a chaperone. The suitor\u2019s unrefined, open-legged pose, coupled with his rude action of placing his hat on the floor, adds further comic elements that contemporary audiences would have appreciated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230230"], "internet_archive": ["https://archive.org/details/clevelandart-1915.682-winding-yarn-interio"]}, "citations": [{"citation": "Strahan, Edward, ed. <em>The Art Treasures of America: Being the Choicest Works of Art in the Public and Private Collections of North America</em>. vol. 8. Philadelphia: Gebbie &amp; Barrie, 1879.", "page_number": "Mentioned: p. 74", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of the Inaugural Exhibition June 6-September 20, 1916.</em> Cleveland: The Cleveland Museum of Art, 1916.", "page_number": "Mentioned: p. 128, no. 28", "url": ""}, {"citation": "Santa Barbara Museum of Art, Donald Jeffries Bear, and Janet Hite Lineberger. <em>Painting Today and Yesterday in the United States. June Fifth [to] September First, 1941.</em> Santa Barbara, Calif: [Pacific Coast Pub. Co.], 1941.", "page_number": "Mentioned: no. 65", "url": ""}, {"citation": "Crosby, Everett Uberto. <em>Eastman Johnson at Nantucket: His Paintings and Sketches of Nantucket People and Scenes</em>. Nantucket, MA: 1944.", "page_number": "Mentioned: p. 19, fig. C.51; Reproduced: p. 58, fig. C.51", "url": null}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 30, cat. 116", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Turner, Evan H. Prologue in <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Mentioned: p. 14-15; Reproduced: p. 15", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 117", "url": null}, {"citation": "National Museum of American History. <em>Smithsonian's America: An Interactive Exhibition of American History and Culture</em>. 1994; Salinas, CA: Creative Multimedia, 1994. Multimedia CD-ROM.", "page_number": null, "url": null}, {"citation": "Carbone, Teresa A., and Patricia Hills. <em>Eastman Johnson: Painting America</em>. New York: Brooklyn Museum of Art, in association with Rizzoli International Publications, 1999.", "page_number": "Reproduced: p. 79, fig. 43; Mentioned: p. 79", "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. 535", "url": "https://archive.org/details/CMAHandbook1958/page/n99"}], "url": "https://clevelandart.org/art/1915.682", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.682/1915.682_web.jpg", "width": "900", "height": "612", "filesize": "187774", "filename": "1915.682_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.682/1915.682_print.jpg", "width": "3400", "height": "2312", "filesize": "2383555", "filename": "1915.682_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.682/1915.682_full.tif", "width": "13574", "height": "9230", "filesize": "375892020", "filename": "1915.682_full.tif"}}, "alternate_images": [{"date_created": "2024-11-15T17:29:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt0_web.jpg", "width": "900", "height": "625", "filesize": "114530"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt0_print.jpg", "width": "3400", "height": "2362", "filesize": "1888546"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt0_full.tif", "width": "13909", "height": "9663", "filesize": "403234732"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt1_web.jpg", "width": "1263", "height": "863", "filesize": "757432"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt1_print.jpg", "width": "3400", "height": "2323", "filesize": "5066235"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt1_full.tif", "width": "5000", "height": "3416", "filesize": "51264144"}}, {"date_created": "2010-07-19T19:29:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt2_web.jpg", "width": "1091", "height": "893", "filesize": "818268"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt2_print.jpg", "width": "3400", "height": "2783", "filesize": "7921904"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.682/1915.682_alt2_full.tif", "width": "4588", "height": "3756", "filesize": "51727396"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 173167, "creators": [{"id": 2703, "description": "Eastman Johnson (American, 1824\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1824", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "1872", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:20.048000"}, {"id": 168758, "accession_number": "2010.459.1", "share_license_status": "CC0", "tombstone": "Male Figure of a Pair, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver. Wood, iron alloy, copper alloy, and cloth; overall: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.459.1", "current_location": "108A African", "title": "Male Figure of a Pair", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": -1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, probably Ngbandi-style carver"], "technique": "Wood, iron alloy, copper alloy, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 45 x 15.5 x 9.2 cm (17 11/16 x 6 1/8 x 3 5/8 in.)", "dimensions": {"overall": {"height": 0.45, "width": 0.155, "depth": 0.092}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338062, "title": "Afrikanische Kunstwerke: Kulturen am Niger", "description": "<i>Afrikanische Kunstwerke: Kulturen am Niger</i>. Villa H\u00fcgel (March 25-June 13, 1971).", "opening_date": "1971-03-25T05:00:00"}, {"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 31, 1970 - February 10, 1971)", "opening_date": "1970-10-31T00:00:00"}, {"description": "Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, BE (March 25-June 5, 1988)", "opening_date": "1988-03-25T00:00:00"}, {"description": "Museum Ludwig, Cologne, Germany (July 7-September 30, 1990)", "opening_date": "1990-07-07T00:00:00"}, {"description": "Gemeentemuseum Den Haag, The Hague, Netherlands (November-January 1991)", "opening_date": "1991-11-01T00:00:00"}, {"description": "Centre Wallonie-Bruxelles, Paris, FR, June 2000", "opening_date": "2000-06-01T00:00:00"}]}, "provenance": [{"description": "Jef and Ren\u00e9 Vanderstraete, Lasne, BE, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": null, "date": "?\u20131959", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1959\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Odette Delenne, the collector of this pair, once stated that these figures reminded her of herself and her husband, Ren\u00e9.", "description": "Carving of paired figures is quite well documented among the Ngbandi and its neighbors the Ngbaka-Minagende, where such sculptures are said to represent the mythical ancestor Seto and his sister-wife, Nabo. Field-based research cannot confirm the existence of figurative couples among the Ngbandi.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759149"], "internet_archive": ["https://archive.org/details/clevelandart-2010.459.1-male-figure-of-a-pai"]}, "citations": [{"citation": "Kunsthaus Zu\u0308rich, and Elsy Leuzinger. 1970. <em>Die Kunst Von Schwarz-Afrika : [Ausstellung: Kunsthaus Zu\u0308rich] 31. Oktober 1970-17. Januar 1971</em>. Recklinghausen: Verlag Aurel Bongers, p. 331, cat. X27.", "page_number": "", "url": ""}, {"citation": "\"Recent Acquisitions (2005-11) at the Cleveland Museum of Art.\" The Burlington Magazine 1312:154 (July 2012): 525-32. Fig. I, p. 525.", "page_number": "", "url": ""}, {"citation": "Bastin, Marie-Louise, et al. <em>Utotombo. L'Art d'Afrique noire dans les collections priv\u00e9es belges: Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>, 248, 309. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "Reproduced: p. 248", "url": null}, {"citation": "Grootaers, Jan-Lodewijk, ed. <em>Ubangi. Art et cultures au Coeur de l'Afrique</em>, 154-155. Exh. Cat. Brussels: Fonds Mercator, in association with Afrika Museum, October 13, 2007-March 31, 2008.", "page_number": "Reproduced: 154-155", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): pp. 118-124.", "page_number": "Reproduced: p. 120", "url": null}, {"citation": "Franklin, David. \"Recent acquisitions (2005-11) at the Cleveland Museum of Art.\" In <em>The</em> <em>Burlington Magazine</em> 154, no. 1312 (July 2012): pp. 525-532.", "page_number": "p. 525", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, Ohio: Cleveland Museum of Art. Milan: 5 Continents, 2013, 26, 89, 94-95.", "page_number": "Mentioned: pp. 12, 26, 89-91", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 38", "url": ""}, {"citation": "Bangerter, Walter, and Elsy Leuzinger. <em>Afrikanische Kunstwerke: Kulturen am Niger</em>, 335. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Villa H\u00fcgel, March 25-June 13, 1971.", "page_number": "Reproduced: p. 335", "url": null}, {"citation": "Heymer, Kay, and Siegfried Gohr. <em>Afrikanische Skulptur: Die Erfindung der Figur</em>, 200. Exh. Cat. Cologne: Museum Ludwig, July 7-September 30, 1990.", "page_number": "Reproduced: p. 200", "url": null}], "url": "https://clevelandart.org/art/2010.459.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.459.1/2010.459.1_web.jpg", "width": "629", "height": "893", "filesize": "261913", "filename": "2010.459.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.459.1/2010.459.1_print.jpg", "width": "2393", "height": "3400", "filesize": "4805596", "filename": "2010.459.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.459.1/2010.459.1_full.tif", "width": "3968", "height": "5636", "filesize": "67119772", "filename": "2010.459.1_full.tif"}}, "alternate_images": [{"date_created": "2011-05-09T17:35:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt0_web.jpg", "width": "632", "height": "893", "filesize": "262278"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt0_print.jpg", "width": "2407", "height": "3400", "filesize": "4814399"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt0_full.tif", "width": "3938", "height": "5562", "filesize": "65744624"}}, {"date_created": "2011-05-09T17:13:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt1_web.jpg", "width": "619", "height": "893", "filesize": "253692"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt1_print.jpg", "width": "2355", "height": "3400", "filesize": "4698804"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt1_full.tif", "width": "3968", "height": "5727", "filesize": "68205540"}}, {"date_created": "2011-05-09T18:02:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt2_web.jpg", "width": "625", "height": "893", "filesize": "261097"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt2_print.jpg", "width": "2380", "height": "3400", "filesize": "4869639"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt2_full.tif", "width": "3941", "height": "5630", "filesize": "66592816"}}, {"date_created": "2011-05-11T16:10:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt3_web.jpg", "width": "668", "height": "893", "filesize": "244023"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt3_print.jpg", "width": "2545", "height": "3400", "filesize": "4612072"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.459.1/2010.459.1_alt3_full.tif", "width": "4992", "height": "6668", "filesize": "99886060"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168758, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2010.459", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Male Figure of a Pair"], "is_highlight": false, "updated_at": "2026-03-27 00:05:03.065000"}, {"id": 91231, "accession_number": "2020.105", "share_license_status": "CC0", "tombstone": "Villas at Trouville, 1884. Gustave Caillebotte (French, 1848\u20131894). Oil on canvas; unframed: 66 x 81.3 cm (26 x 32 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.105", "current_location": "222 Impressionism & Post-Impressionism", "title": "Villas at Trouville", "creation_date": "1884", "creation_date_earliest": 1884, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 66 x 81.3 cm (26 x 32 in.)", "dimensions": {"unframed": {"height": 0.66, "width": 0.813}, "framed": {"height": 0.799, "width": 0.951, "depth": 0.041}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed (posthumously by Martial Caillebotte according to Marie Berhaut) lower right: G. Caillebotte [Distal, 1995]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Exposition retrospective de Gustave Caillebotte.</em> Galerie Durand-Ruel, Paris, France (1894).", "opening_date": null}, {"description": "<em>XVieme Biennale international des antiquaries. </em>Montgomery Gallery, Paris, France (1992).", "opening_date": "1992-01-01T00:00:00"}, {"description": "<em>The European Fine Art Fa</em>ir. Montgomery Gallery, Maasstricht, Netherlands (1994).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Gustave Caillebotte: Urban Impressionist.</em> Grand Palais, Paris, France (September 16, 1994\u2013January 9, 1995); Art Institute of Chicago, Chicago, IL (February 18\u2013May 28, 1995); Los Angeles Museum of Art, Los Angeles, CA (June 22\u2013September 10, 1995).", "opening_date": "1994-09-16T00:00:00"}, {"description": "<em>Gustave Caillebotte: The Unknown Impressionist</em>. Royal Academy of Arts, London, United Kingdom (March 28\u2013June 23, 2006).", "opening_date": "2006-06-23T00:00:00"}, {"description": "<em>Santa Barbara Collects: Impressions of France.</em> Santa Barbara Museum of Art, Santa Barbara, CA (1998).", "opening_date": "1998-01-01T00:00:00"}]}, "provenance": [{"description": "Paul Hugot, Paris, France", "citations": [], "footnotes": ["<div><!--block-->This painting was included in the \u201cExposition retrospective d\u2019oeuvres de Gustave Caillebotte,\u201d Galerie Durand-Ruel, Paris, 1894, cat. no. 36, as \u201cBord de mer \u00e0 Villers (1881)\u201d. Alternatively, Marie Berhaut, <em>La Vie et l'Oeuvre de Gustave Caillebotte</em> (Paris, 1951), p. 34, identifies the painting as cat. no. 5, \u201cTrouville (1882)\u201d. Both were in the collection of Paul Hugot.&nbsp;</div>"], "date": "by 1894", "sortorder": 1}, {"description": "J. Combes, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Alexandre Tarnopol [1889\u20131983], New York, NY", "citations": [], "footnotes": [], "date": "about 1957\u2013by 1972", "sortorder": 3}, {"description": "passed to his brother, Gr\u00e9goire Tarnopol [1891\u20131979], New York, NY by 1972", "citations": [], "footnotes": ["<div><!--block-->According to Marie Berhaut, <em>Caillebotte, sa Vie et son Oeuvre: Catalogue Raisonn\u00e9 des Peintures et Pastels</em> (Paris, France: La Bibliothe\u0300que des Arts, 1978), p. 189, cat. no. 272, ill.</div>"], "date": "by 1972", "sortorder": 4}, {"description": "Suzanne Delarbre, New York, NY (sold: Christie's, New York, NY November, 15, 1989, lot 364)", "citations": [], "footnotes": [], "date": "?\u20131989", "sortorder": 5}, {"description": "(Montgomery Gallery, San Francisco, CA, sold to Private Collection)", "citations": [], "footnotes": ["<div><!--block-->According to the 2008 Sotheby\u2019s, New York sale catalogue, lot 58.&nbsp;</div>"], "date": "by 1990\u20131995", "sortorder": 6}, {"description": "Paul and Leslie Ridley-Tree, Santa Barabara, CA", "citations": [], "footnotes": ["<div><!--block-->According to Anne Distel, <em>Gustave Caillebotte: The Unknown Impressionist</em> (London: Royal Academy of Arts, in association with Ludion Press, Ghent, 1996), pp. 168-169, cat. no. 40, ill.</div>"], "date": "by 1996", "sortorder": 7}, {"description": "(Sotheby's, New York, NY, November 4, 2008, lot 58, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "2008", "sortorder": 8}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2008\u20132020", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to his career as an artist, Caillebotte was an award-winning sailor and designed his own racing sailboats.", "description": "Gustave Caillebotte painted this dramatic view of the blue-green sea, illuminated by a cloud-dappled sky, from one of the cliffs of Trouville, a popular resort town on the Normandy coast in northern France. The brick villas in the foreground, just outside the center of the town, offered homeowners a private shoreline retreat. During the early 1880s, Caillebotte spent several summers on the Normandy coast where he painted, participated in sailing regattas, and visited friends.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q66289013"], "internet_archive": ["https://archive.org/details/clevelandart-2020.105-villas-at-trouville"]}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cImpressionism to Modernism: The Keithley Collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 2 (2022): 20-21.", "page_number": "Reproduced: P. 21; Mentioned: P. 20.", "url": ""}, {"citation": "Galerie Durand-Ruel.<em> Exposition re\u0301trospective d'\u0153uvres de G. Caillebotte.</em> Paris: Galerie Durand-Ruel, 1894.", "page_number": "Mentioned: P. 4, no. 36", "url": ""}, {"citation": "Berhaut, Marie, and Gustave Caillebotte. <em>Caillebotte: sa vie et son oeuvre : catalogue raisonne\u0301 des peintures et pastels</em>. Paris, France: La Bibliothe\u0300que des Arts, 1978.", "page_number": "Reproduced: p. 173, no. 271", "url": null}, {"citation": "Berhaut, Marie, and Sophie Pietri. <em>Gustave Caillebotte: Catalogue Raisonne\u0301 des Peintures et Pastels. </em>Paris: Wildenstein Institute, 1994.", "page_number": "Mentioned and Reproduced: P. 189, no. 309", "url": ""}, {"citation": "<em>The European Fine Art Fair, Maastricht: [Handbook]. </em>1994.", "page_number": "Mentioned and reproduced: P. 106, no. 161", "url": ""}, {"citation": "Distel, Anne. <em>Gustave Caillebotte, Urban Impressionist</em>. Paris, France: Re\u0301union des Muse\u0301es Nationaux, 1995.", "page_number": "Mentioned and Reproduced: P. 254-255, 257, 264-265, no. 101", "url": null}, {"citation": "Distel, Anne. <em>Gustave Caillebotte: The Unknown Impressionist</em>. London, United Kingdom: Royal Academy of Arts, in association with Ludion Press, Ghent, 1996.", "page_number": "Mentioned and Reproduced: P. 168-168, no. 40", "url": null}, {"citation": "Zafran, Eric M. <em>Santa Barbara Collects: Impressions of France</em>. Santa Barbara, CA: Santa Barbara Museum of Art, 1998.", "page_number": "Mentioned and Reproduced: P. 36, no. 12", "url": null}, {"citation": "Morton, Mary. \"Gustave Caillebotte.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 64-67. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 66-67; Mentioned: p. 258-259", "url": ""}, {"citation": "Christie, Manson &amp; Woods. <em>Masterpieces from the Collection of Sam Josefowitz: A Lifetime of Discovery and Scholarship.</em> London: Christie's, 2023.", "page_number": "Mentioned and reproduced: p. 120", "url": ""}], "url": "https://clevelandart.org/art/2020.105", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.105/2020.105_web.jpg", "width": "900", "height": "729", "filesize": "372407", "filename": "2020.105_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.105/2020.105_print.jpg", "width": "3400", "height": "2753", "filesize": "4486300", "filename": "2020.105_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.105/2020.105_full.tif", "width": "12467", "height": "10094", "filesize": "377553888", "filename": "2020.105_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 91231, "creators": [{"id": 26343, "description": "Gustave Caillebotte (French, 1848\u20131894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1894", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1884, "date_added_to_oa": null, "date_text": "1884", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:36.771000"}, {"id": 155822, "accession_number": "1991.134.2", "share_license_status": "CC0", "tombstone": "Nathaniel Olds, 1837. Jeptha Homer Wade (American, 1811\u20131890). Oil on canvas; framed: 87 x 71.8 x 5.7 cm (34 1/4 x 28 1/4 x 2 1/4 in.); unframed: 76.5 x 61.2 cm (30 1/8 x 24 1/8 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Jeptha H. Wade III, 1991.134.2", "current_location": "205 Federal American", "title": "Nathaniel Olds", "creation_date": "1837", "creation_date_earliest": 1837, "creation_date_latest": 1837, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Framed: 87 x 71.8 x 5.7 cm (34 1/4 x 28 1/4 x 2 1/4 in.); Unframed: 76.5 x 61.2 cm (30 1/8 x 24 1/8 in.)", "dimensions": {"framed": {"height": 0.87, "width": 0.718, "depth": 0.057}, "unframed": {"height": 0.765, "width": 0.612}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on back:  J.H. WADE / 6-37-15 / Farmer Valley", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Nathaniel Olds (1788\u2013c. 1840s), Farmer (later Interlaken), NY.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Sally Avery Olds Roberts (1792\u20131874), Madison, WI, the sitter's widow, by inheritance.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Sarah Jane Olds Tarr (1832\u20131912), Madison, WI, the sitter's daughter, by inheritance.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Maud Ingman Tarr (1872\u20131963), Madison, WI, the sitter's granddaughter, by inheritance.", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "State Historical Society of Wisconsin (now the Wisconsin Historical Society), Madison, WI, by bequest.", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "Jeptha H. Wade III (1924\u20132008), Bedford, MA, by purchase in 1968.", "citations": [], "footnotes": null, "date": null, "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH, by gift in 1991.", "citations": [], "footnotes": null, "date": null, "sortorder": 7}], "find_spot": null, "related_works": [{"id": 155821, "description": "Sally Avery Olds, 1837. Jeptha Homer Wade (American, 1811\u20131890). Oil on canvas; unframed: 73.3 x 61 cm (28 7/8 x 24 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Jeptha H. Wade III, 1991.134.1", "relationship": null}], "former_accession_numbers": ["1991.135"], "did_you_know": "This painting has a distinguished history inspiring Halloween costumes in the Cleveland area.", "description": "Nathaniel Olds\u2019s glasses have four tinted lenses, two of which are hinged side shields. This style was typically worn to protect sensitive eyes from excessive light, dust, or wind. Due to their occasional use during open-air travel, they were sometimes referred to as carriage or railroad spectacles. The painter of this portrait founded the Western Union Telegraph Company in 1854 and soon became one of Cleveland\u2019s wealthiest industrialists. His grandson, Jeptha Wade II, was a founder of the Cleveland Museum of Art and donated the land upon which it stands as a Christmas gift to the city in 1892.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476638"], "internet_archive": ["https://archive.org/details/clevelandart-1991.134.2-nathaniel-olds"]}, "citations": [{"citation": "Smee, Sebastian, \"This Obscure Portrait Has a Cult Following for its High-Fashion Flair,\" <em>Washington Post,</em> August 8, 2024.", "page_number": "", "url": ""}, {"citation": "Turner, Evan H. \"The Year in Review for 1992.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (1993): 38-79.", "page_number": "Reproduced: p. 59; Mentioned: p. 66", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "Wade, Jeptha H., Holly Rarick Witchey, and Ellery Sedgwick. The Autobiography of Jeptha Homer Wade, a Modest American: A Transcription and Accompanying Essays. 2018, 8.", "page_number": "Mentioned and reproduced: pp. 8-9.", "url": ""}, {"citation": "Bifano, Wayne Thomas, and Timothy Lachina. <em>The Wade Chapel: A Story of Art, Spirit, and Family. </em>Cleveland, Ohio: Lake View Cemetery Association, 2019.", "page_number": "Reproduced: P. 22", "url": null}], "url": "https://clevelandart.org/art/1991.134.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.134.2/1991.134.2_web.jpg", "width": "710", "height": "893", "filesize": "359255", "filename": "1991.134.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.134.2/1991.134.2_print.jpg", "width": "2705", "height": "3400", "filesize": "4886686", "filename": "1991.134.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.134.2/1991.134.2_full.tif", "width": "3711", "height": "4664", "filesize": "51947052", "filename": "1991.134.2_full.tif"}}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of Jeptha H. Wade III", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 155822, "creators": [{"id": 2841, "description": "Jeptha Homer Wade (American, 1811\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1811", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1837, "date_added_to_oa": null, "date_text": "1837", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1991.134", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of a Man"], "is_highlight": false, "updated_at": "2026-04-08 11:09:02.753000"}, {"id": 143140, "accession_number": "1967.125", "share_license_status": "CC0", "tombstone": "Study, North Conway, New Hampshire, 1851. David Johnson (American, 1827\u20131908). Oil on canvas; framed: 63.8 x 74.3 x 7 cm (25 1/8 x 29 1/4 x 2 3/4 in.); unframed: 43.2 x 53.3 cm (17 x 21 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1967.125", "current_location": "206 American Landscape", "title": "Study, North Conway, New Hampshire", "creation_date": "1851", "creation_date_earliest": 1851, "creation_date_latest": 1851, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 63.8 x 74.3 x 7 cm (25 1/8 x 29 1/4 x 2 3/4 in.); Unframed: 43.2 x 53.3 cm (17 x 21 in.)", "dimensions": {"framed": {"height": 0.638, "width": 0.743, "depth": 0.07}, "unframed": {"height": 0.432, "width": 0.533}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"D. Johnson. / 1851\"; inscribed lower left: \"D.J. 1851. (false); signed on the back: \"Study. North Conway. N.H. / David Johnson 1851]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 226340, "title": "Mount Washington: The Crown of New England", "description": "<i>Mount Washington: The Crown of New England</i>. Currier Museum of Art, Manchester, NH (organizer) (October 1, 2016-January 16, 2017).", "opening_date": "2016-10-01T00:00:00"}], "legacy": [{"description": "Cleveland, OH, Cleveland Museum of Art, Year In Review for 1967 (29 November - 31 December 1967).", "opening_date": "1967-11-29T00:00:00"}, {"description": "Mansfield, OH, Mansfield Art Center, The American Landscape (8 March - 5 April 1981), p. 7, cat no. 13.", "opening_date": "1981-03-08T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, Visions of Landscape: East and West (17 February - 21 March 1982)", "opening_date": "1982-02-17T00:00:00"}, {"description": "New York, NY, Metropolitan Museum of Art, American Paradise: The World of the Hudson River School (4 October 1987 - 3 January 1988), cat. p. 270-72.", "opening_date": "1987-10-04T00:00:00"}, {"description": "Ithaca, NY, Herbert F. Johnson Museum of Art, Cornell University, Nature Transcribed: The Landscapes and Still Lifes of David Johnson (1827-1908) (5 November - 23 December 1988), did not travel to University of Maryland, College Park; Georgia Museum of Art, University of Georgia, Athens; or National Academy of Design, New York; cat. no. 4, p. 18-19, ill. p. 18.", "opening_date": "1988-11-05T00:00:00"}, {"description": "Currier Museum of Art, Manchester, NH (10/1/2016 \u2013 1/16/2017):  \"Mount Washington: The Crown of New England\"", "opening_date": "2016-10-01T00:00:00"}]}, "provenance": [{"description": "(R. Schoelkopf Gallery, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "North Conway, New Hampshire, markets itself as the birthplace of American skiing.", "description": "Johnson\u2019s devotion to carefully observing nature is evident in his detailed rendering of a riverbed. Located in a village that provided a popular jumping-off point for tourists visiting the White Mountains, this untamed site features a haphazard arrangement of angled boulders, slippery moss, splintered tree branches, and dense undergrowth. Contemporary travel guidebooks often cautioned against the physical challenges\u2014and the potential for injury\u2014encountered by venturing into such inner recesses of the woods; one warned that \u201cwild forest-clambering\u201d could be akin to \u201cfighting a phalanx of porcupines.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20746849"], "internet_archive": ["https://archive.org/details/clevelandart-1967.125-study-north-conway-n"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 323; Mentioned: p. 343, no. 56", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "Talbot, William S. \u201cVisions of Landscape: East and West.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 3 (March 1983): 112\u2013135.", "page_number": "Mentioned and reproduced: p. 120-121, fig. 13", "url": "http://www.jstor.org/stable/25159808"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 10, p. 12", "url": ""}, {"citation": "Spahr, P. Andrew, <em>Mount Washington: The Crown of New England.</em> Manchester, New Hampshire: Currier Museum of Art, 2016. p. 61", "page_number": "Reproduced: p. 61, fig. 49", "url": null}, {"citation": "Quinn, Karen E. \"Mount Washington: The Crown of New England\". <em>American Art Review</em>. 28, no. 5 (Sept./Oct. 2016): 64-73, 111.", "page_number": "Reproduce: p. 72", "url": null}], "url": "https://clevelandart.org/art/1967.125", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.125/1967.125_web.jpg", "width": "900", "height": "723", "filesize": "418226", "filename": "1967.125_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.125/1967.125_print.jpg", "width": "3400", "height": "2731", "filesize": "3402068", "filename": "1967.125_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.125/1967.125_full.tif", "width": "4707", "height": "3781", "filesize": "53420072", "filename": "1967.125_full.tif"}}, "alternate_images": [{"date_created": "2008-06-23T09:54:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt0_web.jpg", "width": "900", "height": "789", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt0_print.jpg", "width": "3400", "height": "2980", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt0_full.tif", "width": "3783", "height": "3316", "filesize": ""}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt1_web.jpg", "width": "900", "height": "772", "filesize": "376554"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt1_print.jpg", "width": "3153", "height": "2704", "filesize": "3126675"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt1_full.tif", "width": "3153", "height": "2704", "filesize": "25607348"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt2_web.jpg", "width": "900", "height": "614", "filesize": "325699"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt2_print.jpg", "width": "3400", "height": "2318", "filesize": "2778290"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.125/1967.125_alt2_full.tif", "width": "3635", "height": "2478", "filesize": "27052584"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 143140, "creators": [{"id": 2732, "description": "David Johnson (American, 1827\u20131908)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1827", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-10-27T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "1851", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:04.716000"}, {"id": 123778, "accession_number": "1944.290", "share_license_status": "CC0", "tombstone": "Disk Pendant (akrafok\u0254nmu), 1800s, before 1871; pin added later. Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths\u2019 guild. Gold; overall: 7 x 7.6 x 1.6 cm (2 3/4 x 3 x 5/8 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1944.290", "current_location": "108C African Jewelry and Metalwork", "title": "Disk Pendant (akrafok\u0254nmu)", "creation_date": "1800s, before 1871; pin added later", "creation_date_earliest": 1800, "creation_date_latest": 1870, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths\u2019 guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 7 x 7.6 x 1.6 cm (2 3/4 x 3 x 5/8 in.)", "dimensions": {"overall": {"height": 0.07, "width": 0.076, "depth": 0.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 444266, "title": "The Arts of Ghana", "description": "<i>The Arts of Ghana</i>. Frederick S. Wight Art Gallery, UCLA, Los Angeles, CA (organizer) (October 11-December 11, 1977); Walker Art Center, Minneapolis, MN (February 11-March 26, 1978); The Dallas Museum of Art, Dallas, TX (May 3-July 2, 1978).", "opening_date": "1977-10-11T04:00:00"}, {"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": "College of Science Dublin - c. 1870s or 1880s", "opening_date": null}, {"description": "Portland Art Museum (11/21/1952 - 12/28/1952): \"Exhibition of Jewelry\"", "opening_date": "1952-11-21T00:00:00"}, {"description": "Nelson Atkins Museum of Art, Kansas City (1/18/1962 - 2/25/1962): \"The Imagination of Primitive Man\"", "opening_date": "1962-01-18T00:00:00"}, {"description": "UCLA Museum of Cultural History, Los Angeles (September 1977 - 8/1/1978): \"The Arts of Ghana\", traveling exhibition", "opening_date": "1978-08-01T00:00:00"}, {"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\"", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Dr. Harry T. Reilly reportedly by gift from three Asante chiefs", "citations": [], "footnotes": ["<div><!--block-->Letter from Jennie Devin Reilly, March 23, 1886 (CMA Curatorial File)</div>"], "date": "before 1871", "sortorder": 1}, {"description": "Jennie Devin Reilly, Washington, D.C.", "citations": [], "footnotes": ["<div><!--block-->Letter from Jennie Devin Reilly, March 23, 1886 (CMA Curatorial File)</div>"], "date": "about 1871\u20131886", "sortorder": 2}, {"description": "Thomas F. Meehan, by descent to his son-in-law Alfred B. Cadley", "citations": [], "footnotes": ["<div><!--block-->Letter from Alfred B. Cadley, May 5, 1944; Letter from Jeannie Devin Reilly, March 23, 1886 (CMA Curatorial File). For ID of \"father in law\" of Cadley, as described in Reilly letter, see p. 119 \u201cNotes and Comments.\u201d <em>The Catholic Historical Review</em> 29, no. 1 (1943): 118\u201332. http://www.jstor.org/stable/25014264.</div>"], "date": "1886\u2013", "sortorder": 3}, {"description": "(Alfred B. Cadley Company, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Letter from Alfred B. Cadley, May 5, 1944 (CMA Curatorial File)</div>"], "date": "?\u20131944", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block--><em>Bulletin of the Cleveland Museum of Art</em>, December 1944</div>"], "date": "1944\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An 1886 letter indicates that the English doctor Harry T. Reilly received this disk as a gift from three Asante chiefs for providing them with medical care while they were imprisoned in Cape Coast Castle in the aftermath of the Second Anglo-Ashanti war (1863-64).", "description": "Gold discs dangling on the chests of Akan state officials and elites showed their rank and duties. Worn by these <em>akrafo </em>(\u201csoul people\u201d) since the 1800s, they are often linked to <em>kradware, </em>officials who represent and purify (\u201cwash\u201d) the king\u2019s soul. To make them, goldsmiths cast or flattened gold. Muslim North African gold coins likely inspired their form and material, while concentric water rings influenced their composition. This small disc is a typical pre-colonial example. Gold ornament making ceased until 1924; court officials now wear large discs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79901173"], "internet_archive": ["https://archive.org/details/clevelandart-1944.290-disk-pendant-akrafok"]}, "citations": [{"citation": "Foote, Helen S. \u201cA Gold Ornament from Ashanti.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 31, no. 10 (December 1944): p. 180-181.", "page_number": "Image p. 178.", "url": "https://www.jstor.org/stable/25141167"}, {"citation": "Coe, Ralph T. The Imagination of Primitive Man. Catalogue of the exhibition. Kansas City, KS: The Nelson Atkins Museum of Art, 1962: no. 34.", "page_number": "", "url": ""}, {"citation": "The Bulletin of the Cleveland Museum of Art, December 1944:180-181, image p. 178", "page_number": "", "url": ""}, {"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. 32, no. 36", "url": ""}, {"citation": "Cole, Herbert M., and Doran H. Ross. <em>The Arts of Ghana</em>. Los Angeles: Museum of Cultural History, University of California, 1977.", "page_number": "Mentioned: p. 153; reproduced: p. 156, fig. 325", "url": null}, {"citation": "William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, and Ralph T. Coe. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World.</em> Kansas City, Mo: The Museum, 1962.", "page_number": "Mentioned: p. 25, cat. no. 34", "url": null}, {"citation": "\u201cMuseum News.\u201d <em>Tribal Art 30</em>, i. 2 (Spring 2026): 28-41.", "page_number": "Reproduced: p. 39", "url": ""}], "url": "https://clevelandart.org/art/1944.290", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.290/1944.290_web.jpg", "width": "900", "height": "824", "filesize": "175076", "filename": "1944.290_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.290/1944.290_print.jpg", "width": "3400", "height": "3114", "filesize": "2067142", "filename": "1944.290_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.290/1944.290_full.tif", "width": "10157", "height": "9303", "filesize": "283499572", "filename": "1944.290_full.tif"}}, "alternate_images": [{"date_created": "2009-06-12T15:14:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.290/1944.290_alt0_web.jpg", "width": "900", "height": "612", "filesize": "217503"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.290/1944.290_alt0_print.jpg", "width": "3400", "height": "2313", "filesize": "1490473"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.290/1944.290_alt0_full.tif", "width": "4966", "height": "3379", "filesize": "50364292"}}, {"date_created": "2025-10-02T22:42:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.290/1944.290_alt1_web.jpg", "width": "900", "height": "807", "filesize": "161320"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.290/1944.290_alt1_print.jpg", "width": "3400", "height": "3049", "filesize": "1968497"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.290/1944.290_alt1_full.tif", "width": "10373", "height": "9303", "filesize": "289528076"}}], "creditline": "James Albert Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123778, "creators": [], "legal_status": "accessioned", "accession_date": "1944-07-12T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s, before 1871; pin added later", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Soul Disk Pendant (krakonmu)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:46.961000"}, {"id": 95259, "accession_number": "1916.1032", "share_license_status": "CC0", "tombstone": "Greek Cavalry Men Resting in Forest, 1858. Eug\u00e8ne Delacroix (French, 1798\u20131863). Oil on fabric; framed: 76 x 87.5 x 7.5 cm (29 15/16 x 34 7/16 x 2 15/16 in.); unframed: 50.4 x 61.5 cm (19 13/16 x 24 3/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1032", "current_location": "219 19th Century European", "title": "Greek Cavalry Men Resting in Forest", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "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: 76 x 87.5 x 7.5 cm (29 15/16 x 34 7/16 x 2 15/16 in.); Unframed: 50.4 x 61.5 cm (19 13/16 x 24 3/16 in.)", "dimensions": {"framed": {"height": 0.76, "width": 0.875, "depth": 0.075}, "unframed": {"height": 0.504, "width": 0.615}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in lower right: Eug. Delacroix / 1858\r\n\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 312519, "title": "Vincent Van Gogh", "description": "<i>Vincent Van Gogh</i>. The Cleveland Museum of Art, Cleveland, OH (March 25-April 19, 1936).", "opening_date": "1936-03-25T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 355548, "title": "Exhibition of the Month: The Rise of the Landscape in Art", "description": "<i>Exhibition of the Month: The Rise of the Landscape in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 26, 1948).", "opening_date": "1948-06-09T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 355653, "title": "Exhibition of the Month: The Romantic Spirit", "description": "<i>Exhibition of the Month: The Romantic Spirit</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 29-May 5, 1952).", "opening_date": "1952-03-29T05:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 300859, "title": "The Venetian Tradition", "description": "<i>The Venetian Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957).", "opening_date": "1956-11-08T05:00:00"}, {"id": 519728, "title": "Centenaire d'Euge\u0300ne Delacroix", "description": "<i>Centenaire d'Euge\u0300ne Delacroix</i>. Mus\u00e9e du Louvre, Paris, France (organizer) (May 1-October 15, 1963).", "opening_date": "1963-05-01T04:00:00"}, {"id": 441997, "title": "Eugene Delacroix", "description": "<i>Eugene Delacroix</i>. Kunsthaus Z\u00fcrich, Zurich, Switzerland (organizer) (June 4-August 23, 1987); St\u00e4del Museum, Franfurt am Main, Germany (September 23, 1987-January 4, 1988); Palacio de Villahermosa, Madrid, Spain (March 4-April 20, 1988).", "opening_date": "1987-06-04T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "Cleveland, Hickcox Building. Cleveland Art Loan Exhibition (1894), no. 107.", "opening_date": null}, {"description": "cma. French Art since Eighteen Hundred (1929). CMA Bulletin 16 (1929): 159.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Louvre. Exposition Eug\u00e8ne Delacroix (1930), 1: no. 179; 2: 97 (repr.).", "opening_date": "1930-01-01T00:00:00"}, {"description": "Art Institute of Chicago. Loan Exhibition of Works by Delacroix (1930), no. 41.", "opening_date": "1930-01-01T00:00:00"}, {"description": "cma 1936. No. 271 (repr.).", "opening_date": "1936-01-01T00:00:00"}, {"description": "Pittsfield, Mass., Berkshire Museum. Landscape Paintings from the Sixteenth to the Twentieth Century (1937), no. 24.", "opening_date": "1937-01-01T00:00:00"}, {"description": "New York, Marie Harriman Gallery. Constable and The Landscape (1937), no. 7.", "opening_date": "1937-01-01T00:00:00"}, {"description": "New York, Wildenstein &amp; Co. Eug\u00e8ne Delacroix 1798-1863 (1944), no. 41 (repr.).", "opening_date": "1944-01-01T00:00:00"}, {"description": "Brooklyn Museum. Landscape. An Exhibition of Paintings (1945-46), no. 55.", "opening_date": "1945-01-01T00:00:00"}, {"description": "New York, Paul Rosenberg &amp; Co. Loan Exhibition of Masterpieces by Delacroix and Renoir (1948), no. 12 (repr.).", "opening_date": "1948-01-01T00:00:00"}, {"description": "Fort Wayne, Ind., Art School and Museum. Art Appreciation Gallery Talks (October 1953), no cat.", "opening_date": "1953-10-01T00:00:00"}, {"description": "Santa Barbara Museum of Art; San Francisco, California Palace of the Legion of Honor; Kansas City, William Rockhill Nelson Gallery of Art. The Horse in Art. Paintings-17th to 20th Century (1954), no. 26.", "opening_date": "1954-01-01T00:00:00"}, {"description": "cma 1956. No. 9.", "opening_date": "1956-01-01T00:00:00"}, {"description": "Akron (Ohio) Art Institute. Masterpiece of the Month (28 October-23 November 1958), no cat.", "opening_date": "1958-10-28T00:00:00"}, {"description": "Paris, Mus\u00e9e du Louvre. Centenaire d'Eug\u00e8ne Delacroix 1798-1863 (1963), no. 491.", "opening_date": "1963-01-01T00:00:00"}, {"description": "Kunsthaus Z\u00fcrich; Frankfurt am Main, St\u00e4dtische Galerie im St\u00e4delschen Kunstinstitut. Eug\u00e8ne Delacroix (1987-88), no. 112 (repr.).", "opening_date": "1987-01-01T00:00:00"}, {"description": "Madrid, Museo del Prado, Palacio de Villahermosa. Eug\u00e8ne Delacroix (1988), no. 72 (repr.).", "opening_date": "1988-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A leading figure of the French Romantic movement, Delacroix painted traditional historical subjects, but in a dramatic, expressive manner. The Greek struggle for independence from the Ottoman Empire in the 1820s caught the imagination of numerous French artists, who identified the Greek cause with their own revolution thirty years earlier. Like British Romantic poets, French artists regarded the Greek war of independence as a struggle for the survival of Western democracy and Christian civilization.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q52449380"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1032-greek-cavalry-men-re"]}, "citations": [{"citation": "\"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 1 (1917): 3-12.", "page_number": "Mentioned: p. 3; reproduced: p. 8", "url": "http://www.jstor.org/stable/25136053"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 29", "url": "https://archive.org/details/CMAHandbook_80839/page/n30"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAHandbook1928/page/n40"}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "", "url": "http://www.jstor.org/stable/25137248."}, {"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. 493", "url": "https://archive.org/details/CMAHandbook1958/page/n90"}, {"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. 167", "url": "https://archive.org/details/CMAHandbook1966/page/n190"}, {"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. 167", "url": "https://archive.org/details/CMAHandbook1969/page/n190"}, {"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. 206", "url": "https://archive.org/details/CMAHandbook1978/page/n226"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 228-230, Vol. I, no. 82", "url": ""}], "url": "https://clevelandart.org/art/1916.1032", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1032/1916.1032_web.jpg", "width": "1084", "height": "893", "filesize": "613248", "filename": "1916.1032_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1032/1916.1032_print.jpg", "width": "3400", "height": "2800", "filesize": "5799602", "filename": "1916.1032_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1032/1916.1032_full.tif", "width": "6000", "height": "4941", "filesize": "88969780", "filename": "1916.1032_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 95259, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Halt of the Greek Cavaliers"], "is_highlight": false, "updated_at": "2026-03-27 00:08:28.915000"}, {"id": 117894, "accession_number": "1938.5", "share_license_status": "CC0", "tombstone": "Idiophone/Staff (ahianmw\u1eb9n-\u1ecdr\u1ecd), possibly 1800s. Nigeria, Benin Kingdom, \u1eb8do peoples, members of the Igun Eronmwon (royal brasscasters) guild. Copper alloy; overall: 36.2 x 9.9 cm (14 1/4 x 3 7/8 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1938.5", "current_location": "108A African", "title": "Idiophone/Staff (ahianmw\u1eb9n-\u1ecdr\u1ecd)", "creation_date": "possibly 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Nigeria, Benin Kingdom, \u1eb8do peoples, members of the Igun Eronmwon (royal brasscasters) guild"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 36.2 x 9.9 cm (14 1/4 x 3 7/8 in.)", "dimensions": {"overall": {"height": 0.362, "width": 0.099}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312477, "title": "Treasure of Ivories and Bronzes from the Ancient Kingdom of Benin", "description": "<i>Treasure of Ivories and Bronzes from the Ancient Kingdom of Benin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 10-April 11, 1937).", "opening_date": "1937-03-10T05:00:00"}, {"id": 701305, "title": "The Bird in Art", "description": "<i>The Bird in Art</i>. Seattle Art Museum, Seattle, WA (organizer) (June 6-August 12, 1956).", "opening_date": "1956-06-06T04:00:00"}, {"id": 445213, "title": "Baldwin Lectures of Mr. Roy Sieber", "description": "<i>Baldwin Lectures of Mr. Roy Sieber</i>. Allen Memorial Art Museum, Oberlin, OH (organizer) (March 5-31, 1972).", "opening_date": "1972-03-05T05:00:00"}], "legacy": [{"description": "Knoedlers, NY, Exhibition of Bronzes and Ivories from the Ancient Kingdom of Benin, November 25-December 4, 1935, cat. no. 28, fig. 28.", "opening_date": "1935-11-25T00:00:00"}, {"description": "CMA 1937: Ivories and Bronzes from the Ancient Kingdom of Benin, cat. #28.", "opening_date": "1937-01-01T00:00:00"}, {"description": "Seattle, WA, Seattle Art Museum, The Bird in Art, June 6-August 12, 1956.", "opening_date": "1956-06-06T00:00:00"}, {"description": "Oberlin, OH, Allen Art Museum, Baldwin Lectures of Mr. Roy Sieber, March 5-March 31, 1972.", "opening_date": "1972-03-05T00:00:00"}]}, "provenance": [{"description": "Commissioned from the Igun Eronmwon", "citations": [], "footnotes": [], "date": "possibly 1800s", "sortorder": 1}, {"description": "By descent to \u1eccba Ov\u1ecdnramw\u1eb9n (Ov\u1ecdnramw\u1eb9n Nogbaisi, [c. 1857\u20131914; r. 1888\u201397], Royal Palace, Benin City", "citations": [], "footnotes": null, "date": "c.1857\u20131897", "sortorder": 2}, {"description": "Brought to Europe following the Siege of Benin", "citations": [], "footnotes": [], "date": "1897", "sortorder": 3}, {"description": "(Fosters & Co., London or France, probably sold to Louis Carr\u00e9 and/or Charles Ratton)", "citations": [], "footnotes": ["<div><!--block-->Savoy, B\u00e9n\u00e9dicte, Charlotte Guichard, and Christine Howald. 2018. Acquiring cultures: histories of&nbsp;<br>world art on Western markets. P. 274</div>"], "date": "c. 1929\u20131932", "sortorder": 4}, {"description": "(Louis Carr\u00e9, Paris, sold to the Cleveland Museum of Art, Cleveland, OH, January 17, 1938)", "citations": [], "footnotes": ["<div><!--block-->Louis Carr\u00e9 by at least 1935&nbsp;<br>\u2022 Exhibited at M. Knoedler and Company NYC Nov-December 1935; as number 28 (described and&nbsp;<br>illustrated)&nbsp;<br>Louis Carr\u00e9, Paris, by at least 1937&nbsp;<br>\u2022 Illustrated in Negatives 963447 and 963448, Cleveland Museum of Art Archives</div>"], "date": "by at least 1935", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->Purchase/Carr\u00e9 provenance publicized in CMA Bulletin March 1938 (Helen S. Foote, \u201cTwo Bronzes&nbsp;<br>from Benin, pp. 49-50, 48)</div>"], "date": "1938\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An image of the <em>ahianmw\u1eb9n-\u1ecdr\u1ecd</em> (bird of prophecy) once sat atop the roof of the palace in the Benin Kingdom.", "description": "Courtiers, priests, and senior chiefs strike instruments like this during the Ugie \u1eccr\u1ecd festival. The long-legged metal bird refers to the 16th-century ruler \u1eccba \u1eb8sigie. Wings outstretched with long, textured feathers, it is the <em>ahianmw\u1eb9n-\u1ecdr\u1ecd</em> (bird of prophecy). It stares outward, a likely magical substance clenched in its beak. Such a bird prophesied \u1eb8sigie\u2019s defeat and death during the Idah War (about 1515\u201317), leading his people to resist fighting for him. When \u1eb8sigie triumphed, bronze bird effigies were beaten for days on end throughout the year. This punished the false avian prophet and shamed the cowardly men.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60741605"], "internet_archive": ["https://archive.org/details/clevelandart-1938.5-idiophone-staff-ahia"]}, "citations": [{"citation": "Foote, Helen S. \"Two Bronzes from Benin.\" <em>The Bulletin of the Cleveland Museum of Art</em> 25, no. 3 (1938): 48-50.", "page_number": "Mentioned: p. 50; illustrated p. 48", "url": null}, {"citation": "CMA 1938: Bulletin (March 1938)", "page_number": "", "url": ""}, {"citation": "Lane, James W. \"Current Exhibitions.\" <em>Parnassus </em>Vol. 7, no. VII (December 1935): 26-31, 35.", "page_number": "Reproduced: p. 31.", "url": null}, {"citation": "\"Au Cleveland Museum of Art.\" <em>Mouseion. </em>(April 1938) 13-14.", "page_number": "Mentioned: p. 13", "url": null}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: fig. 4, p. 15", "url": ""}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 113, 119", "url": null}, {"citation": "<em>Bronzes and Ivories from the Old Kingdom of Benin: Exhibition from November 25 to December 14, 1935 At the Galleries of M. Knoedler and Company 14 East 57 Street New York City. </em>New York: M. Knoedler and Company, [1935].", "page_number": "Mentioned: Fig. 28 (illustrated)", "url": null}, {"citation": "Windmuller-Luna, Kristen. \u201cArt from the Benin Kingdom.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 34-35.", "page_number": "Reproduced: P. 34; Mentioned: P. 35.", "url": ""}, {"citation": "<em>Digital Benin, </em>Markk Museum Am Rothenbaum Kulturen und Kunste der Welt<em>, (</em>Last Updated: 2021-02-13)", "page_number": "ID 117894", "url": "https://digitalbenin.org/catalogue/8_117894"}], "url": "https://clevelandart.org/art/1938.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1938.5/1938.5_web.jpg", "width": "630", "height": "893", "filesize": "196855", "filename": "1938.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1938.5/1938.5_print.jpg", "width": "2398", "height": "3400", "filesize": "2845973", "filename": "1938.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1938.5/1938.5_full.tif", "width": "3527", "height": "5000", "filesize": "52916744", "filename": "1938.5_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt0_web.jpg", "width": "623", "height": "893", "filesize": "189323"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt0_print.jpg", "width": "2373", "height": "3400", "filesize": "2688075"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt0_full.tif", "width": "3490", "height": "5000", "filesize": "52361660"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt1_web.jpg", "width": "606", "height": "893", "filesize": "184025"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt1_print.jpg", "width": "2309", "height": "3400", "filesize": "2602347"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt1_full.tif", "width": "3395", "height": "5000", "filesize": "50936276"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt2_web.jpg", "width": "612", "height": "893", "filesize": "196154"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt2_print.jpg", "width": "2330", "height": "3400", "filesize": "2728378"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.5/1938.5_alt2_full.tif", "width": "3427", "height": "5000", "filesize": "51416672"}}], "creditline": "James Albert Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117894, "creators": [], "legal_status": "accessioned", "accession_date": "1938-01-17T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "possibly 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ideophone in the Form af an Ibis (Rhythm Instrument)", "Clapper"], "is_highlight": false, "updated_at": "2026-03-27 00:02:08.806000"}, {"id": 109147, "accession_number": "1927.306", "share_license_status": "CC0", "tombstone": "Closed Eyes, 1890. Odilon Redon (French, 1840\u20131916), printed by Becquet (French). Lithograph on China paper laid on wove paper; image: 31.2 x 24.2 cm (12 5/16 x 9 1/2 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.306", "current_location": null, "title": "Closed Eyes", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 31.2 x 24.2 cm (12 5/16 x 9 1/2 in.)", "dimensions": {"image": {"height": 0.312, "width": 0.242}}, "state_of_the_work": "trial proof (before letters)", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "signed on stone, lower left: ODILON REDON; inscribed, at lower right, in graphite: Odilon Redon", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 355274, "title": "Ways of Drawing Faces", "description": "<i>Ways of Drawing Faces</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 1, 1944-January 31, 1945).", "opening_date": "1944-10-01T04:00:00"}, {"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": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310017, "title": "Contemporaries of the Pont-Aven Printmakers", "description": "<i>Contemporaries of the Pont-Aven Printmakers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 14-September 27, 1987).", "opening_date": "1987-08-14T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311560, "title": "Drawn on Stone: 19th-Century Lithography", "description": "<i>Drawn on Stone: 19th-Century Lithography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25, 1993-February 20, 1994).", "opening_date": "1993-09-25T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": [{"description": "<em>\"La R\u00eaverie esth\u00e9tique\": Symbolist Works on Paper</em>. Allen Memorial Art Museum (March 29 - May 22, 1988).", "opening_date": "1988-03-29T00:00:00"}]}, "provenance": [{"description": "(Marcel Guiot, Paris, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Despite its androgynous look, this figure has been identified as a portrait of Redon\u00b4s wife, Camille Falte.", "description": "Odilon Redon explored the image of an androgynous figure with closed eyes in several of his works. He saw the expression as representative of a meditative shift inward and away from the constraints of modern society. By drawing lightly on a lithographic stone, Redon made faint lines that subtly modeled and shaded the head and shoulders while contrasting with the more sketchily drawn, inexplicable landscape in the foreground. Part of the Print Club of Cleveland\u2019s early gift of lithographs by Redon to the museum, this impression is a unique trial proof, printed while the artist was collaborating with master printer Becquet to assess the composition\u2019s progress.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001288"], "internet_archive": ["https://archive.org/details/clevelandart-1927.306-closed-eyes"]}, "citations": [{"citation": "\"'La R\u00eaverie esth\u00e9tique': Symbolist Works on Paper.\" <em>Allen Memorial Art Museum Bulletin</em>43, no. 1 (Summer 1988): 3-47.", "page_number": "Mentioned: p. 34, no. 35; Reproduced: pl. Xa", "url": null}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Yeux clos.", "page_number": "Mentioned: p. 57; Reproduced: Plate XXXIV", "url": "https://archive.org/details/Lithography/page/n113"}, {"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. 660", "url": "https://archive.org/details/CMAHandbook1958/page/n122"}, {"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. 181", "url": "https://archive.org/details/CMAHandbook1966/page/n205"}, {"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. 181", "url": "https://archive.org/details/CMAHandbook1969/page/n205"}, {"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. 224", "url": "https://archive.org/details/CMAHandbook1978/page/n244"}], "catalogue_raisonne": "Mellerio 107", "url": "https://clevelandart.org/art/1927.306", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.306/1927.306_web.jpg", "width": "693", "height": "893", "filesize": "445495", "filename": "1927.306_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.306/1927.306_print.jpg", "width": "2637", "height": "3400", "filesize": "6379120", "filename": "1927.306_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.306/1927.306_full.tif", "width": "4350", "height": "5608", "filesize": "73216644", "filename": "1927.306_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109147, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "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": "2026-03-27 00:04:36.085000"}, {"id": 143477, "accession_number": "1967.5", "share_license_status": "CC0", "tombstone": "An October Day in the White Mountains, 1854. John Frederick Kensett (American, 1816\u20131872). Oil on canvas; framed: 107.6 x 152.1 x 12.7 cm (42 3/8 x 59 7/8 x 5 in.); unframed: 79.8 x 123.5 cm (31 7/16 x 48 5/8 in.). The Cleveland Museum of Art, John L. Severance Fund and various donors by exchange, 1967.5", "current_location": "206 American Landscape", "title": "An October Day in the White Mountains", "creation_date": "1854", "creation_date_earliest": 1854, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 107.6 x 152.1 x 12.7 cm (42 3/8 x 59 7/8 x 5 in.); Unframed: 79.8 x 123.5 cm (31 7/16 x 48 5/8 in.)", "dimensions": {"framed": {"height": 1.076, "width": 1.521, "depth": 0.127}, "unframed": {"height": 0.798, "width": 1.235}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"JF.K. 54 [JF in monogram]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 517455, "title": "John Frederick Kensett", "description": "<i>John Frederick Kensett</i>. Schick Art Gallery, Skidmore College, Saratoga Springs, NY (organizer) (April 13-May 3, 1967).", "opening_date": "1967-04-13T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}], "legacy": [{"description": "New York, The National Academy of Design, 1855.", "opening_date": null}, {"description": "Saratoga Springs, NY, Hathorn Gallery, Skidmore College, John Frederick Kensett: A Retrospective Exhibition (13 April-3 May 1967), cat. no. 6, illus. fig. no. 4.", "opening_date": "1967-04-13T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Visions of Landscape: East and West (17 February-21 March 1982)", "opening_date": "1982-02-17T00:00:00"}, {"description": "Worcester, Worcester Art Museum, John Frederick Kensett: An American Master (24 March-9 June 1985); traveled to Los Angeles, Los Angeles County Museum of Art (11 July-8 September 1985); to New York City, The Metropolitan Museum of Art (29 October 1985-19 January 1986), cat. not numbered, illus. plate 5.", "opening_date": "1985-03-24T00:00:00"}]}, "provenance": [{"description": "(Sloan & Roman, Inc., New York, NY, sold to the \n Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->It is not known precisely how and when Sloan &amp; Roman acquired the painting, although an unsourced reference in the museum's curatorial file from 1968 states that the gallery purchased the painting at a warehouse sale in Bronxville, New York.&nbsp; A search of <em>Art Prices Current</em> from 1907-1973 yielded no mention of this painting, and its traceable whereabouts after leaving the collection of George Talbot Olyphant until its acquisition by Sloan &amp; Roman remain unknown.&nbsp;</div>"], "date": "UNtil 1967", "sortorder": 2}, {"description": "George Talbot Olyphant [1819-1873], New York", "citations": [], "footnotes": ["<div><!--block-->&nbsp;The 1858 catalogue of the Annual Exhibition of the Washington Art Association lists \u201cT. Olyphant\u201d as the \u201cpossessor\u201d of this painting, most likely referring to Robert Olyphant\u2019s brother, George Talbot Olyphant, president of the Delaware and Hudson Canal Company, who went by \u201cTalbot.\u201d&nbsp; The circumstances under which the painting passed from Robert to Talbot are not known.&nbsp; Also unknown is the disposition of the painting after Talbot\u2019s death; the posthumous 1875 sale of his collection does not include this painting.&nbsp; Apparently the painting did not make its way back to Robert after Talbot\u2019s death, because sales of Robert\u2019s collection held in 1877 and (posthumously) 1919 do not include it.</div>"], "date": "by 1858?", "sortorder": 3}, {"description": "Robert Morrison Olyphant [1824-1918], New York, NY, probably to his brother, George Talbot Olyphant", "citations": [], "footnotes": ["<div><!--block-->1John F. Kensett\u2019s register of paintings sold shows that Robert Morrison Olyphant, a close friend and patron of the artist, purchased the painting in 1855 for $500. It was purchased shortly after the National Academy of Design exhibition of that year, the catalogue of which does not indicate the painting was for sale, as was the case with other works in the exhibition.&nbsp;</div><div><!--block--><br></div><ul><li><!--block--><br></li></ul>"], "date": "1855-probably 1858", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kensett was a selfless individual known for his charity work and helping fellow artists.", "description": "After railroad service to the area was improved in the early 1850s, the White Mountains in New Hampshire became a favored destination for tourists and artists seeking to commune with nature. New York-based Kensett painted several views, including this distant rendering across the Saco River of Mount Chocorua, one of the most distinctive peaks in the region.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q21711799"], "internet_archive": ["https://archive.org/details/clevelandart-1967.5-an-october-day-in-th"]}, "citations": [{"citation": "Mark Sullivan, email to Victoria Sears Goldman, Feb. 13, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Cobb, Josephine. <em>The Washington Art Association: An Exhibition Record, 1856-1860</em>. [Washington, D.C.]: [Columbia Historical Society], 1969.", "page_number": null, "url": null}, {"citation": "John F. Kensett Papers, Register: Paintings sold 1848-1861; 1865-1866; 1868-1872, The Archives of American Art, Smithsonian Institution. Microfilm reel N68-85.", "page_number": null, "url": null}, {"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 322; Mentioned: p. 343, no. 57", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "\u201cAnnual Report for 1967.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 55, no. 6 (June 1968): 167\u2013205.", "page_number": "Mentioned and reproduced: p. 177-178", "url": "http://www.jstor.org/stable/25152218"}, {"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. 185", "url": "https://archive.org/details/CMAHandbook1969/page/n209"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 119", "url": "http://www.jstor.org/stable/25152465"}, {"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. 228", "url": "https://archive.org/details/CMAHandbook1978/page/n248"}], "url": "https://clevelandart.org/art/1967.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.5/1967.5_web.jpg", "width": "1263", "height": "818", "filesize": "718055", "filename": "1967.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.5/1967.5_print.jpg", "width": "3400", "height": "2201", "filesize": "5131469", "filename": "1967.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.5/1967.5_full.tif", "width": "5000", "height": "3237", "filesize": "48578588", "filename": "1967.5_full.tif"}}, "alternate_images": [{"date_created": "2009-09-02T13:19:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.5/1967.5_alt0_web.jpg", "width": "1230", "height": "893", "filesize": "818025"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.5/1967.5_alt0_print.jpg", "width": "3400", "height": "2468", "filesize": "5633727"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.5/1967.5_alt0_full.tif", "width": "3555", "height": "2581", "filesize": "27561812"}}], "creditline": "John L. Severance Fund and various donors by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 143477, "creators": [{"id": 2729, "description": "John Frederick Kensett (American, 1816\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1816", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1854, "date_added_to_oa": null, "date_text": "1854", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:03.578000"}, {"id": 168721, "accession_number": "2010.428", "share_license_status": "CC0", "tombstone": "Male Figure, late 1800s-early 1900s. Africa, Central Africa, Republic of the Congo, Beembe-style maker. Wood, ceramic or Formica, copper alloy, and iron alloy; overall: 47.5 x 14.8 x 16.3 cm (18 11/16 x 5 13/16 x 6 7/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.428", "current_location": "108A African", "title": "Male Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Republic of the Congo, Beembe-style maker"], "technique": "Wood, ceramic or Formica, copper alloy, and iron alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 47.5 x 14.8 x 16.3 cm (18 11/16 x 5 13/16 x 6 7/16 in.)", "dimensions": {"overall": {"height": 0.475, "width": 0.148, "depth": 0.163}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 31, 1970 - February 10, 1971)", "opening_date": "1970-10-31T00:00:00"}, {"description": "Haus der Kunst, Munich, Germany (June 16 - September 30, 1972)", "opening_date": "1972-06-16T00:00:00"}, {"description": "<em>Utotombo: L'Art d'Afrique noire dans les collections priv\u00e9es belges.</em> Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, Belgium (March 25 - June 5, 1988)", "opening_date": "1988-03-25T00:00:00"}, {"description": "Museum Ludwig, Cologne, Germany (July 7 - September 30, 1990)", "opening_date": "1990-07-07T00:00:00"}, {"description": "Gemeentemuseum Den Haag, The Hague, Netherlands (November - January 1991)", "opening_date": "1991-11-01T00:00:00"}]}, "provenance": [{"description": "(Merton Simpson [1928-2013], New York, NY, 1966, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "?\u20131966", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure is considered \u201cmonumental\u201d as most other types of Beembe figures measure about 15 centimeters tall.", "description": "This sculpture played a role in ancestral worship among the Beembe people. Ancestors are held in high regard among the Beembe, and this figure is thought to represent an idealized form of a deceased individual within the ethnic group. The object is one of only two seated male Beembe figures of this size in Western institutions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759411"], "internet_archive": ["https://archive.org/details/clevelandart-2010.428-male-figure"]}, "citations": [{"citation": "Leuzinger, Elsy. <em>Die Kunst von Schwarz-Afrika</em>, 269. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Kunsthaus Z\u00fcrich, October 31, 1970-February 10, 1971.", "page_number": "Reproduced: p. 269, cat. S6", "url": null}, {"citation": "Leuzinger, Elsy. <em>Afrikanische Kunstwerke: Kulturen am Niger</em>, 273. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Villa H\u00fcgel, March 25-June 13, 1971.", "page_number": "Reproduced: p. 273, cat. no. S 6", "url": null}, {"citation": "Wichmann, Siegfried, ed. <em>World Cultures and Modern Art</em>, 271. Exh. Cat. Munich: Verlag Bruckmann, in association with Haus der Kunst, June 16-September 30, 1972.", "page_number": "Mentioned: p. 271, no. 1782; reproduced: p. 271, no. 1782", "url": null}, {"citation": "Wichmann, Siegfried, ed. <em>Weltkulturen und moderne Kunst</em>, 64. Exh. Cat. Munich: Verlag Bruckmann, in association with Haus der Kunst, June 16-September 30, 1972.", "page_number": "64, cat. 1782", "url": null}, {"citation": "S\u00f6derberg, Bertil. \"Les Figures d'anc\u00eatres chez les Babemb\u00e9,\" in Arts d'Afrique Noire, no. 13 (1975): 21-33; no. 14 (1975): 14-37.", "page_number": "Reproduced: p. 27", "url": null}, {"citation": "Bastin, Marie-Louise, et al. <em>Utotombo. L'Art d'Afrique noire dans les collections priv\u00e9es belges</em>, 95. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "Reproduced: p. 95, cat. XXVII; mentioned: p. 296", "url": null}, {"citation": "Lehuard, Raoul. <em>Art Bakongo</em>. <em>Les Centres de style</em> 2. Arnouville, FR: Arts d'Afrique Noire, 1989, 379.", "page_number": "Mentioned: p. 379; reproduced: p. 381, fig. G 17-2-1", "url": null}, {"citation": "Heymer, Kay, and Siegfried Gohr. <em>Afrikanische Skulptur: Die Erfindung der Figur</em>, 181. Exh. Cat. Cologne: Museum Ludwig, July 7-September 30, 1990.", "page_number": "Reproduced: p. 181, fig. 81", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 118.", "page_number": "Reproduced p. 118, fig. 2", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 35, 105.", "page_number": "Reproduced and mentioned: pp. 18-19, 35, 105, 112, cat. 2", "url": null}, {"citation": "\"In Case You Missed It: Fragments of the Invisible.\" <em>The International Review of African American Art</em> 25, no. 1 (2014): 10-11.", "page_number": "Reproduced: p.11.", "url": null}], "url": "https://clevelandart.org/art/2010.428", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.428/2010.428_web.jpg", "width": "620", "height": "893", "filesize": "268915", "filename": "2010.428_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.428/2010.428_print.jpg", "width": "2360", "height": "3400", "filesize": "4959412", "filename": "2010.428_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.428/2010.428_full.tif", "width": "3647", "height": "5254", "filesize": "57518428", "filename": "2010.428_full.tif"}}, "alternate_images": [{"date_created": "2011-05-05T17:38:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt0_web.jpg", "width": "648", "height": "893", "filesize": "271327"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt0_print.jpg", "width": "2466", "height": "3400", "filesize": "5076120"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt0_full.tif", "width": "3763", "height": "5187", "filesize": "58586968"}}, {"date_created": "2011-05-05T15:58:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt1_web.jpg", "width": "672", "height": "893", "filesize": "290021"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt1_print.jpg", "width": "2557", "height": "3400", "filesize": "5430094"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt1_full.tif", "width": "3713", "height": "4936", "filesize": "55012068"}}, {"date_created": "2011-05-05T18:18:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt2_web.jpg", "width": "656", "height": "893", "filesize": "263709"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt2_print.jpg", "width": "2497", "height": "3400", "filesize": "4982220"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt2_full.tif", "width": "3779", "height": "5144", "filesize": "58351556"}}, {"date_created": "2011-05-05T18:44:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt3_web.jpg", "width": "653", "height": "893", "filesize": "260050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt3_print.jpg", "width": "2486", "height": "3400", "filesize": "4940187"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt3_full.tif", "width": "3817", "height": "5220", "filesize": "59804812"}}, {"date_created": "2011-05-05T18:56:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt4_web.jpg", "width": "682", "height": "893", "filesize": "273961"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt4_print.jpg", "width": "2598", "height": "3400", "filesize": "5187305"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.428/2010.428_alt4_full.tif", "width": "3855", "height": "5044", "filesize": "58367516"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168721, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:50.076000"}, {"id": 141641, "accession_number": "1965.235", "share_license_status": "CC0", "tombstone": "Memento Mori, \"To This Favour\", 1879. William Michael Harnett (American, 1848\u20131892). Oil on canvas; framed: 77.9 x 98.4 x 8.6 cm (30 11/16 x 38 3/4 x 3 3/8 in.); unframed: 61.3 x 81.5 cm (24 1/8 x 32 1/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1965.235", "current_location": "207 American Realism", "title": "Memento Mori, \"To This Favour\"", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 77.9 x 98.4 x 8.6 cm (30 11/16 x 38 3/4 x 3 3/8 in.); Unframed: 61.3 x 81.5 cm (24 1/8 x 32 1/16 in.)", "dimensions": {"framed": {"height": 0.779, "width": 0.984, "depth": 0.086}, "unframed": {"height": 0.613, "width": 0.815}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  WMHARNETT / 1879 [WMH in monogram].", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}], "legacy": [{"description": "Washington, D.C., National Gallery of Art, The Reality of Appearance: The Trompe L'Oeil Tradition in American Painting (21 March-3 May 1970); traveled to New York, Whitney Museum of American Art (19 May-5 July 1970); (not shown at Berkeley and Detroit), cat. no. 28, pp. 6-9, 56-93, listed p. 64, illus. p. 65 as Memento Mori-\"To This Favour.\"", "opening_date": "1970-03-21T00:00:00"}, {"description": "Tulsa, Philbrook Art Center, Painters of the Humble Truth: Masterpieces of American Still Life, 1801-1939 (27 September-1 November 1981); traveled to Oakland, Oakland Museum of Art (8 December 1981-24 January 1982); Baltimore, Baltimore Museum of Art (2 March-25 April 1982), illus. p. 156, fig. 8.4 as Memento Mori-\"To This Favour,\" pp. 153-207, 292.", "opening_date": "1981-09-27T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, William M. Harnett (14 March-14 June 1992); traveled to Fort Worth, Amon Carter Museum (18 July-18 October 1992); San Francisco, The Fine Arts Museum of San Francisco (14 November 1992-14 February 1993); Washington, D.C., National Gallery of Art (14 March-13 June 1993), cat. no. 12, illus. p. 10, plate 12, pp. xiv-xvi, 148-159 (John Wilmerding \"Notes of Change\"), detail illus. p. 252, pp. 252-263 (Chad Mandeles, \"Grave Counsel\"), pp. 309-314 (Thayer Tolles Mickel \"Chronology).", "opening_date": "1992-03-14T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1965-", "sortorder": 1}, {"description": "(Kennedy Galleries, New York, NY, sold to the Cleveland Museum of Art)1", "citations": [], "footnotes": ["<div><!--block-->1There is no record of this painting's provenance prior to the Kennedy Galleries, and the Kennedy Galleries records at the Archives of American Art (A1993-022, box 6) contain no relevant information.&nbsp; It is possible that the canvas appeared in <em>Paintings of the Late W.M. Harnett on Exhibition,</em> held at Earle\u2019s Galleries, Philadelphia, in 1892, as catalog no. 10, <em>A Tribute to Shakespeare</em>.&nbsp;</div>"], "date": "-1965", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Harnett\u2019s family left Ireland during the potato famine and emigrated to the United States.", "description": "The Latin term <em>memento mori</em> describes a traditional subject in art that addresses mortality. In Harnett\u2019s example, the extinguished candle, spent hourglass, and skull symbolize death. A quote from William Shakespeare\u2019s <em>Hamlet</em>, inscribed on the inside cover of a tattered book, reinforces the theme. It comes from the play\u2019s famed graveyard scene where Hamlet discovers a skull and grimly ponders his beloved Ophelia, ironically unaware that she is already dead. The \"paint\" in the quote not only refers to Ophelia\u2019s makeup, but also wittily evokes the artifice of Harnett\u2019s picture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469478"], "internet_archive": ["https://archive.org/details/clevelandart-1965.235-memento-mori-to-this"]}, "citations": [{"citation": "<em>The Kennedy Quarterly</em> 5:2 (Jan. 1965).", "page_number": null, "url": null}, {"citation": "Harnett, William Michael, and E. T. Snow. <em>Paintings of the Late W.M. Harnett: On Exhibition, Earle's Galleries</em>. Philadelphia: Earle's Galleries, 1892.", "page_number": null, "url": null}, {"citation": "Elder, Nika. <em>William Harnett's Curious Objects: Still-Life Painting after the American Civil War. </em>(Oakland, CA: University of California Press, 2022).", "page_number": "Mentioned p. 75; Reproduced p. 77.", "url": ""}, {"citation": "\"Recorders, Deceivers and Dreamers.\" <em>The Kennedy Quarterly </em>V, no. 2 (January 1965): 68-128.", "page_number": "Mentioned and reproduced: p. 68-69", "url": ""}, {"citation": "Lee, Sherman E. \u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 52, no. 9 (November 1965): 124\u2013157.", "page_number": "Reproduced: p. 139; Mentioned: p. 124, 154-155, no. 94", "url": "http://www.jstor.org/stable/25152069"}, {"citation": "\"Accessions of American and Canadian Museums, October-December 1965.\" <em>The Art Quarterly </em>29, no. 1 (1966): 71-87.", "page_number": "Mentioned: p. 72; reproduced: p. 82", "url": ""}, {"citation": "\"La Chronique des Arts.\" <em>Gazette Des Beaux-Arts </em>67, no. 1165 (February 1966).", "page_number": "Reproduced: p. 65, no. 252", "url": ""}, {"citation": "\"Recent Accessions in the American Field.\" <em>Art in America </em>54, no. 3 (May/June 1966): 45-48.", "page_number": "Reproduced: p. 45", "url": ""}, {"citation": "\u201cAnnual Report for 1965.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 6 (June 1966): 137\u2013171.", "page_number": "Mentioned: p. 142", "url": "http://www.jstor.org/stable/25152106"}, {"citation": "Frankenstein, Alfred V.<em> After the Hunt; William Harnett and Other American Still Life Painters, 1870-1900.</em> Rev. ed. Berkeley: University of California Press, 1969.", "page_number": "Mentioned: p. 171, no. 60A", "url": ""}, {"citation": "Adams, Celeste, Rita Myers, Adele Z. Silver, and Cleveland Museum of Art Department of Art History and Education.<em> An Introduction to American Art in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned and reproduced: p. 14", "url": ""}, {"citation": "Price, Vincent. <em>The Vincent Price Treasury of American Art.</em> Waukesha, Wis.: Country Beautiful Corp., 1972.", "page_number": "Mentioned and reproduced: p. 158", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 26, no. 69", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Wilmerding, John. <em>Important Information inside: The Art of John F. Peto and the Idea of Still-Life Painting in Nineteenth-Century America.</em> Washington: National Gallery of Art, 1983.", "page_number": "Mentioned: p. 131; Reproduced: p. 128, fig. 120", "url": ""}, {"citation": "Mandeles, Chad. \u201cWilliam Michael Harnett\u2019s \u2018The Old Cupboard Door\u2019 and the Tradition of Vanitas.\u201d <em>American Art Journal</em> 18, no. 3 (Summer 1986): 51\u201362.", "page_number": "Mentioned: p. 53; Reproduced: p. 55, fig. 4", "url": "https://doi.org/10.2307/1594442"}, {"citation": "Groseclose, Barbara S. \u201cVanity and the Artist: Some Still-Life Paintings by William Michael Harnett.\u201d <em>American Art Journal</em> 19, no. 1 (Winter 1987): 51\u201359.", "page_number": "Mentioned and reproduced: p. 54-55, fig. 3", "url": "https://doi.org/10.2307/1594471"}, {"citation": "Reynolda House Museum of American Art, Barbara Babcock Millhouse. <em>American Originals: Selections from Reynolda House Museum of American Art.</em> New York: Abbeville Press: American Federation of Arts, 1990.", "page_number": "Mentioned and reproduced: p. 82-84, fig. 11", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Still-Life Paintings in Gallery 222: The Cleveland Museum of Art.</em> [Cleveland, Ohio]: [The Museum], 1992.", "page_number": "Mentioned and reproduced: fig. 5", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art : A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Mentioned and reproduced: p. 98", "url": ""}, {"citation": "Studing, Richard. <em>Shakespeare in American Painting: A Catalogue from the Late Eighteenth Century to the Present.</em> Rutherford [N.J.], London: Fairleigh Dickinson University Press; Associated University Presses, 1993.", "page_number": "Mentioned: p. 75, no. 342; reproduced: cat.no. 342", "url": ""}, {"citation": "Kelly, Raymond J., and Flint Institute of Arts. <em>To Be, or Not to Be: Four Hundred Years of Vanitas Painting.</em> Flint, Mich.: Flint Institute of Arts, 2006.", "page_number": "Mentioned and reproduced: p. 28, fig. 12", "url": ""}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: fig. 11, p. 12", "url": ""}, {"citation": "Arendsee, M., and M. Steinman-Arendsee. \"Take the CAN disability aesthetics tour, at the Cleveland Museum of art.\" <em>CAN Journa</em>l (Winter 2019/20): 76-87.", "page_number": "Mentioned p. 80", "url": null}], "url": "https://clevelandart.org/art/1965.235", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.235/1965.235_web.jpg", "width": "1201", "height": "893", "filesize": "583482", "filename": "1965.235_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.235/1965.235_print.jpg", "width": "3400", "height": "2528", "filesize": "4435898", "filename": "1965.235_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.235/1965.235_full.tif", "width": "4741", "height": "3525", "filesize": "50159456", "filename": "1965.235_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 141641, "creators": [{"id": 3101, "description": "William Michael Harnett (American, 1848\u20131892)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1892", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:54.233000"}, {"id": 170082, "accession_number": "2012.30", "share_license_status": "CC0", "tombstone": "Self-Portrait with Five Muses, c. 1880. Henry Church (American, 1836\u20131908). Oil on paper mounted to board; unframed: 73.3 x 59.7 cm (28 7/8 x 23 1/2 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 2012.30", "current_location": null, "title": "Self-Portrait with Five Muses", "creation_date": "c. 1880", "creation_date_earliest": 1875, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on paper mounted to board", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 73.3 x 59.7 cm (28 7/8 x 23 1/2 in.)", "dimensions": {"unframed": {"height": 0.733, "width": 0.597}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed lower right: H. Church. Ptr", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311873, "title": "Transformations in Cleveland Art, 1796-1946", "description": "<i>Transformations in Cleveland Art, 1796-1946</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-July 21, 1996).", "opening_date": "1996-05-19T04:00:00"}, {"id": 292699, "title": "Artlens Exhibition 2017", "description": "<i>Artlens Exhibition 2017</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24, 2017-May 29, 2019).", "opening_date": "2017-06-24T04:00:00"}, {"id": 380548, "title": "Supernatural America: The Paranormal in American Art", "description": "<i>Supernatural America: The Paranormal in American Art</i>. The Toledo Museum of Art, Toledo, OH (June 12-September 5, 2021); Speed Art Museum, Louisville, KY (October 7, 2021-January 2, 2022); Minneapolis Institute of Art, Minneapolis, MN (organizer) (February 19-May 15, 2022).", "opening_date": "2021-06-12T04:00:00"}], "legacy": [{"description": "\"They Taught Themselves: American Primitive Painters of the 20th Century,\" Marie Harriman Gallery, New York, February 9-March 7, 1942", "opening_date": "1942-02-09T00:00:00"}, {"description": "\"Masterpieces of American Primitive Painting,\" Museum of American Folk Art, New York, 1974-1975 [unconfirmed]", "opening_date": "1974-01-01T00:00:00"}, {"description": "\"American Folk Painters of Three Centuries,\" Whitney Museum of American Art, New York, February 26-May 13, 1980", "opening_date": "1980-02-26T00:00:00"}, {"description": "\"\u2026seeds of the future,\" CompassRose Gallery, Chicago, February 14-March 25, 1989", "opening_date": "1989-02-14T00:00:00"}, {"description": "\"Self-Taught Artists of the 20th Century: An American Anthology,\" Philadelphia Museum of Art, March 10-May 17, 1998; High Museum of Art, July 14-September 20, 1998; Amon Carter Museum and Modern Art Museum of Fort Worth, October 31, 1998-January 24, 1999; Memorial Art Gallery of the University of Rochester, NY, February 20-April 18, 1999; Wexner Center for the Arts, Ohio State University, Columbus, May 15-August 15, 1999; Museum of American Folk Art, New York, September 19-December 11, 1999", "opening_date": "1998-03-10T00:00:00"}]}, "provenance": [{"description": "The artist; Jessie Church Sargent (the artist's daughter), Chagrin Falls, Ohio;", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Mr. and Mrs. Samuel Rosenberg, New York (1937); Private Collection by descent; [Washburn Gallery, New York, (2012)]", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Church \"spoke\" at his funeral via an Edison phonograph recording he made for the occasion.", "description": "Lifelong Chagrin Falls resident Church is considered one of the great self-taught artists of 19th-century America. A painter, sculptor, and musician by passion, he offered his appearance and enthusiasms in this highly imaginative self-portrait, surrounding himself with a squadron of miniature winged muses. These figures represent not only the traditional arts of painting, sculpture, and music, but also Church's profession of blacksmithing (identified as a crowned figure holding a hammer and anvil). A savvy entrepreneur, Church launched the first commercial art gallery in northeast Ohio: Church's Art Museum, at Geauga Lake, in 1888. Its inventory consisted entirely of his own work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480947"], "internet_archive": ["https://archive.org/details/clevelandart-2012.30-self-portrait-with-f"]}, "citations": [{"citation": "Rosenberg, Sam. \"Henry Church of Chagrin.\" In <em>They Taught Themselves; American Primitive Painters of the 20th Century</em>, edited by Sidney Janis. Port Washington, N.Y.: Kennikat Press, 1965.", "page_number": "Mentioned: pp.102, 104-106; Reproduced: p.105", "url": ""}, {"citation": "Janis, Sidney.<em> They Taught Themselves; American Primitive Painters of the 20th Century</em>. Port Washington, NY: Kennikat Press, 1965.", "page_number": "Mentioned: pp.102, 104-106; Reproduced: p.105", "url": ""}, {"citation": "Rosenberg, Sam. \"Henry Church: 1836-1908.\" In<em> American Folk Painters of Three Centuries</em>, edited by Jean Lipman and Tom Armstrong. New York, NY: Hudson Hills Press, 1980.", "page_number": "Mentioned: pp.176, 178-180; Reproduced: p.181", "url": ""}, {"citation": "Christian, Barbara. \"Henry Church finds place in Whitney's folk art.\" (Source unrecorded, date uncertain; probably July-Dec. 1980).", "page_number": "Mentioned and reproduced (unpaginated)", "url": ""}, {"citation": "Theis, Jana M. \"Chagrin Falls' Henry Church: The artist who had the last word.\" <em>Western Reserve Magazine</em> 2, no.1 (November/December 1983).", "page_number": "Reproduced: p.34", "url": ""}, {"citation": "Babinsky, Jane E., and Miriam Church Stem. <em>The Life and Work of Henry Church, Jr</em>. Chagrin Falls, OH: Privately Printed 1987.", "page_number": "Mentioned: p.33; Reproduced: p.34 (unpaginated)", "url": "chagrinhistorical.org/wp-content/uploads/2017/09/The-Life-and-Work-of-Henry-Church-Jr.pdf"}, {"citation": "Robinson, William H., et. al. <em>Transformations in Cleveland Art, 1796-1946: Community and Diversity in Early Modern America</em>. Cleveland, OH: The Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p.60; Mentioned: p.61, 245", "url": null}, {"citation": "Ohio Historical Society, and Ohio History Connection.<em> Timeline: A Publication of the Ohio Historical Society </em>21, No.1 (January/February 2004). Columbus, OH: The Ohio Historical Society, 2004.", "page_number": "Mentioned: pp.7-8; Reproduced: Back Cover", "url": ""}, {"citation": "The Cleveland Museum of Art.<em> Artistic Excellence: Acquisitions 2012-14</em>. Cleveland, OH: The Cleveland Museum of Art, 2014.", "page_number": "Mentioned: p.49", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Cleveland Museum of Art Members Magazine</em> 57 (May/June 2017). Cleveland, OH: The Cleveland Museum of Art, 2017.", "page_number": "Reproduced: p.13", "url": "clevelandart.org/sites/default/files/May-June_2017_magazine_web.pdf"}, {"citation": "Millsom Studer, Carol, and Victor Studer. \"Henry Church Jr.\" In <em>Self-Taught Artists of the 20th Century: An American Anthology</em>, edited by Elsa Weiner Longhauser and Harald Szeemann. San Francisco, CA: Chronicle Books, 1998.", "page_number": "Mentioned: pp.45, 223; Reproduced: p.47", "url": ""}, {"citation": "Cozzolino, Robert, ed. <em>Supernatural America: The Paranormal in American Art,</em> exh. cat. (Chicago: University of Chicago, 2021).", "page_number": "Reproduced p. 232", "url": ""}], "url": "https://clevelandart.org/art/2012.30", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2012.30/2012.30_web.jpg", "width": "710", "height": "893", "filesize": "111145", "filename": "2012.30_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.30/2012.30_print.jpg", "width": "2702", "height": "3400", "filesize": "1501244", "filename": "2012.30_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.30/2012.30_full.tif", "width": "4657", "height": "5859", "filesize": "81879416", "filename": "2012.30_full.tif"}}, "alternate_images": [{"date_created": "2012-06-19T13:24:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2012.30/2012.30_alt0_web.jpg", "width": "745", "height": "893", "filesize": "111893"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2012.30/2012.30_alt0_print.jpg", "width": "2837", "height": "3400", "filesize": "1473908"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2012.30/2012.30_alt0_full.tif", "width": "4120", "height": "4936", "filesize": "61040516"}}], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170082, "creators": [{"id": 10505, "description": "Henry Church (American, 1836\u20131908)", "extent": null, "qualifier": null, "role": "artist", "biography": "Henry Church is the best known self-trained artist to have worked in the Cleveland area. Son of a blacksmith and a teacher who moved from Massachusetts to Chagrin Falls in 1834, Church began work in his father\u2019 s shop at age 13. He showed an early love of art, reputedly using charcoal from the shop to practice drawing. Moving to Parkman, Ohio, upon his marriage in 1859, Church returned to Chagrin Falls by 1861 and built a smithy. A pacifist, he bought his way out of military service in the Civil War. After his father\u2019s death in November 1878, Church opened an art studio above his shop, dedicating himself to painting and, after 1885, to sculpture. Before 1885 he had only carved stone surreptitiously, apparently hoping that, upon discovery, his first monumental work (<em>The Rape of the Indian Tribes by the White Man</em>, also known as <em>Squaw Rock</em>, in what is now South Chagrin Reservation, Cleveland Metroparks) would be interpreted as a divine creation. Although it has been claimed that Church retired as a blacksmith at age 50 in 1886, according to the William\u2019s Ohio State Directory, he was still practicing that trade in 1888\u201389. In 1888 he opened the short-lived Church\u2019s Art Museum at Geauga Lake, Ohio, a popular picnic area; around the same time he rented out his blacksmith shop. Church\u2019s productivity declined at the turn of the century as the physical strain of working stone taxed his health. An avid spiritualist, he read the periodical <em>Banner Light</em>. Taking advantage of early phonograph technology, he recorded his own funeral speech, an oration that concluded with the line \u201cGood-bye at present.\u201d <br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 225", "name_in_original_language": null, "birth_year": "1836", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:21.952000"}, {"id": 135405, "accession_number": "1958.41", "share_license_status": "CC0", "tombstone": "Mademoiselle Louise Riesener in a Hat, c. 1877\u201380. Berthe Morisot (French, 1841\u20131895). Pastel on pale blue laid paper; sheet: 55.5 x 46.8 cm (21 7/8 x 18 7/16 in.); framed: 75.3 x 66.2 x 4.5 cm (29 5/8 x 26 1/16 x 1 3/4 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.41", "current_location": "004 Special Exhibition Gallery", "title": "Mademoiselle Louise Riesener in a Hat", "creation_date": "c. 1877\u201380", "creation_date_earliest": 1877, "creation_date_latest": 1880, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "pastel on pale blue laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 55.5 x 46.8 cm (21 7/8 x 18 7/16 in.); Framed: 75.3 x 66.2 x 4.5 cm (29 5/8 x 26 1/16 x 1 3/4 in.)", "dimensions": {"sheet": {"height": 0.555, "width": 0.468}, "framed": {"height": 0.753, "width": 0.662, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped, bottom right, in ink (faded): collection of Berthe Morisot [L.388a]; watermark, at top center: illegible cartouche; and at bottom center: PL BAS", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301674, "title": "Form in the Arts", "description": "<i>Form in the Arts</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 15-November 10, 1959).", "opening_date": "1959-06-15T04:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"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": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}, {"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "Georges Lurcy [1891\u20131953], New York", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 1}, {"description": "(Jacques Seligmann & Co., New York, sold to Leonard C. Hanna, Jr., Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1939", "sortorder": 2}, {"description": "Leonard C. Hanna Jr. [1889\u20131957], Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1939-1958", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Morisot favored the (formerly) blue paper used here for pastels and used it for numerous works.", "description": "This portrait depicts Louise Riesener, daughter of artist L\u00e9on Riesener and close friend of Morisot. The artist depicted her subject in bust-length profile wearing a black jacket out of which peek the decorative ties of a white blouse. Morisot paid particular attention to the hat; a fashionable Parisian woman of the upper-middle class would have worn such an accessory whenever she went out in public. Morisot produced nearly 200 pastels during her career, the majority figure studies and portraits brought to varying degrees of finish.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80028608"], "internet_archive": ["https://archive.org/details/clevelandart-1958.41-mademoiselle-louise"]}, "citations": [{"citation": "Bataille, M.-L. and G. Wildenstein. <em>Berthe Morisot: Catalogue des peintures, pastels, et aquarelles</em>. Paris: Beaux-Arts, 1961.", "page_number": "Mentioned and reproduced: p. 56, no. 527; Reproduced: fig. 517", "url": null}, {"citation": "Rey, Jean Dominique. <em>Berthe Morisot</em>. Norwalk, CT: Easton Press, 1982.", "page_number": "Mentioned and reproduced: p. 75", "url": ""}, {"citation": "Burnham, Helen. \u201cFashion and the Representation of Modernity: Studies in the Late Work of \u00c9douard Manet (1832\u20131883).\u201d PhD diss., Institute of Fine Arts, New York University, 2007.", "page_number": "Mentioned: p. 180", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 126-129, no. 21a", "url": ""}, {"citation": "Brown, Heather Lemonedes. \"Manet &amp; Morisot Pastels.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 209-221. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 209, 217-221; Reproduced: p. 137, no. 55", "url": ""}], "catalogue_raisonne": "Bataille and Wildenstein 527", "url": "https://clevelandart.org/art/1958.41", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.41/1958.41_web.jpg", "width": "757", "height": "900", "filesize": "293937", "filename": "1958.41_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.41/1958.41_print.jpg", "width": "2858", "height": "3400", "filesize": "4575115", "filename": "1958.41_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.41/1958.41_full.tif", "width": "9474", "height": "11272", "filesize": "320398909", "filename": "1958.41_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.41/1958.41_alt0_web.jpg", "width": "745", "height": "893", "filesize": "115575"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.41/1958.41_alt0_print.jpg", "width": "1536", "height": "1838", "filesize": "2038443"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.41/1958.41_alt0_full.tif", "width": "1536", "height": "1838", "filesize": "8472628"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 135405, "creators": [{"id": 1865, "description": "Berthe Morisot (French, 1841\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a prosperous family, Berthe Morisot was encouraged at an early age to become an amateur artist. Along with her sister Edma, she began her studies with Geoffroy-Alphonse Chocarne (act. 1838-1857), a painter trained in the neoclassical tradition. In 1858 the sisters entered the studio of Joseph-Beno\u00eet Guichard (1806-1880), a student of Ingres (q.v.) and Delacroix (q.v.). Through Guichard they met Corot (q.v.) in 1861, under whose encouragement they began to paint out of doors near Pontoise as well as in Normandy and Brittany. Berthe Morisot exhibited at the Salon from 1864 until 1873. Fantin-Latour (q.v.) introduced her to Manet (q.v.) around 1867. They developed a close friendship, and Morisot modeled for him many times (see Manet, Berthe Morisot, no. 141). In 1874 she married his brother, Eug\u00e8ne, and that same year began participating in the impressionist exhibitions, never to show at the Salon again. Four years after their marriage, the couple's only child, Julie, was born on 14 November 1878 and would become a main source of artistic inspiration. Morisot matured as a central member of the group of impressionists. Her home became a meeting place for painters and writers alike, including Renoir (q.v.), Degas (q.v.), Mary Cassatt (1845-1926), and St\u00e9phane Mallarm\u00e9. She participated in the Drouot sale of 1875, where the artists were ridiculed extensively. Her paintings, however, fetched slightly higher prices than those of Renoir, Monet (q.v.), and Sisley (q.v.). Morisot made pastels and watercolors as well as oil paintings, and during the final years of her life she experimented with lithography and drypoint etching.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1877, "date_added_to_oa": null, "date_text": "c. 1877\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-09 17:32:06.355000"}, {"id": 109138, "accession_number": "1927.299", "share_license_status": "CC0", "tombstone": "Melancholy, c. 1868. Odilon Redon (French, 1840\u20131916). Graphite on beige wove paper; sheet: 32.1 x 22 cm (12 5/8 x 8 11/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.299", "current_location": null, "title": "Melancholy", "creation_date": "c. 1868", "creation_date_earliest": 1860, "creation_date_latest": 1869, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite on beige wove paper", "support_materials": [{"description": "beige wove paper (discolored)", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 32.1 x 22 cm (12 5/8 x 8 11/16 in.)", "dimensions": {"sheet": {"height": 0.321, "width": 0.22}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: Od.R", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 348134, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-April 28, 1937).", "opening_date": "1937-02-10T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"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": 301501, "title": "40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Odilon Redon (1840\u20131916): Pastels and Drawings</em>. Jacques Seligmann &amp; Co., Inc., New York (October 22\u2013November 10, 1951); Cleveland Museum of Art (November 29, 1951\u2013January 20, 1952); Walker Art Center, Minneapolis (February 1\u2013March 1, 1952).", "opening_date": "1951-11-10T00:00:00"}, {"description": "<em>Odilon Redon: Prince of Dreams 1840\u20131916</em>. Art Institute of Chicago (July 2\u2013September 18, 1994); Van Gogh Museum, Amsterdam (October 20, 1994\u2013January 15, 1995); Royal Academy of Arts, London (February 16\u2013May 21, 1995).", "opening_date": "1994-09-18T00:00:00"}]}, "provenance": [{"description": "(Kraushaar Galleries, New York, NY, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1927", "sortorder": null}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Redon incorporated fantastical details into his mountainous landscape, including a small creature seen faintly directly above the woman and a profile that vaguely appears in the shadows next to her.", "description": "Odilon Redon grew up near the massive Pyr\u00e9n\u00e9es mountains in southern France and their image recurred throughout his work. In a series of drawings made during the 1870s, Redon used the craggy surface and infinite reach of his native landscape to evoke a sense of solitude and isolation. The woman seen here, for example, leans forward and casts her eyes downward as if in resignation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60747404"], "internet_archive": ["https://archive.org/details/clevelandart-1927.299-melancholy"]}, "citations": [{"citation": "<em>Odilon Redon (1840\u20131916): Pastels and Drawings</em>. Exh. cat. Cleveland: Cleveland Museum of Art, 1951.", "page_number": "Mentioned: p. 17, no. 33", "url": null}, {"citation": "Rewald, John. \"Quelques notes et documents sur Odilon Redon.\" <em>Gazette des Beaux-Arts</em> 48 (November 1956): 81-124.", "page_number": "Reproduced: p. 119", "url": null}, {"citation": "Wildenstein, Alec. <em>Odilon Redon, catalogue raisonn\u00e9 de l'oeuvre peint et dessin\u00e9</em>. Paris: Wildenstein Institute, 1992.", "page_number": "Mentioned: vol. I, p. 227, no. 576; Reproduced: p. 228", "url": null}, {"citation": "Druick, Douglas W., Gloria Groom, Fred Leeman, Kevin Sharp, MaryAnne Stevens, Harriet K. Stratis, and Peter Kort Zegers. <em>Odilon Redon: Prince of Dreams, 1840\u20131916. </em>Exh. cat. Chicago: Art Institute of Chicago, 1994.", "page_number": "Mentioned: p. 62-63, 436, no. 21; Reproduced: p. 62", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 112-115, no. 16", "url": ""}], "catalogue_raisonne": "Wildenstein 576", "url": "https://clevelandart.org/art/1927.299", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.299/1927.299_web.jpg", "width": "691", "height": "893", "filesize": "429760", "filename": "1927.299_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.299/1927.299_print.jpg", "width": "2633", "height": "3400", "filesize": "3108216", "filename": "1927.299_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.299/1927.299_full.tif", "width": "3967", "height": "5123", "filesize": "60994980", "filename": "1927.299_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.299/1927.299_alt0_web.jpg", "width": "620", "height": "893", "filesize": "445927"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.299/1927.299_alt0_print.jpg", "width": "1422", "height": "2048", "filesize": "2405155"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.299/1927.299_alt0_full.tif", "width": "1422", "height": "2048", "filesize": "8740228"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109138, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "c. 1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:02.685000"}, {"id": 130391, "accession_number": "1953.155", "share_license_status": "CC0", "tombstone": "Spring Flowers, 1864. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 144.5 x 117.2 x 12.1 cm (56 7/8 x 46 1/8 x 4 3/4 in.); unframed: 116.8 x 90.5 cm (46 x 35 5/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1953.155", "current_location": null, "title": "Spring Flowers", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 144.5 x 117.2 x 12.1 cm (56 7/8 x 46 1/8 x 4 3/4 in.); Unframed: 116.8 x 90.5 cm (46 x 35 5/8 in.)", "dimensions": {"framed": {"height": 1.445, "width": 1.172, "depth": 0.121}, "unframed": {"height": 1.168, "width": 0.905}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper right corner: Monet 64\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338512, "title": "Two Sides of the Medal: French Painting from G\u00e9r\u00f4me to Gauguin", "description": "<i>Two Sides of the Medal: French Painting from G\u00e9r\u00f4me to Gauguin</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (September 28-November 6, 1954).", "opening_date": "1954-09-28T05:00:00"}, {"id": 300822, "title": "Horticulture Motifs in Art", "description": "<i>Horticulture Motifs in Art</i>. The Cleveland Museum of Art, Cleveland, OH (March 9-April 24, 1955).", "opening_date": "1955-03-09T05:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 338825, "title": "A World of Flowers", "description": "<i>A World of Flowers</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 1-June 9, 1963).", "opening_date": "1963-05-01T04:00:00"}, {"id": 520190, "title": "A World of Flowers", "description": "<i>A World of Flowers</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 2-June 9, 1963).", "opening_date": "1963-05-02T04:00:00"}, {"id": 338832, "title": "Paintings by Monet", "description": "<i>Paintings by Monet</i>. The Art Institute of Chicago, Chicago, IL (organizer) (March 15-May 11, 1975).", "opening_date": "1975-03-15T04:00:00"}, {"id": 338409, "title": "L'Art en France Sours Le Second Empire (Art in France Under the Second Empire)", "description": "<i>L'Art en France Sours Le Second Empire (Art in France Under the Second Empire)</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (October 1-November 26, 1978); The Detroit Institute of Arts, Detroit, MI (January 28-March 18, 1979); Galeries Nationales du Grand Palais, 75008 Paris, France (May 11-August 13, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 310025, "title": "Creativity in Art and Science, 1860-1960", "description": "<i>Creativity in Art and Science, 1860-1960</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 16-November 8, 1987).", "opening_date": "1987-09-16T04:00:00"}, {"id": 338402, "title": "Les Origines de l'Impressionnisme", "description": "<i>Les Origines de l'Impressionnisme</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (April 19-August 8, 1994); The Metropolitan Museum of Art, New York, NY (September 19, 1994-January 8, 1995).", "opening_date": "1994-04-19T04:00:00"}, {"id": 213916, "title": "Impressionist and Post-Impressionist Still Life Painting", "description": "<i>Impressionist and Post-Impressionist Still Life Painting</i>. The Phillips Collection, Washington, DC (organizer) (September 22, 2001-January 13, 2002); Museum of Fine Arts, Boston, Boston, MA (February 17-June 9, 2002).", "opening_date": "2001-09-22T00:00:00"}, {"id": 227545, "title": "Monet's Garden", "description": "<i>Monet's Garden</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (October 29, 2004-March 13, 2005).", "opening_date": "2004-10-29T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016); Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (January 30-April 20, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 220692, "title": "Fr\u00e9d\u00e9ric Bazille and the Birth of Impressionism", "description": "<i>Fr\u00e9d\u00e9ric Bazille and the Birth of Impressionism</i>. Mus\u00e9e Fabre, Montpellier, France (June 25-October 16, 2016); Mus\u00e9e d'Orsay, Paris, France (organizer) (November 14, 2016-February 26, 2017); National Gallery of Art, Landover, MD (April 9-July 9, 2017).", "opening_date": "2016-06-25T00:00:00"}, {"id": 380542, "title": "At the Source of Monet's Water Lilies: The Impressionists D\u00e9cor", "description": "<i>At the Source of Monet's Water Lilies: The Impressionists D\u00e9cor</i>. Mus\u00e9e de l'Orangerie, Paris, France (March 1-July 11, 2022).", "opening_date": "2022-03-01T05:00:00"}], "legacy": [{"description": "<em>La vingti\u00e8me exposition municipale des beaux-arts.</em> Probably Mus\u00e9e de Rouen, Rouen, France (1864).", "opening_date": null}]}, "provenance": [{"description": "The artist's elder brother, L\u00e9on Pascal Monet [1836-1917], Rouen, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Wildenstein & Col., New York, NY, April 17, 1953, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1953", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Monet is quoted as saying, \"I perhaps owe having become a painter to flowers<em>.</em>\" He painted this work in 1864, the first productive year of his career.", "description": "This early work reveal's Monet's fascination with capturing the transitory effects that became the primary focus of his later innovations. Painted with almost scientific accuracy, this still life has a freshness and immediacy derived partly from its composition. Isolated against a dark background, the fully mature peonies, potted hydrangeas, and basketed lilacs spill downward and outward from the geraniums at the rear. At the same time, Monet's energetic brushwork conveys the sparkling play of light on leaves and petals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q50807788"], "internet_archive": ["https://archive.org/details/clevelandart-1953.155-spring-flowers"]}, "citations": [{"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, Heather Lemonedes, and Lucy I. Zimmerman. Painting the Modern Garden: Monet to Matisse. 2015. catalogue no. 3", "page_number": "90", "url": null}, {"citation": "Bazille, Fre\u0301de\u0301ric, Michel Hilaire, and Paul Perrin. Fre\u0301de\u0301ric Bazille (1841-1870) and the Birth of Impressionism. 2016. catalogue no. 52", "page_number": "95", "url": null}, {"citation": "Venturi, Lionello, and Paul Durand-Ruel. <em>Les archives de l'impressionnisme. Lettres de Renoir, Monet, Pissaro, Sisley et autres. Me\u0301moires de Paul Durand-Ruel</em>. <em>Documents</em>. Paris, France: Durand-Ruel, 1939.", "page_number": "Mentioned: v. 1, p. 20", "url": null}, {"citation": "Francis, Henry S. \"Spring Flowers.\" <em>The Bulletin of the Cleveland Museum</em> <em>of Art XLI, </em>no. 2 (February, 1954)<em>: </em>23-24.", "page_number": "Reproduced: on cover", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly </em>XVII, no. 1 (Spring 1954): 63-75", "page_number": "Reproduced: p. 68", "url": null}, {"citation": "Detroit Institute of Arts. <em>The Two Sides of the Medal; French Painting from Ge\u0301ro\u0302me to Gauguin</em>. 1954.", "page_number": "Mentioned: cat. no. 43, p 32, Reproduced: p. 36", "url": null}, {"citation": "<em>The Bulletin of the Cleveland Museum</em> <em>of Art XLII, </em>no. 6 (June,1955).", "page_number": "Reproduced: on cover", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Mentioned and Reproduced: no. 1, 23, 27", "url": null}, {"citation": "The Cleveland Museum of Art. <em>In Memoriam Leonard C. Hanna, Jr.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 66", "url": null}, {"citation": "William Mathewson Milliken. <em>The Cleveland Museum of Art</em>. New York: H.N. Abrams, 1958.", "page_number": "Reproduced: no. 52", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 502", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "<em>ARTnews </em>LVII, no. 1 (March 1958): 1.", "page_number": "Reproduced: p. 1", "url": null}, {"citation": "Rewald, John. <em>The History of Impressionism</em>. New York, NY: Museum of Modern Art, 1961.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Tate Gallery, and John Hay Whitney. <em>The John Hay Whitney Collection</em>. Exh. Cat. London, UK: Tate Gallery, 1961.", "page_number": "p. 9, 14", "url": null}, {"citation": "Clifford, Henry, and Carl Zigrosser. \"A World of Flowers: Paintings and Prints.\" <em>Philadelphia Museum of Art Bulletin</em> 58, no. 277 (1963): 93-243. doi:10.2307/3795158.", "page_number": null, "url": "https://www.jstor.org/stable/3795158"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "Wildenstein, Daniel, and Aurora Colloridi. <em>Claude Monet</em>. Milan, Italy: Fratelli Fabbri, 1971.", "page_number": "Reproduced: p. 75", "url": null}, {"citation": "Wildenstein, Daniel, <em>Claude Monet: biographie et catalogue raisonne\u0301.</em> Lausanne. Switzerland: La Bibliothe\u0300que des arts, 1974.", "page_number": "Reproduced: vol.1, no. 20", "url": null}, {"citation": "Monet, Claude, and Susan Wise. <em>Paintings by Monet: [Exhibition] March 15 Through May 11, 1975, the Art Institute of Chicago</em>. Chicago: Art Institute of Chicago, 1975.", "page_number": "Mentioned and Reproduced: cat. no. 3, p. 56-57", "url": null}, {"citation": "Monneret, Sophie. L'impressionnisme et son e\u0301poque: dictionnaire international illustre\u0301. Paris, France: Denoe\u0308l, 1978.", "page_number": "Mentioned: v. 2, p. 57; v. 2 p. 77", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Philadelphia Museum of Art, Detroit Institute of Arts, and Galeries nationales du Grand Palais (France). <em>The Second Empire, 1852-1870: Art in France Under Napoleon III</em>. Philadelphia: The Museum, 1978.", "page_number": null, "url": null}, {"citation": "Stuckey, Charles F. <em>Monet: A Retrospective</em>. New York, NY, 1985.", "page_number": "Reproduced: p. 272", "url": null}, {"citation": "Renoir, Auguste. <em>Renoir: Hayward Gallery, London, 30 January-21 April 1985, Galeries Nationales Du Grand Palais, Paris, 14 May-2 September 1985, Museum of Fine Arts, Boston, 9 October 1985-5 January 1986</em>. [London]: Arts Council of Great Britain, 1985.", "page_number": "Mentioned and Reproduced: p. 183", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-196</em>0. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "Mentioned and reproduced: P. 95, no. 1", "url": ""}, {"citation": "Kendall, Richard. <em>Monet by Himself: Paintings, Drawings, Pastels, Letters</em>. London, United Kingdom: Macdonald Orbis, 1989.", "page_number": "Reproduced: p. 35", "url": null}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Bajou-Charpentreau, Vale\u0301rie, and Fre\u0301de\u0301ric Bazille. <em>Fre\u0301de\u0301ric Bazille, 1841-1870</em>. La Calade, Aix-en-Provence, France: Edisud, 1993.", "page_number": "Reproduced: p. 121", "url": null}, {"citation": "Denvir, Bernard. <em>The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists. </em>London, UK: Thames and Hudson, 1993.", "page_number": "Reproduced: p. 32-33", "url": null}, {"citation": "Grandjean, Gilles. <em>Rouen, les Cathe\u0301drales de Monet</em>: Exh. Cat. Rouen, France: Muse\u0301e des Beaux Arts, 1994.", "page_number": "Reproduced: p. 30", "url": null}, {"citation": "Tucker, Paul Hayes. <em>Mone ten =</em> <em>Monet, a retrospective</em>. Exh. Cat. Nagoya-sh, Japan: Chu\u0304nichi Shinbunsha, 1994.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Tinterow, Gary, and Henri Loyrette. <em>Origins of Impressionism</em>. 1994.", "page_number": "Mentioned: cat. no. 115, p. 177, Reproduced: 179", "url": null}, {"citation": "Stuckey, Charles F., Claude Monet, Sophia Shaw, and James N. Wood. <em>Claude Monet: 1840-1926</em>. Exh. Cat. New York, NY: Thames and Hudson, 1995.", "page_number": null, "url": null}, {"citation": "Wildenstein, Daniel, <em>Monet: Catalogue Raisonne, </em>4 volumes. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": null, "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet</em>. Ko\u0308ln, Germany: Taschen, 1996.", "page_number": "Reproduced: Vol. 2, p. 16", "url": null}, {"citation": "Pitman, Dianne W. <em>Bazille: Purity, Pose, and Painting in the 1860s. </em>University Park, PA: Pennsylvania State University, 1998.", "page_number": "Reproduced: p. 80,  Figure: 48", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen.<em> The Cleveland Museum of Art: Catalogue of Paintings, Part II. European Paintings of the 19th Century. </em>Cleveland, OH: Cleveland Museum of Art,1999.", "page_number": "Reproduced: p. 447", "url": null}, {"citation": "Rathbone, Eliza E., and George T. M. Shackelford. <em>Impressionist Still Life</em>. New York, NY: H.N. Abrams, 2001.", "page_number": "Reproduced: p. 63, Plate 9", "url": null}, {"citation": "Becker, Christoph. <em>Monet's garden</em>. Ostfildern-Ruit, Germany: Hatje Cantz, 2004.", "page_number": "Reproduced: p. 15, Figure 1", "url": null}, {"citation": "Willsdon, Clare A. P. <em>In the Gardens of Impressionism</em>. New York, NY: Vendome Press, 2004.", "page_number": "Reproduced: p. 40, Figure 39", "url": null}, {"citation": "Willsdon, Clare A. P. I<em>mpressionist Gardens</em>. Exh. Cat. Edinburgh, Scotland: National Galleries of Scotland, 2010.", "page_number": "Reproduced: p. 24, Figure 16", "url": null}, {"citation": "Willsdon, Clare A. P. <em>Jardines impresionistas</em>. Exh. Cat. Madrid, Spain: Museo Thyssen-Bornemisza, 2010.", "page_number": "Reproduced: p. 55, Figure 19", "url": null}, {"citation": "Dumas, Ann, William H. Robinson, Clare A. P. Willsdon, Monty Don, James Priest, and Heather Lemonedes. <em>Painting the Modern Garden: Monet to Matisse</em>. 2015.", "page_number": "Mentioned: cat. no. 3, p. 90", "url": null}, {"citation": "Willsdon, Clare A. P. <em>In the Gardens of Impressionism.</em> London: Thames and Hudson, 2016.", "page_number": "Reproduced: P. 40, fig. 39; Mentioned: P. 42", "url": null}, {"citation": "Shackelford, George T. M., et. al. <em>Monet: The Early Years.</em> Fort Worth, TX: Kimball Art Museum, 2016.", "page_number": "Reproduced: p. 72, fig. 75", "url": null}, {"citation": "Hilaire, Michel and Paul Perrin, eds. <em>Fre\u0301de\u0301ric Bazille (1841-1870) and the birth of impressionism.</em> Paris: Flammarion, 2016.", "page_number": "Reproduced: P. 95, fig. 52, cat. 110", "url": null}, {"citation": "Amiot-Saulnier, Emmanuelle. \"Le Jardin de Monet a Matisse.\" <em>L'Estampille, l'objet d'art</em> 521, (Mar. 2016): 28-35.", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Patry, Sylvie, and Anne Robbins. <em>Le De\u0301cor Impressionniste: Aux Sources des Nymphe\u0301as.</em> Vanves: Hazan; Paris: Muse\u0301e de l'Orangerie, 2022.", "page_number": "Reproduced: P. 52, no. 20", "url": ""}, {"citation": "Lefebvre, Ge\u0301raldine, ed. \"Collection L\u00e9on Monet. \u0152uvres.\" In <em>Le\u0301on Monet: Fre\u0300re de l'Artiste et Collectionneur, </em>112-151. Paris: RMN - Grand Palais, 2023.", "page_number": "Reproduced: P. 121", "url": ""}, {"citation": "David, Jeanne-Marie. \"Monet a Rouen: Peindre les Cathedrales.\" In <em>Claude Monet: Portail de La Cath\u00e9drale de Rouen, Temps Gris, e</em>dited by Jeanne-Marie David, 9-23. Cinisello Balsamo, Milano: Silvana Editoriale, 2024.", "page_number": "Mentioned and reproduced: p. 9-10, fig.1", "url": ""}], "url": "https://clevelandart.org/art/1953.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_web.jpg", "width": "685", "height": "900", "filesize": "215454", "filename": "1953.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_print.jpg", "width": "2589", "height": "3400", "filesize": "2740556", "filename": "1953.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.155/1953.155_full.tif", "width": "11304", "height": "14845", "filesize": "503456588", "filename": "1953.155_full.tif"}}, "alternate_images": [{"date_created": "2005-09-26T17:54:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.155/1953.155_alt0_web.jpg", "width": "681", "height": "893", "filesize": "463728"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.155/1953.155_alt0_print.jpg", "width": "2593", "height": "3400", "filesize": "5908134"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.155/1953.155_alt0_full.tif", "width": "3575", "height": "4687", "filesize": "50300540"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130391, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:00.807000"}, {"id": 168739, "accession_number": "2010.444", "share_license_status": "CC0", "tombstone": "Crucifix, late 1800s-early 1900s. Africa, Central Africa, Kongo Kingdom, Kongo-style maker(s). Copper alloy, wood, upholstery studs, and iron alloy; overall: 44.7 x 22.2 x 3.2 cm (17 5/8 x 8 3/4 x 1 1/4 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.444", "current_location": "108A African", "title": "Crucifix", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Kongo Kingdom, Kongo-style maker(s)"], "technique": "Copper alloy, wood, upholstery studs, and iron alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 44.7 x 22.2 x 3.2 cm (17 5/8 x 8 3/4 x 1 1/4 in.)", "dimensions": {"overall": {"height": 0.447, "width": 0.222, "depth": 0.032}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Royal Museums of Art and History, Brussels, Belgium (1945-1949)", "opening_date": "1945-01-01T00:00:00"}, {"description": "Leuven, Belgium.", "opening_date": null}, {"description": "Royal Museum for Central Africa, Tervuren, Belgium.", "opening_date": null}, {"description": "Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 31, 1970-February 10, 1971)", "opening_date": "1970-10-31T00:00:00"}, {"description": "Villa H\u00fcgel, Essen, Germany (March 25-June 13, 1971)", "opening_date": "1971-03-25T00:00:00"}, {"description": "Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, Belgium (March 25-June 5, 1988)", "opening_date": "1988-03-25T00:00:00"}]}, "provenance": [{"description": "Charles Ralet, Brussels, Belgium, sold to Jef and Ren\u00e9 Vanderstraete", "citations": [], "footnotes": [], "date": "?\u20131945", "sortorder": 1}, {"description": "Jef and Ren\u00e9 Vanderstraete, Lasne, Belgium, 1959-1963, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": null, "date": "1945-1963", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, Belgium, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1963\u20132010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This x-shapes of the cross and on Christ's wrapper are forms with symbolic meaning tied to the life cycle in both Catholicism and in the indigenous Kongo religion.", "description": "An artist made this crucifix from wood and metal centuries after Catholicism became the Kongo Kingdom\u2019s official faith. Following King Nzinga a Nkuwu's 1491 decision to convert, Kongo Christianity uniquely reflected its surroundings. While early Christ images arrived from Portugal and Italy, this later local example has braids like a Kongo man. Worn smooth by repeated touch, the lower figure is the Virgin Mary or a worshiper knelt in mourning or respect. The x-shape incised into his waist wrapper references the <em>dikenga dia Kongo</em>. This likely pre-Christian symbol diagrams the life cycle's four points.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759927"], "internet_archive": ["https://archive.org/details/clevelandart-2010.444-crucifix"]}, "citations": [{"citation": "de Borchgrave d'Alt\u00e9na, J. \"Christs de l'ancien Congo.\" In <em>L'Artisan et les Arts Liturgiques</em> [special issue on <em>Art chr\u00e9tien du Congo</em>] 18, no. 4 (1949): 378.", "page_number": "Reproduced: p. 378, fig. 8", "url": null}, {"citation": "Leuzinger, Elsy. <em>Die Kunst von Schwarz-Afrika</em>, 270. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Kunsthaus Z\u00fcrich, October 31, 1970-February 10, 1971.", "page_number": "Reproduced: p. 270, cat. S7", "url": null}, {"citation": "Bastin, Marie-Louise, et al. <em>Utotombo. L'Art d'Afrique noire dans les collections priv\u00e9es belges: Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>, 206. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "Mentioned: p. 64; reproduced: p. 206, cat. 165", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 122.", "page_number": "Reproduced and mentioned: p. 122, fig. 8", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 40-41, 108, 112.", "page_number": "Reproduced: p. 43; mentioned: pp. 40-41, 108, 112", "url": null}, {"citation": "Leuzinger, Elsy. <em>Afrikanische Kunstwerke: Kulturen am Niger</em>, 274. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Villa H\u00fcgel, March 25-June 13, 1971.", "page_number": "Reproduced: p. 274, cat. no. S 7", "url": null}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: p. 253, no. 9.3", "url": ""}], "url": "https://clevelandart.org/art/2010.444", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.444/2010.444_web.jpg", "width": "588", "height": "893", "filesize": "213165", "filename": "2010.444_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.444/2010.444_print.jpg", "width": "2240", "height": "3400", "filesize": "4063195", "filename": "2010.444_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.444/2010.444_full.tif", "width": "4269", "height": "6479", "filesize": "83013536", "filename": "2010.444_full.tif"}}, "alternate_images": [{"date_created": "2011-05-05T14:57:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.444/2010.444_alt0_web.jpg", "width": "573", "height": "893", "filesize": "211485"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.444/2010.444_alt0_print.jpg", "width": "2183", "height": "3400", "filesize": "4010990"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.444/2010.444_alt0_full.tif", "width": "3566", "height": "5553", "filesize": "59447760"}}, {"date_created": "2011-05-05T15:19:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.444/2010.444_alt1_web.jpg", "width": "615", "height": "893", "filesize": "220744"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.444/2010.444_alt1_print.jpg", "width": "2340", "height": "3400", "filesize": "4318531"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.444/2010.444_alt1_full.tif", "width": "4012", "height": "5828", "filesize": "70177064"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168739, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:48.049000"}, {"id": 169545, "accession_number": "2011.37", "share_license_status": "CC0", "tombstone": "Books and Scholars\u2019 Accoutrements (\ucc45\uac00\ub3c4 [\u518a\u67b6\u5716]), late 1800s. Yi Taek-gyun (Korean, 1808\u2013after 1883). Ten-panel folding screen; ink and color on silk; overall: 197.5 x 395 cm (77 3/4 x 155 1/2 in.); painting only: 139.3 x 330.8 cm (54 13/16 x 130 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2011.37", "current_location": null, "title": "Books and Scholars\u2019 Accoutrements", "title_in_original_language": "\ucc45\uac00\ub3c4 [\u518a\u67b6\u5716]", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "ten-panel folding screen; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 197.5 x 395 cm (77 3/4 x 155 1/2 in.); Painting only: 139.3 x 330.8 cm (54 13/16 x 130 1/4 in.)", "dimensions": {"overall": {"height": 1.975, "width": 3.95}, "each panel": {"height": 1.975, "width": 0.395}, "open and extended": {"height": 1.975, "width": 2.97}, "painting only": {"height": 1.393, "width": 3.308}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 287904, "title": "Chaekgeori: Pleasure of Possessions in Korean Painted Screens", "description": "<i>Chaekgeori: Pleasure of Possessions in Korean Painted Screens</i>. The Cleveland Museum of Art, Cleveland, OH (August 5-November 5, 2017).", "opening_date": "2017-08-05T04:00:00"}, {"id": 670878, "title": "Pattern and Decoration in Royal Art of the Joseon Dynasty", "description": "<i>Pattern and Decoration in Royal Art of the Joseon Dynasty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 2024-March 16, 2025).", "opening_date": "2024-10-04T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art, Cleveland, OH (January 27, 2014-January 12, 2015).", "opening_date": "2014-01-27T00:00:00"}]}, "provenance": [{"description": "(Christie's New York, Japanese & Korean Art, New York, NY, 23 March 2011, lot 992, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "March 23, 2011", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A convincing hypothesis that connects the Korean <em>chaekgado</em> tradition with the Renaissance tradition of illusionistic studiolo through the technique of trompe-l'\u0153il and Chinese Qing period treasured cabinet paintings was first made in Park Shim-eun's thesis (2002).", "description": "First produced around the second half of the eighteenth century, <em>chaekgado</em> (literally, \u201cpictures of bookshelves\u201d) flourished throughout the 1800s as a royal emblem. And soon this pictorial genre became a popular furnishing item for aristocrats' elegant studies. The third panel from the right bears a hidden seal that reveals the artist: Yi Taek-gyun, a prominent court artist active in the late 1800s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480794"], "internet_archive": ["https://archive.org/details/clevelandart-2011.37-books-and-scholars-a"]}, "citations": [{"citation": "Park, Shim-eun. \" The Origin of Chaekkado in Choson Period.\" Master's Thesis, Academy of Korean Studies, 2002.", "page_number": "", "url": "https://dl.nanet.go.kr/search/searchInnerDetail.do?searchType=INNER_SEARCH&resultType=INNER_SEARCH_DETAIL&searchMehtod=L&searchClass=S&controlNo=KDMT1200200306&queryText=&zone=&fieldText=&prevQueryText=%EB%B0%95%EC%8B%AC%EC%9D%80%3AALL_NI_TOC%3AAND&prevPubYearFieldText=&languageCode=&synonymYn=&refineSearchYn=&pageNum=&pageSize=&orderBy=&topMainMenuCode=&topSubMenuCode=&totalSize=194&totalSizeByMenu=194&seqNo=&hanjaYn=Y&knowPub=&isdb=&isdbsvc=&tt1=&down=&checkedDbIdList=&baseDbId=&selectedDbIndexIdList=&caller=&asideState=true&dpBranch=ALL&journalKind=&selZone=ALL_NI_TOC&searchQuery=+%EB%B0%95%EC%8B%AC%EC%9D%80"}, {"citation": "Black, Kay E., and Edward W. Wagner. \"Ch'aekk\u014fri Paintings: A Korean Jigsaw Puzzle.\" <em>Archives of Asian Art</em> 46 (1993): 63\u201375.", "page_number": null, "url": "https://www.jstor.org/stable/20111228"}, {"citation": "Sin, Mi-ran. \u201cObjects in Chaekgeori Paintings [\ucc45\uac70\ub9ac \uadf8\ub9bc\uacfc \u5668\u7269\u784f\u7a76].\u201d <em>Misul sahak yeongu</em> no. 268 (2010): 169\u2013194.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01751774"}, {"citation": "Christie, Manson &amp; Woods International Inc, New York. <em>Japanese &amp; Korean Art</em>. 23 March 2011. Lot 992.", "page_number": "Reproduced: lot 992", "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2012.", "page_number": "Mentioned and Reproduced: pp. 274\u2013275", "url": null}, {"citation": "\u201cArt of Asia Acquired by North American Museums, 2010-2011.\u201d <em>Archives of Asian Art</em>, vol. 62, 2012, pp. 105\u2013153.", "page_number": "Mentioned and Reproduced: p. 114, fig 11", "url": "https://www.jstor.org/stable/43677806"}, {"citation": "Ahn, Dae-hoe. \"Leisure and Cultural Phenomena in the Late Joseon Dynasty [\uc870\uc120 \ud6c4\uae30 \ucde8\ubbf8\uc0dd\ud65c\uacfc \ubb38\ud654\ud604\uc0c1].\" <em>Hanguk munhwa </em>(2012): 65\u201396.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and Reproduced: p. 255; Reproduced: pp. 246\u2013247", "url": ""}, {"citation": "McCormick, Sooa. \"Chaekgeori: Books and other things in Korean painted screens.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 4 (July/August 2017): Cover, 7\u20139.", "page_number": "Reproduced: Cover, p. 7; Mentioned: pp. 7\u20139", "url": "https://archive.org/details/CMAMM2017-04/page/n3/mode/2up"}, {"citation": "McCormick, Sooa Im. \u201cTaste of Distinction: Screens of Scholar\u2019s Accouterments.\" In <em>Chaekgeori:</em> <em>The Power and Pleasure of Possessions in Korean Painted Screens. </em>Albany: SUNY Series in Korean Studies, 2017.", "page_number": "Mentioned and Reproduced: pp. 50\u201362", "url": null}, {"citation": "Chung, Byung-mo and Sunglim Kim. <em>Chaekgeori:</em> <em>The Power and Pleasure of Possessions in Korean Painted Screens. </em>Albany: SUNY Series in Korean Studies, 2017.", "page_number": null, "url": null}, {"citation": "Breedlove, Byron. \u201cAll Bookshelves Are Magical.\u201d Emerging Infectious<em> Diseases journal</em> (October 2020) vol. 26, no. 10: 2537\u20132538.", "page_number": null, "url": "https://dx.doi.org/10.3201/eid2610.ac2610"}, {"citation": "McCormick, Sooa Im. \"The Past and Present of the Korean Collection in the Cleveland Museum of Art.\" In <em>The Korean Collection of the Cleveland Museum of Art</em>. Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8, and An Min-hu\u0306i, ed., 22-37. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: p. 32, fig. 28", "url": ""}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: pp. 198\u2013203, no. 119", "url": ""}, {"citation": "McCormick, Sooa Im. \"Taste of Distinction: Paintings of Scholars' Accoutrements.\" In <em>The Korean Collection of the Cleveland Museum of Art</em>. Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8, and An Min-hu\u0306i, ed., 304-317. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: pp. 304\u2013317", "url": ""}, {"citation": "\"Patterns and Decoration in the Joseon Dynasty.\" <em>Asian Art Newspaper: Monthly for Collectors, Dealers, Museums and Galleries </em>v.28: i.1 (November 2024).", "page_number": "Reproduced", "url": "https://asianartnewspaper.com/patterns-and-decoration-in-the-joseon-dynasty/"}], "url": "https://clevelandart.org/art/2011.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2011.37/2011.37_web.jpg", "width": "1263", "height": "711", "filesize": "153698", "filename": "2011.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2011.37/2011.37_print.jpg", "width": "3400", "height": "1915", "filesize": "1044553", "filename": "2011.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2011.37/2011.37_full.tif", "width": "11838", "height": "6670", 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"creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169545, "creators": [{"id": 295457, "description": "Yi Taek-gyun (Korean, 1808\u2013after 1883)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uc774\ud0dd\uade0", "birth_year": "1808", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-06-06T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Scholar's Accoutrements (chaekgori)"], "is_highlight": true, "updated_at": "2026-04-07 19:46:21.275000"}, {"id": 125234, "accession_number": "1947.196", "share_license_status": "CC0", "tombstone": "Low Tide at Pourville, near Dieppe, 1882, 1882. Claude Monet (French, 1840\u20131926). Oil on fabric; framed: 65.4 x 106.7 x 10.5 cm (25 3/4 x 42 x 4 1/8 in.); unframed: 59.9 x 81.3 cm (23 9/16 x 32 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1947.196", "current_location": null, "title": "Low Tide at Pourville, near Dieppe, 1882", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 65.4 x 106.7 x 10.5 cm (25 3/4 x 42 x 4 1/8 in.); Unframed: 59.9 x 81.3 cm (23 9/16 x 32 in.)", "dimensions": {"framed": {"height": 0.654, "width": 1.067, "depth": 0.105}, "unframed": {"height": 0.599, "width": 0.813}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: 82 Claude Monet \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311945, "title": "The Sea", "description": "<i>The Sea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 25, 1950).", "opening_date": "1950-09-23T04:00:00"}, {"id": 338130, "title": "Claude Monet: a loan exhibition", "description": "<i>Claude Monet: a loan exhibition</i>. Saint Louis Art Museum (organizer) (September 25-October 22, 1957); Minneapolis Institute of Art (November 1-December 1, 1957).", "opening_date": "1957-09-25T04:00:00"}, {"id": 338456, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 520810, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. The Cleveland Museum of Art, Cleveland, OH (September 18, 1979-February 17, 1980).", "opening_date": "1979-04-05T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 442204, "title": "Paris autour de 1882 (Paris around 1882)", "description": "<i>Paris autour de 1882 (Paris around 1882)</i>. Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (November 3-December 19, 1982); Museum of Modern Art, Kamakura, Kanagawa, Japan (January 15-February 20, 1983).", "opening_date": "1982-11-03T05:00:00"}, {"id": 226271, "title": "Monet: The Seine and the Sea, Vetheuil and Normandy, 1878-1883", "description": "<i>Monet: The Seine and the Sea, Vetheuil and Normandy, 1878-1883</i>. Gallery of the Royal Scottish Academy, Edinburgh, Scotland (August 6-October 26, 2003).", "opening_date": "2003-08-06T00:00:00"}, {"id": 229548, "title": "Boudin, Monet and the Sea Painters of Normandy", "description": "<i>Boudin, Monet and the Sea Painters of Normandy</i>. The Bowes Museum, County Durham, United Kingdom of Great Britain and Northern Ireland (organizer) (May 29-August 30, 2004).", "opening_date": "2004-05-29T00:00:00"}, {"id": 184132, "title": "Masterworks from The Phillips Collection", "description": "<i>Masterworks from The Phillips Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-May 29, 2005).", "opening_date": "2005-02-20T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 208590, "title": "Monet in Normandy", "description": "<i>Monet in Normandy</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (June 17-September 17, 2006); North Carolina Museum of Art, Raleigh, NC (October 8, 2006-January 14, 2007); The Cleveland Museum of Art, Cleveland, OH (February 18-May 28, 2007).", "opening_date": "2006-06-17T00:00:00"}, {"id": 220678, "title": "Claude Monet", "description": "<i>Claude Monet</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (September 20, 2010-January 24, 2011).", "opening_date": "2010-09-20T00:00:00"}, {"id": 224362, "title": "Monet - Reflections and Shadows", "description": "<i>Monet - Reflections and Shadows</i>. Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (January 22-May 28, 2017).", "opening_date": "2017-01-22T00:00:00"}, {"id": 297110, "title": "Monet/Boudin", "description": "<i>Monet/Boudin</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (June 26-September 30, 2018).", "opening_date": "2018-06-26T04:00:00"}, {"id": 679183, "title": "Monet and Venice", "description": "<i>Monet and Venice</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (October 10, 2025-February 1, 2026) https://www.brooklynmuseum.org/exhibitions/monet-venice; Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (March 21-July 26, 2026) https://www.famsf.org/exhibitions/monet-venice.", "opening_date": "2025-10-10T04:00:00"}], "legacy": [{"description": "Durand-Ruel, Paris, France: 1883. no. 9 (according to Wildenstein 1979; cannot be confirmed by Durand-Ruel),", "opening_date": "1979-01-01T00:00:00"}, {"description": "<em>Pictures by Claude Monet.</em> Lotos Club, New York, NY (1899).", "opening_date": null}]}, "provenance": [{"description": "Possibly bought from the artist in 1882 by Durand-Ruel, Paris, France (this information from the Wildenstein catalogue raisonn\u00e9 cannot be confirmed by Durand-Ruel as their files on this matter are not conclusive).", "citations": [], "footnotes": [], "date": "?1882", "sortorder": 1}, {"description": "Henry White Cannon [1850-1934], New York, NY, 1899.", "citations": [], "footnotes": [], "date": "1889", "sortorder": 2}, {"description": "Mrs. Henry White Cannon [1861-1954] New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1947", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1947-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The narrow strokes of black paint along the the edge of the water at the base of the cliff indicate bathers.", "description": "This is one of several views Claude Monet painted of Pourville, a fishing village on the north coast of France in Normandy. Pourville featured a boardwalk, a broad beach, and stunning cliffs. According to the artist's correspondence, the village was nothing special, but he was inspired by the landscape: \"One could not be any closer to the sea than I am, on the pebbled beach itself and the waves beat at the foot of the house.\" During the spring of 1882 in Pourville, Monet stayed in a small hotel similar to the dwellings seen at the foot of the cliff to the right in this painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515388"], "internet_archive": ["https://archive.org/details/clevelandart-1947.196-low-tide-at-pourvill"]}, "citations": [{"citation": "Francis, Henry S. \"Two Landscapes by Claude Monet.\" <em>The Bulletin of the Cleveland Museum of Art XXXV,</em> no. 1 (January,1948): 4-7.", "page_number": "Mentioned: p. 4-7", "url": null}, {"citation": "City Art Museum of St. Louis. <em>Claude Monet, a Loan Exhibition</em>. 1957.", "page_number": "Referenced: cat. no. 52, Reproduced: Pl. 52", "url": null}, {"citation": "University of Iowa. <em>Impressionism and Its Roots</em>. Iowa City, Iowa: University of Iowa, Gallery of Art, 1964.", "page_number": "Referenced:c at. no. 36, Reproduced", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1966/page/n199"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1969/page/n199"}, {"citation": "Wildenstein, Daniel. <em>Claude Monet: Biographie et Catalogue Raisonne\u0301.</em> Lausanne: La Bibliothe\u0300que des Arts, 1974.", "page_number": "Reproduced: vol. 2, no. 716", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 216", "url": "https://archive.org/details/CMAHandbook1978/page/n236"}, {"citation": "Bortolatto, Luigina Rossi. <em>Tout l'\u0153uvre peint de Monet, 1870-1889.</em> Paris: Flammarion, 1981.", "page_number": "Reproduced: p. 103, fig. 228", "url": null}, {"citation": "Borowitz, Helen O. \" The Rembrandt and Monet of Marcel Proust.\" <em>The Bulletin of the Cleveland Museum of Art VXX, </em>no. 2 (February, 1983): 83.", "page_number": "Reproduced: p. 84, Figure 9", "url": null}, {"citation": "House, John. <em>Monet, Nature into Art. </em>New Haven<em>, </em>CT: Yale University Press, 1986.", "page_number": "Reproduced: p. 190", "url": null}, {"citation": "Wildenstein, Daniel. <em>Monet.</em> Ko\u0308ln: Taschen, 1996.", "page_number": "Reproduced: Vol. 1, 179; vol. 2, 716", "url": null}, {"citation": "Zeidler, Birgit. <em>Claude Monet: Leben und Werk.</em> Ko\u0308ln, Germany: Ko\u0308nemann, 1998.", "page_number": "Reproduced: p. 57", "url": null}, {"citation": "D' Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part II; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 455", "url": null}, {"citation": "Monet, Claude, Norio Shimada, and Keiko Sakagami. Kuro\u0304do Mone meigashu\u0304: hikari to kaze no kiseki. To\u0304kyo\u0304, Japan: Nihon Bijutsu Kyo\u0304iku Senta\u0304, 2001.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Clarke, Michael, and Richard Thomson. <em>Monet: The Seine and the Sea, 1878-1883</em>. Exh. Cat. Edinburgh, Scotland: National Galleries of Scotland, 2003.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "Barker, Amy, Joanna Hashagen, and Lesley Taylor. <em>Boudin, Monet and the</em> <em>Sea Painters of Normandy</em>. [County Durham, England]: Bowes Museum, 2004.", "page_number": "Reproduced: p. 28-29", "url": null}, {"citation": "Burgess, Margaret B., \"Side by Side\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 05, May/June 2005", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2005-05/page/6"}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli International Publications, Inc., 2006.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Noce, Vincent. <em>Monet, l'oeil et l'eau</em>. Paris, France: Re\u0301union des Muse\u0301es nationaux, 2010.", "page_number": "Reproduced: front cover", "url": null}, {"citation": "Baillio, Joseph. <em>Claude Monet, 1840-1926</em>: Exh. Cat. Paris, France: Galeries Nationales, Grand Palais, Re\u0301union des muse\u0301es nationaux, 2010.", "page_number": "Reproduced: p. 179", "url": null}, {"citation": "Ulf Ku\u0308ster, ed. <em>Monet: Light, Shadow, and Reflection</em>. Basel: Fondation Beyeler; Berlin: Hatje Cantz, 2017.", "page_number": "Reproduced: p. 89", "url": null}, {"citation": "Lefebvre, Ge\u0301raldine. <em>Monet/Boudin</em>. Madrid: Museo Nacional Thyssen-Bornemisza, 2018.", "page_number": "Reproduced: p. 31, 130, cat. no. 63", "url": null}, {"citation": "Goldin, Marco. <em>Il Giardino e la Luna: Arte dell'Ottocento dal Romanticismo all'Impressionismo. </em>Milano : La nave di Teseo, 2021.", "page_number": "Reproduced: P. 503", "url": ""}, {"citation": "\"Leave a Legacy.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 3 (September 2022): 38.", "page_number": "Reproduced: P. 38.", "url": ""}, {"citation": "Small, Lisa. \"Monet in Venice: Anxiety and Enchantment.\" In <em>Monet and Venice, </em>Brooklyn Museum, and Fine Arts Museums of San Francisco, 30-69. New York: Rizzoli Electa, 2025.", "page_number": "Reproduced: p. 65, fig. 77; Mentioned: p. 58", "url": ""}], "url": "https://clevelandart.org/art/1947.196", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_web.jpg", "width": "900", "height": "664", "filesize": "261130", "filename": "1947.196_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_print.jpg", "width": "3400", "height": "2508", "filesize": "4906385", "filename": "1947.196_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.196/1947.196_full.tif", "width": "15254", "height": "11254", "filesize": "515035628", "filename": "1947.196_full.tif"}}, "alternate_images": [{"date_created": "2005-09-26T15:47:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.196/1947.196_alt0_web.jpg", "width": "1204", "height": "893", "filesize": "787475"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.196/1947.196_alt0_print.jpg", "width": "3400", "height": "2521", "filesize": "6341444"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.196/1947.196_alt0_full.tif", "width": "5173", "height": "3835", "filesize": "59544988"}}, {"date_created": "2017-06-06T15:34:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.196/1947.196_alt1_web.jpg", "width": "900", "height": "724", "filesize": "369075"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.196/1947.196_alt1_print.jpg", "width": "3400", "height": "2735", "filesize": "6109143"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.196/1947.196_alt1_full.tif", "width": "14916", "height": "12000", "filesize": "537007360"}}], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125234, "creators": [{"id": 1844, "description": "Claude Monet (French, 1840\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": "Claude Monet spent his youth in Le Havre in Normandy, where his father worked as a wholesale grocer. By the age of sixteen, he had exhibited some of his caricatures in an art supply store, leading to his acquaintance with Boudin (q.v.). It was Boudin who first encouraged him to paint out of doors. In 1859 Monet traveled to Paris, where he saw Boudin's salon debut and met Constant Troyon (1810-1865). A year later he joined the Acad\u00e9mie Suisse, where he was introduced to Pissarro (q.v.), but his studies were interrupted in 1861 when he was drafted for a seven-year stint in the military. His family would pay for his release from military duties only if he gave up painting. Finding this unacceptable, Monet served for one year in Algeria before an early return to France to convalesce after a severe illness. In 1862 he met Jongkind (q.v.), another important influence on the young painter's development. Monet's father then allowed him to pursue his art career in Paris, where he entered the studio of the Swiss painter Charles Gleyre (1806-1874). He studied with Gleyre until 1864 and befriended Fr\u00e9d\u00e9ric Bazille (1841-1870), Renoir (q.v.), and Sisley (q.v.), with whom he painted in the forest of Fontainebleau (D\u00e9jeuner sur l'herbe, 1865, two fragments in Mus\u00e9e d'Orsay, Paris). Monet first exhibited at the Salon of 1865 and would do so again in 1866, 1868, and 1880. In 1868 he shared a studio with Bazille and Renoir but was soon forced to leave Paris to escape his creditors. He took his mistress, Camille Doncieux, and their son, Jean, to F\u00e9camp, then \u00c9tretat, and finally Saint-Michel. There Renoir provided hospitality, and the two also painted at the boating and bathing center of La Grenouill\u00e8re on the Seine. In 1870 Monet married Camille and, to escape the Franco-Prussian War, left for London, where he remained for nine months and met Durand-Ruel, his first dealer. In the summer of 1871 he visited the Netherlands and then settled in Argenteuil, to the west of Paris. He converted a boat into a studio, as Daubigny (q.v.) had done before him, allowing him to explore different viewpoints for his landscapes. He assisted in the organization of the First Impressionist Exhibition in 1874, partly because Durand-Ruel's worsened business situation had prevented the dealer from buying his art. The following year he participated in the H\u00f4tel Drouot sale with Morisot (q.v.), Renoir, and Sisley. In 1878 Monet and his wife moved to V\u00e9theuil with the Hosched\u00e9s, who had previously commissioned some works. Camille died the following year, and, while Ernest Hosched\u00e9 spent most of his time in Paris trying to settle his precarious financial situation, Monet stayed behind with Ernest's wife, Alice. In 1881 he moved with her and her children to Poissy and within two years was living at Giverny, where he would remain for the rest of his life. He painted some of his famous scenes-the haystack and poplar series, for example- in 1890-91. Ernest Hosched\u00e9 died in 1891, and Monet married Alice the following year. At Giverny, Monet explored the themes of his garden and water lilies. He continued to travel, going to Norway in 1895, making three trips to London from 1899 through 1901, and taking Alice to Venice in 1908. The final years of his life were mainly spent working on his Great Decorations, large paintings of a water lily pond designed for two oval rooms at the Paris Orangerie. Monet is generally considered the most typical exponent of impressionism.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:59.245000"}, {"id": 95271, "accession_number": "1916.1043", "share_license_status": "CC0", "tombstone": "Dancers, c. 1896. Edgar Degas (French, 1834\u20131917). Pastel with charcoal on tracing paper mounted on paper and backed with gray board; sheet: 55.7 x 41.4 cm (21 15/16 x 16 5/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1043", "current_location": null, "title": "Dancers", "creation_date": "c. 1896", "creation_date_earliest": 1891, "creation_date_latest": 1901, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel with charcoal on tracing paper mounted on paper and backed with gray board", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 55.7 x 41.4 cm (21 15/16 x 16 5/16 in.)", "dimensions": {"sheet": {"height": 0.557, "width": 0.414}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in pastel: Degas", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 312095, "title": "Works of Edgar Degas", "description": "<i>Works of Edgar Degas</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 5-March 9, 1947).", "opening_date": "1947-02-05T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 300842, "title": "The Dance in Art", "description": "<i>The Dance in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 20-August 17, 1955).", "opening_date": "1955-05-20T04:00:00"}, {"id": 703013, "title": "Highlights of the 19th Century", "description": "<i>Highlights of the 19th Century</i>. Akron Art Museum, Akron, OH (organizer) (March 3-31, 1959).", "opening_date": "1959-03-03T05:00:00"}, {"id": 304520, "title": "Art and the Stage", "description": "<i>Art and the Stage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 22-August 16, 1981).", "opening_date": "1981-05-22T04:00:00"}, {"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": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"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": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Cleveland Art Loan Exposition</em>. Cleveland School of Art, Kinney &amp; Levan Building, Cleveland (November 25\u2013December 17, 1913).", "opening_date": "1913-12-17T00:00:00"}, {"description": "<em>Inaugural Exhibition</em>. Minneapolis Institute of Arts (January 7\u2013February 7, 1915).", "opening_date": "1915-02-07T00:00:00"}]}, "provenance": [{"description": "Studio of the artist, sold to Durand-Ruel, Paris", "citations": [], "footnotes": [], "date": "1896-1897", "sortorder": 1}, {"description": "(Durand-Ruel, Paris, transferred to Durand-Ruel, New York", "citations": [], "footnotes": [], "date": "1897-1898", "sortorder": 2}, {"description": "(Durand-Ruel, New York, sold to Mr. and Mrs. Jeptha H. Wade, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1898-1900", "sortorder": 3}, {"description": "Mr. [1857\u20131926] and Mrs. [1857\u20131917] Jeptha H. Wade II, Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1900-1916", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Degas joined six separate irregularly shaped sheets of paper to make this work, and their connections are faintly visible on its surface.", "description": "Degas depicted the ballet in more than 1,000 paintings, prints, pastels, and sculptures. He preferred private, offstage moments to glamorous curtain calls or artfully constructed compositions. Here, three dancers stretch together in the wings, unaware of the viewer\u2019s presence. Powdery layers of yellow, orange, and pink pastel create a rough surface characteristic of Degas\u2019s late work in the medium. He invented special techniques that allowed him to build layer upon layer of color with varying degrees of opacity and transparency. This pastel\u2019s rich surface and intense, vibrating palette is the result of such innovative methods.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781030"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1043-dancers"]}, "citations": [{"citation": "<em>Illustrated Catalogue of the Cleveland Art Loan Exposition.</em> Exh. cat. Cleveland: Cleveland School of Art, 1913.", "page_number": "Mentioned: no. 45C", "url": ""}, {"citation": "<em>Catalogue of the Inaugural Exhibition</em>. Exh. cat. Minneapolis: Minneapolis Institute of Arts, 1915.", "page_number": "Mentioned: p. 36, no. 169", "url": null}, {"citation": "\"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 1 (1917): 3-12.", "page_number": "Mentioned: p. 3", "url": "http://www.jstor.org/stable/25136053"}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 167", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Milliken, William M. \u201cThe Twentieth Anniversary Exhibition of the Cleveland Museum of Art.\u201d <em>Art News</em> 34, no. 37 (June 13, 1936): 7-14.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Wilenski, R. H. <em>Modern French Painters</em>. New York: Reynal and Hitchcock, 1940", "page_number": "Mentioned: p. 336", "url": null}, {"citation": "Lemoisne, Paul Andr\u00e9. <em>Degas et son \u0153uvre.</em> Paris: Brame et de Hauke, 1946.", "page_number": "Mentioned and reproduced: vol. 3, 726\u201327, no. 1249", "url": null}, {"citation": "Armitage, Merle. <em>Dance Memoranda</em>. Freeport, NY: Books for Libraries Press, 1946.", "page_number": "Reproduced: p. 166", "url": null}, {"citation": "Francis, Henry Sayles. <em>Works by Degas</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1947.", "page_number": "Mentioned: p. 10, 18, no. 49; Reproduced: pl. XLII", "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. 509", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "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. 214", "url": "https://archive.org/details/CMAHandbook1978/page/n234"}, {"citation": "Breitman, Ellen. <em>Art and the Stage</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1981.", "page_number": "Mentioned: p. 45-48, no. 25; Reproduced: p. 46", "url": null}, {"citation": "Henning, Edward B. <em>Creativity in Art and Science, 1860-1960</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1987.", "page_number": "Mentioned and reproduced: p. 100", "url": null}, {"citation": "DeGrazia, Diane and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Exh. cat. Cleveland, OH: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: p. 1; Reproduced: p. 2", "url": null}, {"citation": "DeGrazia, Diane. \u201cThe Evolution of a Collection: Drawings in Cleveland.\u201d <em>Master Drawings</em> 38, no. 3 (Fall 2000): 249-60.", "page_number": "Mentioned: p. 249; Reproduced: p. 251", "url": "https://www.jstor.org/stable/1554433"}, {"citation": "Lemonedes, Heather. \u201cPure Color: A new exhibition celebrates luminous pastels.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 6 (November/December 2016): 8-9.", "page_number": "Reproduced: p. 8; Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2016-06"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 146-153, no. 28c", "url": ""}], "catalogue_raisonne": "Lemoisne 1249", "url": "https://clevelandart.org/art/1916.1043", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1043/1916.1043_web.jpg", "width": "671", "height": "900", "filesize": "364938", "filename": "1916.1043_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1043/1916.1043_print.jpg", "width": "2536", "height": "3400", "filesize": "4333894", "filename": "1916.1043_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1043/1916.1043_full.tif", "width": "11196", "height": "15012", "filesize": "504253356", "filename": "1916.1043_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1043/1916.1043_alt0_web.jpg", "width": "672", "height": "893", "filesize": "187824"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1043/1916.1043_alt0_print.jpg", "width": "1491", "height": "2048", "filesize": "2962050"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1043/1916.1043_alt0_full.tif", "width": "1491", "height": "2048", "filesize": "9164164"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95271, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "c. 1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ballet Girls"], "is_highlight": true, "updated_at": "2026-03-27 00:10:20.257000"}, {"id": 151969, "accession_number": "1984.41", "share_license_status": "CC0", "tombstone": "Mary Walker Waugh, 1868. William Holman Hunt (British, 1827\u20131910). Oil on fabric; framed: 115.5 x 95.5 x 6 cm (45 1/2 x 37 5/8 x 2 3/8 in.); unframed: 86.2 x 66.1 cm (33 15/16 x 26 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1984.41", "current_location": "220 19th Century European", "title": "Mary Walker Waugh", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 115.5 x 95.5 x 6 cm (45 1/2 x 37 5/8 x 2 3/8 in.); Unframed: 86.2 x 66.1 cm (33 15/16 x 26 in.)", "dimensions": {"framed": {"height": 1.155, "width": 0.955, "depth": 0.06}, "unframed": {"height": 0.862, "width": 0.661}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower left: 18whh68 [initials in monogram]; and signed again lower left: whh [monogram]\r\n\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}, {"id": 220486, "title": "Holman Hunt and the Pre-Raphaelite Vision", "description": "<i>Holman Hunt and the Pre-Raphaelite Vision</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (February 14-May 10, 2009); Minneapolis Institute of Art, Minneapolis, MN (June 13-September 6, 2009).", "opening_date": "2009-02-14T00:00:00"}], "legacy": [{"description": "<em>Portrait of a Lady. </em>Annual Exhibition Royal Academy, London, United Kingdom (1869).", "opening_date": null}, {"description": "<em>Paintings and Drawings by the Pre-Raphaelites and their Followers.</em> Russell-Coates Gallery. Bournemouth, United Kingdom (1951).", "opening_date": "1951-01-01T00:00:00"}, {"description": "<em>William Holman Hunt.</em> Walker Art Gallery, Liverpool, United Kingdom; Victoria and Albert Museum, London, United Kingdom (1969)", "opening_date": "1969-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Michael Joseph, the artist's daughter,  [1876-1951], London, United Kingdom,  by inheritance to her daughter, Mrs. Elizabeth Burt", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Mrs. Elizabeth Burt, London, United Kingdom consigned to Christie's for sale", "citations": [], "footnotes": null, "date": "1951-1961", "sortorder": 2}, {"description": "(Christie's, London, United Kingdom, March 17, 1961, lot 70, sold to Evelyn Waugh)", "citations": [], "footnotes": null, "date": "1961", "sortorder": 3}, {"description": "Auberon Evelyn Waugh [1903-1966], London. United Kingdom", "citations": [], "footnotes": null, "date": "1961", "sortorder": 4}, {"description": "(Christie's, London, United Kingdom, March 18,1983, lot 73, sold to Julian Hartnoll)", "citations": [], "footnotes": null, "date": "1983", "sortorder": 5}, {"description": "(Julian Hartnoll Gallery, London, United Kingdom, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1983-1984", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1984-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "British novelist Evelyn Waugh (1903\u20131966) once owned this portrait, which depicts his great aunt.", "description": "William Holman Hunt painted this portrait of Mary Walker Waugh (1805\u20131886)\u2014his mother-in-law\u2014during a time of personal tragedy. Waugh\u2019s daughter Fanny Waugh Hunt (1832\u20131866), the wife of the artist, had recently died following childbirth. References to loss of life infiltrate the composition: the sitter wears black mourning attire, and behind her is a screen decorated with red poppies, a traditional symbol of unconsciousness and lifelessness because of its pharmaceutical use as a source for opiates. In Victorian society, the red poppy also signified consolation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475313"], "internet_archive": ["https://archive.org/details/clevelandart-1984.41-mrs-george-waugh", "https://archive.org/details/clevelandart-1984.41-mary-walker-waugh"]}, "citations": [{"citation": "\"Royal Academy 101st Exhibition.\" <em>The Art-Journal </em>8 (July 1, 1869): 197-204.", "page_number": "Mentioned: P. 202", "url": null}, {"citation": "Graves, Algernon. <em>The Royal Academy of Arts; A Complete Dictionary of Contributors and Their Work from Its Foundation in 1769 to 1904</em>. London, United Kingdom: H. Graves and Co, 1905.", "page_number": "Reproduced: p. 200, vol. 4", "url": null}, {"citation": "Rossetti, William Michael, Dante Gabriel Rossetti, and Christina Georgina Rossetti. <em>Rossetti Papers 1862 to 1870</em>. New York, NY: AMS Press, 1970.", "page_number": "Mentioned: P. 304-305", "url": null}, {"citation": "<em>The Pre-Raphaelites</em>. London, United Kingdom, Tate Gallery, 1984.", "page_number": null, "url": null}, {"citation": "Turner, Evan H., \"The Year in Review for 1984.\" <em>The Bulletin of The Cleveland Museum of Art LXXII </em>no. no. 2 (April, 1985):163-207.", "page_number": "Reproduced: p. 186, no. 18; Mentioned: p. 200, no. 18", "url": null}, {"citation": "Holman-Hunt, Diana. <em>My Grandfather, His Wives and Loves</em>. London, United Kingdom: Columbus, 1987.", "page_number": "Reproduced: p. 261", "url": null}, {"citation": "Waugh, Auberon. \"Evelyn Waugh's Collection.\" <em>Antique</em> 5 (Summer 1987): 29.", "page_number": "Mentioned: P. 10", "url": null}, {"citation": "Amor, Anne Clark. <em>William Holman Hunt: The True Pre-Raphaelite</em>. London: Constable, 1989.", "page_number": "Reproduced: [plate 22]; mentioned: p. 199", "url": null}, {"citation": "Cole, Mark. \"A Haunting Portrait of by William Holman Hunt.\" <em>The Bulletin of The Cleveland Museum of Art LXXVII</em>, no. 10 (December, 1990): 354-365.", "page_number": "Reproduced: on cover", "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. 109", "url": null}, {"citation": "Christie, Manson &amp; Woods. <em>Fine Victorian Pictures, Drawings and Watercolours</em>. 1995.", "page_number": "Mentioned: P. 108", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. T<em>he Cleveland Museum of Art: Catalogue of Paintings, Part Four: European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 126", "url": null}, {"citation": "Bronkhurst, Judith. <em>William Holman Hunt: A Catalogue Raisonne\u0301</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2006.", "page_number": "Reproduced: p. 110", "url": null}, {"citation": "Christie, Manson &amp; Woods. <em>Victorian, Pre-Raphaelite &amp; British Impressionist Art. </em>London: Christie's, 2015.", "page_number": "Reproduced: p. 94, fig. 1", "url": null}], "url": "https://clevelandart.org/art/1984.41", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.41/1984.41_web.jpg", "width": "694", "height": "893", "filesize": "427003", "filename": "1984.41_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.41/1984.41_print.jpg", "width": "2641", "height": "3400", "filesize": "5448318", "filename": "1984.41_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.41/1984.41_full.tif", "width": "4009", "height": "5162", "filesize": "62115988", "filename": "1984.41_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 151969, "creators": [{"id": 1483, "description": "William Holman Hunt (British, 1827\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": "Holman Hunt exhibited an early aptitude for art, which his father, a warehouse manager, initially opposed but later tolerated. Between 1839 and 1843 he practiced drawing and studied with the portrait painter Henry Rogers while sustaining himself as an office clerk. Hunt met John Everett Millais (1829-1896) the same year that he entered the Royal Academy Schools, 1844. A decisive conversion in his attitude toward art came with the reading of John Ruskin's Modern Painters in 1847, immediately after which he embarked on a new style of conscientious naturalism in The Flight of Madeline and Porphyro During the Drunkenness Attending the Revelry (Guildhall, London), a picture inspired by John Keats's The Eve of St. Agnes. Hunt, Millais, and Dante Gabriel Rossetti (1828-1882), who were sharing studios, organized the Pre-Raphaelite Brotherhood in 1848. Rienzi Vowing to Obtain Justice for the Death of His Younger Brother (private collection), Hunt's only picture to be shown publicly with the inscription \"P.R.B.\" was exhibited at the Royal Academy the following summer. With its landscape painted directly from nature, its stylistic allusions to Quattrocento painting, and its medieval subject, Rienzi epitomized the Brotherhood's objectives of reinstating the moral and descriptive honesty of earlier Italian and Flemish painting. The brilliant coloring and crisp light of plein-air painting and an increasing deployment of symbolic details characterize Hunt's other early masterworks, A Converted British Family Sheltering a Christian Priest from the Persecution of the Druids (1850, Ashmolean Museum, Oxford), Valentine Rescuing Sylvia from Proteus (1851, Birmingham Museum and Art Gallery), and the abstrusely moralizing Hireling Shepherd (1851, Manchester City Art Galleries). In 1854, after having finished what would ultimately be his most popular image, The Light of the World (Kebble College, Oxford), Hunt voyaged to the Holy Land where he spent two years traveling from Cairo to Beirut. His intent was to paint religious subjects with archaeological precision. The typology of The Scapegoat (Lady Lever Art Gallery, Port Sunlight), much of which was painted on-site near the Dead Sea, proved too unintelligible for the general public when it was shown at the Royal Academy in 1856, but it remains a work of poignant genius. Subsequent trips to the Holy Land in 1869-72 and 1875-78 resulted in two of his finest late works, The Shadow of Death (1870-73, Manchester City Art Gallery) and The Triumph of the Innocents (1876-87, Walker Art Gallery, Liverpool). Much of Hunt's final years were devoted to writing, especially after his eyesight began to fail in the 1890s, although he managed to finish in 1905, after nearly two decades of labor, his last great picture, The Lady of Shalott (Wadsworth Atheneum, Hartford).", "name_in_original_language": null, "birth_year": "1827", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1984-05-21T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:19.756000"}, {"id": 115165, "accession_number": "1935.312", "share_license_status": "CC0", "tombstone": "Knife-sheath tip (sika boha), 1800s. Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild. Gold; overall: 8.7 cm (3 7/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1935.312", "current_location": "108C African Jewelry and Metalwork", "title": "Knife-sheath tip (sika boha)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1896, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Arms and Armor", "measurements": "Overall: 8.7 cm (3 7/16 in.)", "dimensions": {"overall": {"length": 0.087}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"id": 297093, "title": "The Power of Gold: Asante Royal Regalia from Ghana", "description": "<i>The Power of Gold: Asante Royal Regalia from Ghana</i>. The Dallas Museum of Art, Dallas, TX (organizer) (April 15-August 12, 2018).", "opening_date": "2018-04-15T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935: \"African Negro Art,\" cat. no. 162, (also to CMA 9/27 - 10/27, 1935).", "opening_date": "1927-09-01T00:00:00"}, {"description": "NY: The Brooklyn Museum, Masterpieces of African Art, October 18, 1954-January 2, 1955, no 31.", "opening_date": "1954-10-18T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68.", "opening_date": "2000-02-01T00:00:00"}]}, "provenance": [{"description": "Treasury of asantehene (King) Agyeman Prempeh I, Kumasi, Ghana", "citations": [], "footnotes": ["<div><!--block-->Exhibition Catalogue <em>African Negro Art</em> (1935), cat. no. 162; Original object card (CMA Curatorial File)</div>"], "date": "?\u20131896", "sortorder": 1}, {"description": "(Charles Ratton Gallery, Paris, France via Pierre Matisse, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Exhibition Catalogue <em>African Negro Art</em> (1935), cat. no. 162; Original object card (CMA Curatorial File)</div>"], "date": "?\u20131935", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gold objects like this were frequently melted down to make new objects in new fashions.", "description": "Gold sheaths covered the cast iron blade of a king\u2019s ceremonial knife (<em>sikay</em>), wrapping them with symbolism. In Akan states like the Asante Kingdom, gold embodies life force (<em>kra</em>) and is the sun\u2019s earthly counterpart. Only goldsmiths\u2019 guild members could make gold ornaments for the royals and their entourage, or for the royal treasury. Here, the goldsmith used a tool to push the raised floral, leaf, and geometric designs from the back of a soft sheet of gold (repouss\u00e9 technique). Small dots outlining some motifs were punched into the metal. Similarly decorated gold sheets and solid ornaments capped a knife\u2019s handle.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008272"], "internet_archive": ["https://archive.org/details/clevelandart-1935.312-knife-sheath-tip-sik"]}, "citations": [{"citation": "Wixom, William D. \u201cAfrican Art in the Cleveland Museum of Art.\u201d <em>African Arts</em> 10, no. 3 (April 1977): 16-24.", "page_number": "Repr. p. 21.", "url": ""}, {"citation": "Milliken, William. \"Exhibition of Gold.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 9 (November 1947): 211-212.", "page_number": "Mentioned: p. 211-212; Reproduced: p. 235", "url": "https://www.jstor.org/stable/25141408"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 19, p. 68 - 69", "url": ""}, {"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art</em>. New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 39, no. 162.", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935.</em> New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 22; reproduced: p. 23, fig. 13, p. 68, no. 18.", "url": null}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 112", "url": null}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955.</em> [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 39", "url": null}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter. <em>African Art in American Collections, Survey 1989</em>. Washington: Smithsonian Institution Press, 1989.", "page_number": "Reproduced and mentioned: pp. 202-203, fig. 513", "url": null}, {"citation": "Walker, Roslyn A., Martha J. Ehrlich, Christraud M. Geary, M. D. McLeod, and Doran H. Ross. <em>The Power of Gold: Asante Royal Regalia from Ghana. </em>Yale University Press, New Haven and London. Dallas : Dallas Museum of Art, 2018.", "page_number": "Mentioned: p. 29; reproduced: p. 95, cat. 42", "url": null}], "url": "https://clevelandart.org/art/1935.312", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.312/1935.312_web.jpg", "width": "510", "height": "893", "filesize": "210858", "filename": "1935.312_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.312/1935.312_print.jpg", "width": "1941", "height": "3400", "filesize": "3289177", "filename": "1935.312_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.312/1935.312_full.tif", "width": "2905", "height": "5088", "filesize": "44362988", "filename": "1935.312_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115165, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:00.388000"}, {"id": 131338, "accession_number": "1954.129", "share_license_status": "CC0", "tombstone": "Fl\u00fcelen, from the Lake of Lucerne, 1845. Joseph Mallord William Turner (British, 1775\u20131851). Watercolor with gouache and scratch-away; sheet: 29.2 x 47.9 cm (11 1/2 x 18 7/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1954.129", "current_location": null, "title": "Fl\u00fcelen, from the Lake of Lucerne", "creation_date": "1845", "creation_date_earliest": 1840, "creation_date_latest": 1850, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with gouache and scratch-away", "support_materials": [{"description": "cream(3) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 29.2 x 47.9 cm (11 1/2 x 18 7/8 in.)", "dimensions": {"sheet": {"height": 0.292, "width": 0.479}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "MFA Boston label on verso: \"Special Loan Exh. Turner, Constable and Bonington, lent by Wedgewood\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361411, "title": "Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner", "description": "<i>Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner</i>. Indianapolis Museum of Art, Indianapolis, IN (organizer) (November 12, 1955-December 25, 1995); Dayton Art Institute, Dayton, OH (January 1-31, 1956).", "opening_date": "1955-11-12T05:00:00"}, {"id": 361412, "title": "Joseph Mallord William Turner: Watercolors and Drawings", "description": "<i>Joseph Mallord William Turner: Watercolors and Drawings</i>. Otto Gerson Gallery, New York, NY (organizer) (November 9-December 10, 1960).", "opening_date": "1960-11-09T05:00:00"}, {"id": 302281, "title": "Landscape", "description": "<i>Landscape</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 9-April 22, 1962).", "opening_date": "1962-01-09T05:00:00"}, {"id": 302279, "title": "Water Color", "description": "<i>Water Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-August 27, 1962).", "opening_date": "1962-06-06T04:00:00"}, {"id": 361413, "title": "Ruskin and His Circle", "description": "<i>Ruskin and His Circle</i>. Arts Council of Great Britain (organizer) (January 17-February 15, 1964).", "opening_date": "1964-01-17T05:00:00"}, {"id": 361392, "title": "Romantic Art in Britain: Paintings and Drawings 1760-1860", "description": "<i>Romantic Art in Britain: Paintings and Drawings 1760-1860</i>. The Detroit Institute of Arts (organizer) (January 9-February 11, 1968); Philadelphia Museum of Art (March 14-April 21, 1968).", "opening_date": "1968-01-09T05:00:00"}, {"id": 302662, "title": "Turner Watercolors from The British Museum", "description": "<i>Turner Watercolors from The British Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 27-November 27, 1977).", "opening_date": "1977-09-27T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}, {"id": 311485, "title": "Victorian Landscape Watercolors", "description": "<i>Victorian Landscape Watercolors</i>. The Cleveland Museum of Art, Cleveland, OH (November 18, 1992-January 3, 1993).", "opening_date": "1992-09-09T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}, {"id": 453007, "title": "Julie Mehretu: Portals", "description": "<i>Julie Mehretu: Portals</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 13, 2022).", "opening_date": "2022-07-16T04:00:00"}], "legacy": [{"description": "<em>Pictures and Drawings by J.M.W. Turner, R.A. </em>London Art Gallery (1899).", "opening_date": null}, {"description": "<em>An Exhibition of Paintings, Drawings, and Prints by J.M.W. Turner, John Constable, and R.P. Bonington</em>. Museum of Fine Arts, Boston (March 21 - April 28, 1946).", "opening_date": "1946-03-21T00:00:00"}, {"description": "<em>An Exhibition of Paintings by J.M.W. Turner (1775-1851) to Commemorate the Centennial of His Death.</em> Art Gallery of Ontario, Toronto; National Gallery of Canada, Ottawa (October - December, 1951).", "opening_date": "1951-10-01T00:00:00"}]}, "provenance": [{"description": "Hugh A. J. Munro of Novar?", "citations": [], "footnotes": ["<div><!--block-->\"Windus\" is inscribed on the verso of the sample study, and while B. G. Windus may have commissioned the work, Munro of Novar was apparently the first owner; for the most recent and exact commentary, see London 1995, 152-4.</div>"], "date": "?-before 1850", "sortorder": 1}, {"description": "Rev. C. Upham Barry, Ryde, Isle of Wight, by descent to his daughter", "citations": [], "footnotes": [], "date": "by c. 1850-?", "sortorder": 2}, {"description": "His daughter, wife of Colonel P. G. Hewitt, Ryde, Isle of Wight", "citations": [], "footnotes": [], "date": "?-1884", "sortorder": 3}, {"description": "(her sale Christie's, London, March 25, 1884, no. 139)", "citations": [], "footnotes": [], "date": "1884", "sortorder": 4}, {"description": "Ralph Brocklebank Sr., Haughton Hall, Tarporley", "citations": [], "footnotes": [], "date": "after 1884-?", "sortorder": 5}, {"description": "Ralph Brocklebank Jr., Haughton Hall,. Tarporley", "citations": [], "footnotes": [], "date": "?-1922", "sortorder": 6}, {"description": "(his sale, Christie's, London, July 7, 1922, no. 34)", "citations": [], "footnotes": [], "date": "1922", "sortorder": 7}, {"description": "(Thomas Agnew and Sons, London)", "citations": [], "footnotes": [], "date": "after 1922-?", "sortorder": 8}, {"description": "Grace Rainey Rogers [1867-1943], New York, NY", "citations": [], "footnotes": [], "date": "?-1943", "sortorder": 9}, {"description": "(her sale, Parke-Bernet Galleries, New York, November 18, 1943, no. 41)", "citations": [], "footnotes": [], "date": "1943", "sortorder": 10}, {"description": "Walter F. Wedgwood, New York, NY", "citations": [], "footnotes": [], "date": "after 1943-?", "sortorder": 11}, {"description": "(Durlacher Brothers, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1954", "sortorder": 12}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1954-", "sortorder": 13}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The art critic John Ruskin described the series of watercolors to which this work belongs as \"sunset drawings,\" referring to to the fact that they were made at the end of Turner's career rather than their subject matter.", "description": "In this watercolor, created late in his life, J.M.W. Turner depicted the small Swiss town of Fl\u00fcelen and its shimmering reflection out of violet-colored mist. The work belongs to a group of highly finished works that the artist created during several summer trips to Switzerland between 1841 and 1845. The swirling vortex of light underscores the grandeur of nature, while the inclusion of figures going about their daily lives within the vastness of the Alps is a reminder of the reality of the scene. At the time he painted this view, Turner was considered the great master of Romantic landscape painting in England.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781248"], "internet_archive": ["https://archive.org/details/clevelandart-1954.129-fluelen-from-the-lak"]}, "citations": [{"citation": "Temple, A. G.<em> Catalogue of the Loan Collection of Pictures and Drawings by J.M.W. Turner, and of a Selection of Pictures by Some of His Contemporaries. </em>Exh. Cat. London: East &amp; Blades, 1899.", "page_number": "Mentioned and reproduced: pp. 19-20, 112, no. 150", "url": "https://hdl.handle.net/2027/hvd.32044033979956"}, {"citation": "Wedmore, Frederick, ed. <em>Turner and Ruskin: An Exposition of the Work of Turner from the Writings of Ruskin</em>. London: G. Allen, 1900.", "page_number": "Mentinoed: vol. 2, p. xi; Reproduced: opposite p. 294", "url": null}, {"citation": "Armstrong, Sir Walter. <em>Turner</em>. London: T. Agnew, 1902.", "page_number": "Mentioned: vol. 2, p. 264", "url": "https://hdl.handle.net/2027/gri.ark:/13960/t8ff72v44"}, {"citation": "Carter, R. Radcliffe. <em>Pictures and Engravings at Haughton Hall Tarporley in the Possession of Ralph Brocklebank</em>. London: George Allen, 1904.", "page_number": "Mentioned: pp. xi, xv, 87, no. 77; Reproduced: no. 77", "url": null}, {"citation": "Constable, W. G., and Henry Preston Rossiter. <em>An Exhibition of Paintings, Drawings and Prints by J.M.W. Turner, John Constable and R.P. Bonington</em>. Exh. Cat. Boston: Museum of Fine Arts, 1946.", "page_number": "Mentioned: p. 21, no. 44", "url": null}, {"citation": "<em>An Exhibition of Paintings by J.M.W. Turner (1775-1851) to Commemorate the Centennial of His Death.</em> Exh. Cat. Toronto: Art Gallery of Toronto, National Gallery of Canada, 1951.", "page_number": "Mentioned and reproduced: p. 11", "url": null}, {"citation": "\"Accessions of American and Canadian Museums, October - December 1953.\" <em>Art Quarterly </em>7 (Summer 1954).", "page_number": "Mentioned: p. 183", "url": null}, {"citation": "Francis, Henry. \"A Water Color by J.M.W. Turner in the Cleveland Museum of Art.\" <em>Art Quarterly</em> 17 (Winter 1954): 427-9.", "page_number": "Mentioned: pp. 427-9; Reproduced: p. 429", "url": null}, {"citation": "Francis, Henry Sayles. \"A Water Color by J. M. W. Turner.\" <em>Bulletin of the Cleveland Museum of Art</em> 41, no. 9 (1954): 201-3.", "page_number": "Mentioned: pp. 201-3", "url": "https://www.jstor.org/stable/25141990"}, {"citation": "<em>Turner in America: Oils, Water Colors, Drawings, and Some Engraved Works of Joseph Mallord William Turner</em>, <em>English, 1775-1851.</em> Exh. Cat. Indianapolis: Art Association of Indianapolis, 1955.", "page_number": "Mentioned and reproduced: no. 47", "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. 477", "url": "https://archive.org/details/CMAHandbook1958/page/n87"}, {"citation": "<em>Great Master Drawings of Seven Centuries</em>. Exh. Cat. New York: Wittenborn, 1959.", "page_number": "Mentioned: pp. 91-92, no. 84; Reproduced: pl. LIX", "url": null}, {"citation": "<em>Joseph Mallord William Turner, Watercolors and Drawings. </em>Exh. Cat. New York: Otto Gerson Gallery, 1960.", "page_number": "Mentioned and reproduced: no. 43", "url": null}, {"citation": "<em>Ruskin and His Circle.</em> Exh. Cat. London: London Arts Council, 1964.", "page_number": "Mentioned: p. 31, no. 104", "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. 183", "url": "https://archive.org/details/CMAHandbook1966/page/n207"}, {"citation": "Hawes, Louis. \"Turner in New York.\" <em>Burlington Magazine </em>108, no. 759 (1966): 311-16.", "page_number": "Mentioned: p. 312", "url": "www.jstor.org/stable/874986"}, {"citation": "Cummings, Frederick J., and Allen Staley.<em> Romantic Art in Britain; Paintings and Drawings, 1760-1860</em>. Exh. Cat. Detroit: Detroit Institute of Arts, 1968.", "page_number": "Mentioned: p. 15, 26, 196-8, no. 121; Reproduced: no. 121", "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. 183", "url": "https://archive.org/details/CMAHandbook1969/page/n207"}, {"citation": "Cormack, Malcolm. <em>J.M.W. Turner, R.A., 1775-1851</em>. Exh. Cat. Cambridge: Fitzwilliam, 1975.", "page_number": "Mentioned: p. 70, under no. 44", "url": null}, {"citation": "Wilton, Andrew. <em>Turner in the British Museum: Drawings and Watercolours</em>. Exh. Cat. London: British Museum, 1975.", "page_number": "Mentioned: p. 157, under no. 287", "url": null}, {"citation": "Wilton, Andrew. <em>Turner in Switzerland</em>. Zu\u0308rich: De Clivo, 1976.", "page_number": "Mentioned: p. 139, no. 93", "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. 208", "url": "https://archive.org/details/CMAHandbook1978/page/n228"}, {"citation": "Wilton, Andrew. <em>J.M.W. Turner: His Art and Life</em>. New York: Secaucus, 1979.", "page_number": "Mentioned: p. 244, 478, under no. 1483, 486, no. 1549; Reproduced: fig. 1549", "url": null}, {"citation": "\"Visions of Landscape East and West.\" <em>Asia</em> 4, no. 5 (January/February 1982): 24-9.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "Ditner, David C. \"Claude and the Ideal Landscape Tradition in Great Britain.\" <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 4 (1983): 147-63.", "page_number": "Mentioned: pp. 159-60, 163 n. 48; Reproduced: fig. 9", "url": "www.jstor.org/stable/25159812"}, {"citation": "Wilton, Andrew. <em>Turner in His Time</em>. New York: Thames and Hudson, 1987.", "page_number": "Mentioned: p. 213", "url": null}, {"citation": "Wilcox, Scott, and Christopher Newall.<em> Victorian Landscape Watercolors. </em>Exh. Cat. New Haven: Yale Center for British Art, 1992.", "page_number": "Mentioned: pp. 72-3, no. 8; Reproduced: p. 73", "url": null}, {"citation": "<em>J.M.W. Turner, 1775-1851: Watercolours and Drawings from the Turner Bequest</em>. Exh. Cat. Charleroi: Palais des Beaux-Arts, 1994.", "page_number": "Mentioned: p. 242, under no. 83", "url": null}, {"citation": "Warrell, Ian. <em>Through Switzerland with Turner</em>. Exh. Cat. London: Tate Gallery, 1995.", "page_number": "Mentioned: p. 79, under no. 38, p. 150, 154; Reproduced: fig. 50", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 8, 192-3, 294-5; Reproduced: p. 193", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 162", "url": ""}, {"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. 78", "url": null}, {"citation": "Imhof, Michael, and J. M. W. Turner. William Turner: Leben und Werk. Petersberg : Michael Imhof Verlag, 2023.", "page_number": "Reproduced: p. 232", "url": ""}], "url": "https://clevelandart.org/art/1954.129", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.129/1954.129_web.jpg", "width": "1263", "height": "772", "filesize": "169517", "filename": "1954.129_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.129/1954.129_print.jpg", "width": "3400", "height": "2079", "filesize": "1266382", "filename": "1954.129_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.129/1954.129_full.tif", "width": "6376", "height": "3900", "filesize": "74623620", "filename": "1954.129_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131338, "creators": [{"id": 1280, "description": "Joseph Mallord William Turner (British, 1775\u20131851)", "extent": null, "qualifier": null, "role": "artist", "biography": "Joseph Mallord William Turner, the supreme landscape painter of the romantic era, had the exceptional good fortune to be the son of a Covent Garden barber and wigmaker who thoroughly supported his aspirations to paint pictures. As an adolescent, Turner colored engravings for the print sellers and apprenticed with architectural draftsman Thomas Malton (1726-1801). Although he entered the Royal Academy Schools in 1789, Turner's substantive artistic training came from his numerous self-conducted topographical drawing tours of the British Isles in the early 1790s and from his camaraderie with Thomas Girtin (1775-1802), with whom he copied the masterworks of landscape watercolorist John Robert Cozens (1752-1799) in the collection of Dr. Thomas Monro (1759-1833). Turner submitted his first oil painting, a seascape, for exhibition at the Royal Academy in 1796 and was elected an associate member three years later, at the earliest permissible age. Devoted to the academy's lofty mission, as it had been articulated by the recently deceased Sir Joshua Reynolds (1723-1792) in his annual lectures to the students of the academy, Turner would relish his election as a full academician in 1802 and would serve as professor of perspective from 1807 until 1837. His masterpieces of the early decades (and there seems an endless succession of works with title to that distinction) were either homages to past masters of landscape painting or entirely personal interpretations of the most extraordinary range of naturalistic effects and subjects. Whether it was The Fifth Plague of Egypt (1800, Indianapolis Museum of Art) and its amalgam of allusions to Nicolas Poussin (1594-1665) and Richard Wilson (1714-1782), The Dort Packet-Boat from Rotterdam Becalmed (1818, Yale Center for British Art, New Haven), with its overt tribute to Aelbert Cuyp (1620-1691), or The Fall of an Avalanche in the Grisons (1810, Tate Gallery, London), with its unprecedented invention of horrific naturalistic detail that challenged conventional notions of the sublime in art, the net effect of Turner's achievement was to elevate landscape painting to a status within the traditional hierarchy of genres that it had rarely enjoyed since the seventeenth century. Unlike Constable (q.v.), Turner was an indefatigable traveler abroad. His first visit to Switzerland in 1802 resulted in a spectacular series of exhibition watercolors that boldly established watercolor painting as a vital medium of original expression. A tour of Belgium, the Netherlands, and the Rhine in 1817 was followed by his first protracted stay in Italy in 1819. After 1820 summer excursions to France, Germany, Switzerland, Italy, and especially Venice were almost annual occurrences. Gradually, and primarily after the 1819 Italian sojourn, Turner's palette lightened. Traditional notions of chiaroscuro, of alternating bands of light and dark earth colors, yielded to compositions orchestrated in brighter hues, in which the various colors move across the painted surface almost at will, little respecting the forms they describe but in perfect balance.\r\nDuring the 1820s and early 1830s Turner committed vast amounts of his creative capital to the production of literary and travel illustrations. These kept an entire generation of engravers employed for several decades. Despite the tendency of his era to stigmatize reproductive engraving as an inferior instrument of artistic presentation, Turner was preoccupied with its processes and potential, acutely aware that, long after his pigments had faded, his reputation would be secure in the more durable brilliance of the engraver's deftly crafted reproductions. A second trip to Italy in 1828 may partially account for the heightened coloring of Ulysses Deriding Polyphemus (1828, National Gallery, London), which John Ruskin described as a pivotal picture in Turner's career. But there was very little falling off in either technical or thematic invention during the last decades of Turner's life. In major oils like Snow Storm-Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London) and Rain, Steam and Speed (1844, National Gallery, London) and no less measure in the series of elaborately finished Swiss watercolors executed on commission at the end of his life, natural forms occupy an uncertain place between concrete reality and total dissolution by light into the colors and images of what Monet (q.v.) admiringly called the \"exuberant romanticism of Turner's fancy.\" Perspective can be intentionally distorted and the color schemes can approach the brazenly artificial, yet somehow the fundamental truth of Turner's vision, his faith in the supreme forces of nature and in the artist's preeminence as the mediator of that experience, continues to persuade.", "name_in_original_language": null, "birth_year": "1775", "death_year": "1851", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-02-04T00:00:00", "sortable_date": 1840, "date_added_to_oa": null, "date_text": "1845", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Fl\u00fcelen - Lake of Lucerne", "Fluelen, from the Lake", "Fluelen, Lake of Lucerne", "Lake of Lucerne: Fluelen from the Bay of Uri"], "is_highlight": false, "updated_at": "2026-04-09 18:01:24.275000"}, {"id": 123703, "accession_number": "1944.235", "share_license_status": "CC0", "tombstone": "Ceremonial Spittoon or Basin, late 1800s. Europe. Glass with enameled and gilded decoration; diameter: 31.8 cm (12 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1944.235", "current_location": "116 Islamic", "title": "Ceremonial Spittoon or Basin", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Europe"], "technique": "glass with enameled and gilded decoration", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Glass", "measurements": "Diameter: 31.8 cm (12 1/2 in.)", "dimensions": {"diameter": {"width": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312146, "title": "Islamic Art", "description": "<i>Islamic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3, 1944-February 2, 1945).", "opening_date": "1944-11-03T04:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 207268, "title": "Glass of the Sultans", "description": "<i>Glass of the Sultans</i>. The Corning Museum of Glass, Corning, NY (May 24-September 3, 2001); The Metropolitan Museum of Art, New York, NY (organizer) (October 2, 2001-January 13, 2002); Benaki Museum, Athens, Greece (February 20-May 15, 2002).", "opening_date": "2001-05-24T00:00:00"}, {"id": 396857, "title": "Art of the Islamic World (Islamic art rotation)", "description": "<i>Art of the Islamic World (Islamic art rotation)</i>. The Cleveland Museum of Art (organizer) (May 21, 2021-May 31, 2022).", "opening_date": "2021-05-21T04:00:00"}], "legacy": [{"description": "<em>The Arts of Islam</em>. Hayward Gallery, London, UK (April 8-July 4, 1976).", "opening_date": "1976-04-08T00:00:00"}, {"description": "<em>Renaissance of Islam: Art of the Mamluks</em>. The Smithsonian Institution, Washington, DC (May 14-July 19, 1981); The Minneapolis Institute of Arts, Minneapolis, MN (August 15-October 11, 1981); Metropolitan Museum of Art, New York, NY (November 7, 1981-January 3, 1982); Cincinnati Art Museum, Cincinnati, OH (February 6-April 4, 1982); The Detroit Institute of Arts, Detroit, MI (April 24-June 20, 1982); Phoenix Art Museum, Phoenix, AZ (January 8, 1983-March 6, 1983); Wadsworth Atheneum, Hartford, CT (April 2-May 29, 1983).", "opening_date": "1981-05-14T00:00:00"}]}, "provenance": [{"description": "(Heeramaneck Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1944", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1944-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The intense enamel colors form striking star and leaf patterns.", "description": "This basin, as with the mosque lamp <a href=\"https://www.clevelandart.org/art/1981.10\">CMA 1981.10</a>, is representative of reproductions of Mamluk glass that were prominent in the late 1800s in Europe during a period of resurgence of interest in Islamic art. At this time, collectors and artists revived the techniques of enameling and gilding that are hallmarks of Mamluk glass.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79901012"], "internet_archive": ["https://archive.org/details/clevelandart-1944.235-ceremonial-spittoon"]}, "citations": [{"citation": "\"Part II. Annual Report Issue for the Year 1944.\" <em>The Bulletin of the Cleveland Museum of Art</em> 32, no. 6 (1945): 103-30.", "page_number": "Mentioned: p. 107", "url": "https://www.jstor.org/stable/25141221"}, {"citation": "Hollis, Howard. \"Two Examples of Arabic Enameled Glass.\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 10 (December 1945): 179-181.", "page_number": "Reproduced: p. 178; Mentioned: p. 180", "url": "https://www.jstor.org/stable/25141241"}, {"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. 716", "url": "https://archive.org/details/CMAHandbook1958/page/n130"}, {"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. 210", "url": "https://archive.org/details/CMAHandbook1966/page/n234"}, {"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. 210", "url": "https://archive.org/details/CMAHandbook1969/page/n234"}, {"citation": "Jones, Dalu and George Michell. <em>The Arts of Islam: Hayward Gallery, 8 April-4 July 1976</em>. London: Arts Council of Great Britain, 1976.", "page_number": "cat. no. 143, p. 146", "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. 266", "url": "https://archive.org/details/CMAHandbook1978/page/n286"}, {"citation": "At\u0131l, Esin. <em>Renaissance of Islam: Art of the Mamluks</em>. Washington, DC: Smithsonian Institution Press, 1981.", "page_number": "Reproduced: cat. no. 51, p. 132", "url": null}], "url": "https://clevelandart.org/art/1944.235", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.235/1944.235_web.jpg", "width": "1192", "height": "893", "filesize": "668175", "filename": "1944.235_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.235/1944.235_print.jpg", "width": "3400", "height": "2548", "filesize": "5255121", "filename": "1944.235_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.235/1944.235_full.tif", "width": "4992", "height": "3742", "filesize": "56068260", "filename": "1944.235_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt0_web.jpg", "width": "1060", "height": "893", "filesize": "655066"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt0_print.jpg", "width": "1823", "height": "1536", "filesize": "2031868"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt0_full.tif", "width": "1823", "height": "1536", "filesize": "8403636"}}, {"date_created": "2010-11-18T16:28:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt1_web.jpg", "width": "1263", "height": "802", "filesize": "577193"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt1_print.jpg", "width": "3400", "height": "2158", "filesize": "4274010"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt1_full.tif", "width": "4952", "height": "3144", "filesize": "46734096"}}, {"date_created": "2010-11-18T16:51:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt2_web.jpg", "width": "1263", "height": "834", "filesize": "689553"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt2_print.jpg", "width": "3400", "height": "2246", "filesize": "4771665"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt2_full.tif", "width": "5316", "height": "3512", "filesize": "56037056"}}, {"date_created": "2010-11-18T16:57:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt3_web.jpg", "width": "1245", "height": "893", "filesize": "708896"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt3_print.jpg", "width": "3400", "height": "2439", "filesize": "5057271"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt3_full.tif", "width": "5033", "height": "3611", "filesize": "54550472"}}, {"date_created": "2010-11-18T17:09:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt4_web.jpg", "width": "1193", "height": "893", "filesize": "678919"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt4_print.jpg", "width": "3400", "height": "2545", "filesize": "5411055"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt4_full.tif", "width": "6668", "height": "4992", "filesize": "99887892"}}, {"date_created": "2010-11-18T17:17:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt5_web.jpg", "width": "1114", "height": "893", "filesize": "582962"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt5_print.jpg", "width": "3400", "height": "2725", "filesize": "5022587"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt5_full.tif", "width": "5384", "height": "4316", "filesize": "69740804"}}, {"date_created": "2010-11-18T17:22:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt6_web.jpg", "width": "1222", "height": "893", "filesize": "746688"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt6_print.jpg", "width": "3400", "height": "2485", "filesize": "5259702"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.235/1944.235_alt6_full.tif", "width": "5129", "height": "3749", "filesize": "57714928"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123703, "creators": [], "legal_status": "accessioned", "accession_date": "1944-05-01T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Bowl"], "is_highlight": false, "updated_at": "2026-03-27 00:03:57.763000"}, {"id": 124078, "accession_number": "1944.80", "share_license_status": "CC0", "tombstone": "Pond at Ville-d'Avray, late 1860s. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; framed: 87 x 127 x 11 cm (34 1/4 x 50 x 4 5/16 in.); unframed: 58.1 x 99.4 cm (22 7/8 x 39 1/8 in.). The Cleveland Museum of Art, Elisabeth Severance Prentiss Collection, 1944.80", "current_location": "220 19th Century European", "title": "Pond at Ville-d'Avray", "creation_date": "late 1860s", "creation_date_earliest": 1865, "creation_date_latest": 1869, "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: 87 x 127 x 11 cm (34 1/4 x 50 x 4 5/16 in.); Unframed: 58.1 x 99.4 cm (22 7/8 x 39 1/8 in.)", "dimensions": {"framed": {"height": 0.87, "width": 1.27, "depth": 0.11}, "unframed": {"height": 0.581, "width": 0.994}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in black paint lower right corner: corot\r\n\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 302281, "title": "Landscape", "description": "<i>Landscape</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 9-April 22, 1962).", "opening_date": "1962-01-09T05:00:00"}], "legacy": [{"description": "Museum of Fine Arts, Boston, MA (July 3, 1917-November 21, 1919).", "opening_date": "1917-07-03T00:00:00"}, {"description": "<em>French Art since Eighteen Hundred</em>. The Cleveland Museum of Art, Cleveland, OH (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "<em>Corot 1796-1875</em>. Art Institute of Chicago, Chicago, IL (1960).", "opening_date": "1960-01-01T00:00:00"}]}, "provenance": [{"description": "After 1919 Mrs. Francis F. Prentiss [1865-1944] Cleveland, OH, bequeathed to the Cleveland Museum of Art, 1944.", "citations": [], "footnotes": [], "date": "after 1919-1944", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1944-", "sortorder": 4}, {"description": "M. Goupil. J. Quincy Shaw, Boston, MA, by 1917.", "citations": [], "footnotes": [], "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["598.20", "2560.29"], "did_you_know": "The dreamlike quality of the painting reflects Corot\u2019s desire to reproduce the \u201cfirst Impression\u201d of the landscape.", "description": "Corot painted this view of a pond near his home at Ville-d'Avray, just west of Paris, in his late style distinguished by soft, hazy forms and gentle, silvery light. Such paintings merge his lifelong study of nature with nostalgic memories and contrast sharply with the more formal compositions and precisely rendered shapes of his early landscapes. Corot's devotion to the direct study of nature was a major influence on the Impressionists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q18177342"], "internet_archive": ["https://archive.org/details/clevelandart-1944.80-pond-at-ville-d-avra"]}, "citations": [{"citation": "Robaut, Alfred and Etienne Moreau-Ne\u0301laton. <em>L'\u0152uvre de Corot</em>. Paris, France: H. Floury, 1905.", "page_number": null, "url": null}, {"citation": "<em>Catalogue of the Elisabeth Severance Prentiss Collection : Bequest of Elisabeth Severance Prentiss, 1944.</em> [Cleveland]: The Cleveland Museum of Art, 1944.", "page_number": "Mentioned: p. 21-22, cat. no. 3; Reproduced: p. [24], Plate X, cat. no. 3", "url": "https://archive.org/details/Prentiss/page/n25"}, {"citation": "Francis, Henry S. \"Paintings in the Prentiss Bequest.\" <em>The Bulletin of The Cleveland Museum of Art XXXI</em>, no.6 (June,1944):87-89.", "page_number": "Mentioned: p. 89", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 210, vol. 2", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1966/page/n193"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1969/page/n193"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 209", "url": "https://archive.org/details/CMAHandbook1978/page/n229"}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 66", "url": null}, {"citation": "Matheron, Genevie\u0300ve. <em>Corot a Ville-d'Avray: decembre 1987, Muse\u0301e de Ville-D'Avray au cha\u0302teau ... : exposition</em>. Ville-d'Avray, France: Le Muse\u0301e, 1987.", "page_number": "Reproduced: fig. 21", "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. 44", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH: 1999.", "page_number": "Reproduced: p. 57", "url": null}], "url": "https://clevelandart.org/art/1944.80", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.80/1944.80_web.jpg", "width": "1263", "height": "745", "filesize": "671929", "filename": "1944.80_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.80/1944.80_print.jpg", "width": "3400", "height": "2006", "filesize": "4941912", "filename": "1944.80_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.80/1944.80_full.tif", "width": "5493", "height": "3241", "filesize": "53438184", "filename": "1944.80_full.tif"}}, "alternate_images": [{"date_created": "2007-07-24T15:03:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.80/1944.80_alt0_web.jpg", "width": "1263", "height": "737", "filesize": "654359"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.80/1944.80_alt0_print.jpg", "width": "3400", "height": "1984", "filesize": "5050483"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.80/1944.80_alt0_full.tif", "width": "6312", "height": "3683", "filesize": "69772796"}}], "creditline": "Elisabeth Severance Prentiss Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 124078, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1944-03-17T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "late 1860s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ville-d'Avray", "Ville-D'Avray, A Peasant Cutting Reeds in a Swamp"], "is_highlight": false, "updated_at": "2026-04-01 14:34:38.885000"}, {"id": 148153, "accession_number": "1975.152", "share_license_status": "CC0", "tombstone": "Helmet Mask, early to mid-1900s. Africa, West Africa, C\u00f4te d'Ivoire, Senufo-style carver. Wood, upholstery studs, and colorant; overall: 34.9 cm (13 3/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.152", "current_location": "108A African", "title": "Helmet Mask", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, Senufo-style carver"], "technique": "Wood, upholstery studs, and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 34.9 cm (13 3/4 in.)", "dimensions": {"overall": {"height": 0.349}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 204227, "title": "Senufo: Art and Identity in West Africa", "description": "<i>Senufo: Art and Identity in West Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-May 31, 2015); Saint Louis Art Museum, St. Louis, MO (June 28-September 27, 2015); Mus\u00e9e Fabre, Montpellier, France (November 28, 2015-March 6, 2016).", "opening_date": "2015-02-22T00:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 22, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1976: \"Year in Review 1975,\" CMA Bulletin LXIII Feb., 1976), p. 66, no. 29, repr. p. 64", "opening_date": "1976-02-01T00:00:00"}, {"description": "The Cleveland Museum of Art (2/22/15-5/31/15) Saint Louis Art Museum (6/28/15/-9/27/15) Mus\u00e9e Fabre, montpellier France (11/28/15-3/6/16) \"Senufo: Art Identity in West Africa;", "opening_date": "2015-02-22T00:00:00"}]}, "provenance": [{"description": "J. J. Klejman, New York, NY", "citations": [], "footnotes": ["<div><!--block-->Recorded on an undated info sheet (c. 1969) in curatorial file</div>"], "date": "1963    ", "sortorder": null}, {"description": "Katherine C. White [1929-1980], Gates Mills, OH, by purchase from the above", "citations": [], "footnotes": ["<div><!--block-->1966 \u2013 1970&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Lived in Gates Mills, OH (articles also mention Bratenahl, OH). Known as&nbsp;</div><div><!--block-->Katherine White Reswick, Katherine C. White (Reswick), Mrs. James B. Reswick</div>"], "date": "?\u20131975", "sortorder": null}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1975\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["620.68"], "did_you_know": "Cowrie shells, feathers, and other accessories once decorated this helmet.", "description": "This type of helmet was worn in rituals demonstrating a boy\u2019s transition from one age group to the next, prior to his actual initiation into the secret Poro society. The pre-initiates were viewed as unknowing and anxious oxen, so the horns on such helmets may refer to those of horned cattle. The female figure alludes to women\u2019s supernatural powers, which assure the welfare of Poro members.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1975.152-helmet-mask"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>1975 Year in Review</em>. Bulletin of the Cleveland Museum of Art 63, no. 3, cat. 29.", "page_number": "", "url": ""}, {"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland, OH: Cleveland Museum of Art, 1968, no. 22.", "page_number": "No. 22", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (1976): 31\u201371.", "page_number": "Reproduced: p. 64, no. 29; mentioned: p. 66, no. 29.", "url": "https://www.jstor.org/stable/25152624"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: Selected works of African Art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: p. 44-45, color plate 7", "url": ""}, {"citation": "Petridis, Constantine. \u201cBuffalo Helmets of Tussian and Siemu Peoples of Burkina Faso.\u201d <em>African Arts</em> 41, no. 3 (2008): 26\u201343.", "page_number": "Reproduced: p. 35; mentioned: p. 38.", "url": "https://www.jstor.org/stable/20447898"}, {"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. 30", "url": ""}, {"citation": "Walter, Sheri.  \u201cExhibitions 2015.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 4 (July/August 2014): 14.", "page_number": "Reproduced and Mentioned: p. 14", "url": "https://archive.org/details/CMAMM2014-04"}, {"citation": "Gagliardi, Susan Elizabeth, and Constantijn Petridis. <em>Senufo Unbound: Dynamics of Art and Identity in West Africa</em>. 2014.", "page_number": "Reproduced:  pp. 174-5, fig. 127.", "url": ""}, {"citation": "Gagliardi, Susan Elizabeth, and Constantijn Petridis. <em>Senufo Unbound: Dynamics of Art and Identity in West Africa. </em>Cleveland: The Cleveland Museum of Art, 2015.", "page_number": "pp. 174-5, fig. 127", "url": ""}, {"citation": "\"Art on View: Art and Identity in West Africa.\" <em>Tribal Art</em> 19, no. 74 (Winter 2014): 70.", "page_number": "Reproduced: p. 70", "url": null}, {"citation": "Gagliardi, Susan Elizabeth and Constantine Petridis. \"Senufo Unbound: Dynamics of Art and Identity in West Africa.\"<em> African Arts</em> 48, no. 1 (Spring 2015): 6-23.", "page_number": "Reproduced: p. 15, fig. 11", "url": null}], "url": "https://clevelandart.org/art/1975.152", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.152/1975.152_web.jpg", "width": "737", "height": "893", "filesize": "337052", "filename": "1975.152_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.152/1975.152_print.jpg", "width": "2806", "height": "3400", "filesize": "4652320", "filename": "1975.152_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.152/1975.152_full.tif", "width": "5782", "height": "7007", "filesize": "121577040", "filename": "1975.152_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T19:13:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt0_web.jpg", "width": "750", "height": "893", "filesize": "347696"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt0_print.jpg", "width": "2855", "height": "3400", "filesize": "4807540"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt0_full.tif", "width": "5701", "height": "6789", "filesize": "116146032"}}, {"date_created": "2009-10-27T19:16:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt1_web.jpg", "width": "776", "height": "893", "filesize": "363200"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt1_print.jpg", "width": "2954", "height": "3400", "filesize": "5109441"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt1_full.tif", "width": "6100", "height": "7021", "filesize": "128517996"}}, {"date_created": "2009-10-27T19:19:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt2_web.jpg", "width": "782", "height": "893", "filesize": "362814"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt2_print.jpg", "width": "2976", "height": "3400", "filesize": "5065074"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt2_full.tif", "width": "5949", "height": "6797", "filesize": "121339940"}}, {"date_created": "2009-10-27T19:22:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt3_web.jpg", "width": "790", "height": "893", "filesize": "372801"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt3_print.jpg", "width": "3007", "height": "3400", "filesize": "5229307"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.152/1975.152_alt3_full.tif", "width": "6100", "height": "6898", "filesize": "126267132"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148153, "creators": [], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Helmet (Daagu)", "Human/Animal Headdress"], "is_highlight": false, "updated_at": "2026-04-03 15:30:36.589000"}, {"id": 143772, "accession_number": "1968.21", "share_license_status": "CC0", "tombstone": "Trees on a Rocky Hillside, c. 1849. Asher B. Durand (American, 1796\u20131886). Oil on canvas; framed: 64.8 x 83.2 x 7.9 cm (25 1/2 x 32 3/4 x 3 1/8 in.); unframed: 42.5 x 61.3 cm (16 3/4 x 24 1/8 in.); former: 53.5 x 72 x 6.5 cm (21 1/16 x 28 3/8 x 2 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1968.21", "current_location": "206 American Landscape", "title": "Trees on a Rocky Hillside", "creation_date": "c. 1849", "creation_date_earliest": 1844, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 64.8 x 83.2 x 7.9 cm (25 1/2 x 32 3/4 x 3 1/8 in.); Unframed: 42.5 x 61.3 cm (16 3/4 x 24 1/8 in.); Former: 53.5 x 72 x 6.5 cm (21 1/16 x 28 3/8 x 2 9/16 in.)", "dimensions": {"framed": {"height": 0.648, "width": 0.832, "depth": 0.079}, "unframed": {"height": 0.425, "width": 0.613}, "former": {"height": 0.535, "width": 0.72, "depth": 0.065}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"ABD\"", "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": 445320, "title": "Durand", "description": "<i>Durand</i>. Montclair Art Museum, Montclair, NJ (organizer) (October 24-November 28, 1971).", "opening_date": "1971-10-24T04:00:00"}, {"id": 444609, "title": "Near-Looking: A Close-Focus Look at a Basic Thread of American Art", "description": "<i>Near-Looking: A Close-Focus Look at a Basic Thread of American Art</i>. Northern Illinois University Art Gallery, DeKalb, IL (organizer) (October 27-November 22, 1974).", "opening_date": "1974-10-27T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}], "legacy": [{"description": "Cleveland, OH, Cleveland Museum of Art, <em>Year in Review for 1968 </em>(29 January - 9 March 1969).", "opening_date": "1969-01-29T00:00:00"}, {"description": "Montclair, NJ, Montclair Art Museum, <em>A.B. Durand, 1796 - 1886</em> (24 October - 28 November 1971), no. 70, ill. p. 63 as Rocks and Trees.", "opening_date": "1971-10-24T00:00:00"}, {"description": "Dekalb, IL, Northern Illinois University Art Gallery, <em>Near-Looking: A Close-Focus Look at a Basic Thread of American Art</em> (27 October - 22 November 1974), possibly traveled to South Bend, IN, Snite Art Gallery, University of Notre Dame (1 December 1974 - 26 January 1975), no. 15, ill. p. 36.", "opening_date": "1974-10-27T00:00:00"}, {"description": "Cleveland, OH, Cleveland Museum of Art, <em>Visions of Landscape: East and West</em> (17 February - 21 March 1982).", "opening_date": "1982-02-17T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1968-", "sortorder": 1}, {"description": "(Kennedy Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "Until 1968", "sortorder": 2}, {"description": "[Private collection, Philadelphia, probably consigned to Kennedy Galleries?]", "citations": [], "footnotes": ["<div><!--block-->1 After the painting failed to sell at the 1966 Sotheby's sale, it was purchased by a private collector.&nbsp; A letter from Lawrence Fleischman of Kennedy Galleries states that the painting came from a private collection in Philadelphia.&nbsp; The Kennedy Galleries records at the Archives of American Art contain no information concerning their acquisition of the painting.</div>"], "date": "c. 1966-1968", "sortorder": 3}, {"description": "(Sotheby Parke Bernet, New York, NY, Nov. 17, 1966, lot 48)", "citations": [], "footnotes": null, "date": "1966", "sortorder": 4}, {"description": "Private collection", "citations": [], "footnotes": null, "date": "-1966", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before becoming a painter, Durand designed paper currency for the federal government.", "description": "Durand was one of the first American artists to paint outdoors, rather than in the confines of a studio, which was the longstanding tradition. This outdoor oil sketch of a seemingly random corner of the woods offers an intimate view of a rock outcropping amid lush vegetation. Its small-scale, unusually cropped composition contrasts with the sweeping vistas in many other landscapes of the era.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20737406"], "internet_archive": ["https://archive.org/details/clevelandart-1968.21-trees-on-a-rocky-hil"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Talbot, William S. \u201cAmerican Visions of Wilderness.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 4 (April 1969): 151\u2013166.", "page_number": "Mentioned and reproduced: p. 53, fig. 2", "url": "http://www.jstor.org/stable/25152270"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 68 - 69", "url": ""}], "url": "https://clevelandart.org/art/1968.21", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.21/1968.21_web.jpg", "width": "900", "height": "617", "filesize": "320875", "filename": "1968.21_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.21/1968.21_print.jpg", "width": "3400", "height": "2330", "filesize": "2853306", "filename": "1968.21_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.21/1968.21_full.tif", "width": "6972", "height": "4777", "filesize": "99942264", "filename": "1968.21_full.tif"}}, "alternate_images": [{"date_created": "2008-06-23T18:10:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt0_web.jpg", "width": "1263", "height": "865", "filesize": "908526"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt0_print.jpg", "width": "3400", "height": "2635", "filesize": "6327978"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt0_full.tif", "width": "3856", "height": "2988", "filesize": "34610144"}}, {"date_created": "2008-06-23T10:08:24.043000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt1_web.jpg", "width": "900", "height": "698", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt1_print.jpg", "width": "3400", "height": "2635", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt1_full.tif", "width": "3856", "height": "2988", "filesize": ""}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt2_web.jpg", "width": "900", "height": "680", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt2_print.jpg", "width": "3400", "height": "2570", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt2_full.tif", "width": "3401", "height": "2571", "filesize": ""}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt3_web.jpg", "width": "900", "height": "643", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt3_print.jpg", "width": "3400", "height": "2429", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.21/1968.21_alt3_full.tif", "width": "3712", "height": "2652", "filesize": ""}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 143772, "creators": [{"id": 2662, "description": "Asher B. Durand (American, 1796\u20131886)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1796", "death_year": "1886", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-03-09T00:00:00", "sortable_date": 1844, "date_added_to_oa": null, "date_text": "c. 1849", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:39.533000"}, {"id": 150488, "accession_number": "1981.49", "share_license_status": "CC0", "tombstone": "Lily of the Valley Comb, c. 1900. Ren\u00e9 Lalique (French, 1860\u20131945). Horn, enamel and gold; overall: 15.4 x 9.4 x 3 cm (6 1/16 x 3 11/16 x 1 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. A. Dean Perry, 1981.49", "current_location": "221 19th Century Decorative Arts", "title": "Lily of the Valley Comb", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["France, early 20th Century"], "technique": "horn, enamel and gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "Overall: 15.4 x 9.4 x 3 cm (6 1/16 x 3 11/16 x 1 3/16 in.)", "dimensions": {"overall": {"height": 0.154, "width": 0.094, "depth": 0.03}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Engraved on side of gold stem: \"LALIQUE\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 441937, "title": "The Jewelry of Rene Lalique", "description": "<i>The Jewelry of Rene Lalique</i>. Goldsmiths' Hall, London, United Kingdom of Great Britain and Northern Ireland (organizer) (May 28-July 24, 1987).", "opening_date": "1987-05-28T04:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 219114, "title": "The Jewels of Lalique", "description": "<i>The Jewels of Lalique</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (February 3-April 12, 1998); Smithsonian Institution, International Gallery, Washington, D.C (May 15-August 16, 1998); The Dallas Museum of Art, Dallas, TX (September 13, 1998-January 10, 1999).", "opening_date": "1998-02-03T00:00:00"}, {"id": 220590, "title": "Rococo: The Continuing Curve 1720-2008", "description": "<i>Rococo: The Continuing Curve 1720-2008</i>. Cooper Hewitt, Smithsonian Design Museum, New York, NY (organizer) (March 7-July 6, 2008).", "opening_date": "2008-03-07T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 202597, "title": "Imagining the Garden", "description": "<i>Imagining the Garden</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24, 2015-March 6, 2016).", "opening_date": "2015-10-24T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lalique valued the use of horn for its transparent qualities and natural color.", "description": "This comb was purchased by Cleveland native Jeptha Homer Wade II from Lalique after admiring the designer's work at the 1900 Exposition Universelle in Paris, probably for his wife Ellen Garretson Wade. Pearlescent horn forms the leaves of the lily of the valley, out of which the delicate, bell-shaped enamel flowers emerge.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60749031"], "internet_archive": ["https://archive.org/details/clevelandart-1981.49-lily-of-the-valley-c"]}, "citations": [{"citation": "Lalique, Rene\u0301, Yvonne Brunhammer, and Sigrid Barten.<em> The Jewels of Lalique</em>. New York: Flammarion, 1998.", "page_number": "p. 26, cat. no. 71", "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 57; Mentioned: p. 79, no. 41", "url": "http://www.jstor.org/stable/25159758"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, Jeannine J Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, Ohio:  Cleveland Museum of Art in association with New Haven; London: Yale University Press, 2008.", "page_number": "Reproduced: P. 258; Mentioned: P. 334, no. 162", "url": ""}], "url": "https://clevelandart.org/art/1981.49", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.49/1981.49_web.jpg", "width": "639", "height": "893", "filesize": "300085", "filename": "1981.49_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.49/1981.49_print.jpg", "width": "2434", "height": "3400", "filesize": "3850221", "filename": "1981.49_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.49/1981.49_full.tif", "width": "3580", "height": "5000", "filesize": "53721216", "filename": "1981.49_full.tif"}}, "alternate_images": [{"date_created": "2007-08-10T18:21:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt0_web.jpg", "width": "1116", "height": "893", "filesize": "419732"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt0_print.jpg", "width": "3400", "height": "2720", "filesize": "3564953"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt0_full.tif", "width": "4614", "height": "3691", "filesize": "51113940"}}, {"date_created": "2007-10-24T13:22:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt1_web.jpg", "width": "1263", "height": "598", "filesize": "318742"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt1_print.jpg", "width": "3400", "height": "1609", "filesize": "2211064"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt1_full.tif", "width": "5000", "height": "2366", "filesize": "35510844"}}, {"date_created": "2007-10-24T13:21:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt2_web.jpg", "width": "1263", "height": "839", "filesize": "338481"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt2_print.jpg", "width": "3400", "height": "2258", "filesize": "2541508"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.49/1981.49_alt2_full.tif", "width": "5000", "height": "3320", "filesize": "49820496"}}], "creditline": "Gift of Mrs. A. Dean Perry", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150488, "creators": [{"id": 8607, "description": "Ren\u00e9 Lalique (French, 1860\u20131945)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hair Ornament"], "is_highlight": false, "updated_at": "2026-03-27 00:01:06.075000"}, {"id": 370537, "accession_number": "2019.244", "share_license_status": "CC0", "tombstone": "Jack-in-the-Pulpit Vase, c. 1900\u20131920. Quezal Art Glass and Decorating Company (American, 1901\u20131924). Blown glass; 30.5 x 20.3 cm (12 x 8 in.). The Cleveland Museum of Art, Gift of June Greenwald, 2019.244", "current_location": "209 Tiffany", "title": "Jack-in-the-Pulpit Vase", "creation_date": "c. 1900\u20131920", "creation_date_earliest": 1895, "creation_date_latest": 1925, "artists_tags": ["gender unknown"], "culture": ["America"], "technique": "blown glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "30.5 x 20.3 cm (12 x 8 in.)", "dimensions": {"No Extent Specified": {"height": 0.305, "width": 0.203}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "engraved on underside: Quezal/-O-/440", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "affixed to underside: remnant of an original paper label", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "June Greenwald, [b. 1931], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-2019", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2019-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Quezal Art Glass and Decorating Company was named after a rare breed of South American bird, the quetzal, known for its colorful iridescent plumage.", "description": "The Quezal Art Glass and Decorating Company was begun by former employees of Louis Comfort Tiffany as a rival operation in 1902. With its expressive form and brilliant golden iridescence, this vase represents the finest work produced by the Queens, New York, company in the Art Nouveau style.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279448"], "internet_archive": ["https://archive.org/details/clevelandart-2019.244-jack-in-the-pulpit-v"]}, "citations": [{"citation": "No publication history", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2019.244", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.244/2019.244_web.jpg", "width": "684", "height": "900", "filesize": "161788", "filename": "2019.244_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.244/2019.244_print.jpg", "width": "2585", "height": "3400", "filesize": "1154338", "filename": "2019.244_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.244/2019.244_full.tif", "width": "7589", "height": "9980", "filesize": "227239756", "filename": "2019.244_full.tif"}}, "alternate_images": [{"date_created": "2019-11-25T18:08:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.244/2019.244_alt0_web.jpg", "width": "714", "height": "900", "filesize": "161386"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.244/2019.244_alt0_print.jpg", "width": "2696", "height": "3400", "filesize": "1023390"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.244/2019.244_alt0_full.tif", "width": "7546", "height": "9517", "filesize": "215470788"}}, {"date_created": "2019-11-25T19:30:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.244/2019.244_alt1_web.jpg", "width": "847", "height": "900", "filesize": "308640"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.244/2019.244_alt1_print.jpg", "width": "3199", "height": "3400", "filesize": "2479078"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.244/2019.244_alt1_full.tif", "width": "3249", "height": "3453", "filesize": "33685580"}}], "creditline": "Gift of June Greenwald", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 370537, "creators": [{"id": 16855, "description": "Quezal Art Glass and Decorating Company (American, 1901\u20131924)", "extent": null, "qualifier": null, "role": "manufacturer", "biography": "Founded by Martin Bach, Sr., who had been the first chemist and batch maker for Louis Comfort Tiffany at the Tiffany Glass and Decorating Company, the Quezal Art Glass and Decorating Company was established in Queens, New York, in 1901, and took its name from the multi-colored quetzal bird of central America. Because of his experience working with Tiffany, Bach produced glass that imitated the Tiffany signature \"Favrile\" iridescent glass, thereby pitting him against Tiffany in a bitter rivalry that lasted until Quezal's final demise around 1924.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900\u20131920", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:21.619000"}, {"id": 142723, "accession_number": "1966.436", "share_license_status": "CC0", "tombstone": "Lapis Lazuli Easter Egg, c. 1885\u201390. Attributed to Peter Carl Faberg\u00e9 (Russian, 1846\u20131920), attributed to House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, enamel, lapis lazuli, pearls, diamonds, rubies; overall: 5.9 x 4.5 cm (2 5/16 x 1 3/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.436", "current_location": "211 Faberg\u00e9", "title": "Lapis Lazuli Easter Egg", "creation_date": "c. 1885\u201390", "creation_date_earliest": 1880, "creation_date_latest": 1900, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, enamel, lapis lazuli, pearls, diamonds, rubies", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 5.9 x 4.5 cm (2 5/16 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.059, "width": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Unmarked", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 174850, "title": "Faberg\u00e9: Designing Luxury, from the Virginia Museum of Fine Arts", "description": "<i>Faberg\u00e9: Designing Luxury, from the Virginia Museum of Fine Arts</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (October 14, 2012-January 13, 2013).", "opening_date": "2012-10-14T00:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This egg may have been made for one of the tsar's relatives very early in the run of imperial Easter egg production by Faberg\u00e9.", "description": "Peter Carl Faberg\u00e9 became the crown jeweler to the imperial court of Russia in 1885 after he produced the very first Easter egg for Tsar Alexander III to give to his wife, Empress Marie Feodorovna. Faberg\u00e9 created his celebrated Easter eggs, symbols of rebirth and renewal, as gifts for the Russian imperial family every year until he had to leave the country in 1919 after the Russian Revolution. Made of gold and lapis lazuli from the Ural Mountains, this egg opens to reveal a compartment enameled to resemble an egg yolk, which contains yet another delightful surprise of an imperial crown holding a tiny ruby or pink sapphire on a chain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q18245358"], "internet_archive": ["https://archive.org/details/clevelandart-1966.436-lapis-lazuli-easter"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 72-73, cat. 32.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"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. 171", "url": "https://archive.org/details/CMAHandbook1969/page/n195"}, {"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. 227", "url": "https://archive.org/details/CMAHandbook1978/page/n247"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 114, cat. 98.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 175, cat. 51.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"citation": "Solon, Chad. \"The Lapis Lazuli Egg in the Cleveland Museum of Art.\" The Burlington Magazine. 163, no.1422 (September 2021): 828-831", "page_number": "reproduced p.829; mentioned p.828-831", "url": ""}], "url": "https://clevelandart.org/art/1966.436", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.436/1966.436_web.jpg", "width": "900", "height": "656", "filesize": "110548", "filename": "1966.436_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.436/1966.436_print.jpg", "width": "3400", "height": "2479", "filesize": "1242994", "filename": "1966.436_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.436/1966.436_full.tif", "width": "8000", "height": "5834", "filesize": "140043948", "filename": "1966.436_full.tif"}}, "alternate_images": [{"date_created": "2007-07-26T17:07:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt0_web.jpg", "width": "900", "height": "675", "filesize": "90125"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt0_print.jpg", "width": "3400", "height": "2550", "filesize": "679833"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt0_full.tif", "width": "5440", "height": "4080", "filesize": "66609604"}}, {"date_created": "2007-07-26T17:51:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt1_web.jpg", "width": "900", "height": "675", "filesize": "77337"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "666050"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt1_full.tif", "width": "5440", "height": "4080", "filesize": "66608808"}}, {"date_created": "2007-07-26T18:04:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt2_web.jpg", "width": "900", "height": "675", "filesize": "65698"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "554128"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436/1966.436_alt2_full.tif", "width": "5440", "height": "4080", "filesize": "66608392"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142723, "creators": [{"id": 5366, "description": "Peter Carl Faberg\u00e9 (Russian, 1846\u20131920)", "extent": null, "qualifier": "attributed to", "role": "designer", "biography": "Supplied most of the gifts exchanged by relatives of the imperial family in Russia, Denmark, Germany, and England for christenings, name days, birthdays, Christmas, and Easter.", "name_in_original_language": null, "birth_year": "1846", "death_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": "attributed to", "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1885\u201390", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Easter Egg", "Lapis Lazuli Easter Egg with Crown and Ruby Egg Surprise"], "is_highlight": false, "updated_at": "2026-03-27 00:02:43.141000"}, {"id": 115164, "accession_number": "1935.311", "share_license_status": "CC0", "tombstone": "Knife Handle Cover, 1800s. Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild. Gold; overall: 4.3 cm (1 11/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1935.311", "current_location": "108C African Jewelry and Metalwork", "title": "Knife Handle Cover", "creation_date": "1800s", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Arms and Armor", "measurements": "Overall: 4.3 cm (1 11/16 in.)", "dimensions": {"overall": {"height": 0.043}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"id": 297093, "title": "The Power of Gold: Asante Royal Regalia from Ghana", "description": "<i>The Power of Gold: Asante Royal Regalia from Ghana</i>. The Dallas Museum of Art, Dallas, TX (organizer) (April 15-August 12, 2018).", "opening_date": "2018-04-15T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935: \"African Negro Art,\" cat. no. 162, (also to CMA 9/27 - 10/27, 1935).", "opening_date": "1927-09-01T00:00:00"}, {"description": "NY: The Brooklyn Museum.  Masterpieces of African Art, October 18, 1954-January 2, 1955, cat. no. 32.", "opening_date": "1954-10-18T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68.", "opening_date": "2000-02-01T00:00:00"}]}, "provenance": [{"description": "Sir Cecil Hamilton Armitage", "citations": [], "footnotes": ["<div><!--block-->Original object card (CMA Curatorial File)</div>"], "date": null, "sortorder": 1}, {"description": "(Charles Ratton Gallery, Paris, France via Pierre Matisse, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Original object card (CMA Curatorial File)</div>"], "date": "?\u20131935", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Only members of the goldsmiths' guild, who claimed descent from the first goldsmith Fusu Kwabi, could make gold ornaments for the royals and their entourage.", "description": "Gold sheaths covered the cast iron blade of a king\u2019s ceremonial knife (<em>sikay</em>), wrapping them with symbolism. In Akan states like the Asante Kingdom, gold embodies life force (<em>kra</em>) and is the sun\u2019s earthly counterpart. Only goldsmiths\u2019 guild members could make gold ornaments for the royals and their entourage, or for the royal treasury. Here, the goldsmith used a tool to push the raised floral, leaf, and geometric designs from the back of a soft sheet of gold (repouss\u00e9 technique). Small dots outlining some motifs were punched into the metal. Similarly decorated gold sheets and solid ornaments capped a knife\u2019s handle.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1935.311-jewelry", "https://archive.org/details/clevelandart-1935.311-knife-handle-cover"]}, "citations": [{"citation": "Wixom, William D. \u201cAfrican Art in the Cleveland Museum of Art.\u201d <em>African Arts</em> 10, no. 3 (April 1977): 16-24.", "page_number": "Repr. p. 21.", "url": ""}, {"citation": "Milliken, William. \"Exhibition of Gold.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 9 (November 1947): 211-212.", "page_number": "Mentioned: p. 211-212; Reproduced: p. 235", "url": "https://www.jstor.org/stable/25141408"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 19, p.68 - 69", "url": ""}, {"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art</em>. New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 39, no. 162.", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935.</em> New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 22; reproduced: p. 23, fig. 13, p. 68, no. 18.", "url": null}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display.</em> Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 112", "url": null}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955.</em> [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 39", "url": null}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter.<em> African Art in American Collections, Survey 1989</em>. Washington: Smithsonian Institution Press, 1989.", "page_number": "Reproduced and mentioned: pp. 202-203, fig. 514", "url": null}, {"citation": "Walker, Roslyn A., Martha J. Ehrlich, Christraud M. Geary, M. D. McLeod, and Doran H. Ross.<em> The Power of Gold: Asante Royal Regalia from Ghana.</em> Yale University Press, New Haven and London.Dallas : Dallas Museum of Art, 2018.", "page_number": "Mentioned: p. 29; reproduced: p. 95, cat. 42", "url": null}], "url": "https://clevelandart.org/art/1935.311", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.311/1935.311_web.jpg", "width": "1161", "height": "893", "filesize": "498313", "filename": "1935.311_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.311/1935.311_print.jpg", "width": "3400", "height": "2616", "filesize": "4046051", "filename": "1935.311_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.311/1935.311_full.tif", "width": "4118", "height": "3168", "filesize": "39158596", "filename": "1935.311_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115164, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ornament\r\n", "Jewelry"], "is_highlight": false, "updated_at": "2026-03-27 00:05:30.369000"}, {"id": 122346, "accession_number": "1942.642", "share_license_status": "CC0", "tombstone": "Portrait of Charlotte and Sarah Carteret-Hardy, 1801. Thomas Lawrence (British, 1769\u20131830). Oil on canvas; framed: 161 x 135 x 11 cm (63 3/8 x 53 1/8 x 4 5/16 in.); unframed: 129 x 103 cm (50 13/16 x 40 9/16 in.). The Cleveland Museum of Art, Bequest of John L. Severance, 1942.642", "current_location": "203A British Painting and Decorative Arts", "title": "Portrait of Charlotte and Sarah Carteret-Hardy", "creation_date": "1801", "creation_date_earliest": 1801, "creation_date_latest": 1801, "artists_tags": ["male"], "culture": ["England, early 19th Century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 161 x 135 x 11 cm (63 3/8 x 53 1/8 x 4 5/16 in.); Unframed: 129 x 103 cm (50 13/16 x 40 9/16 in.)", "dimensions": {"framed": {"height": 1.61, "width": 1.35, "depth": 0.11}, "unframed": {"height": 1.29, "width": 1.03}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 335856, "title": "Exhibition of the John L. Severance Collection", "description": "<i>Exhibition of the John L. Severance Collection</i>. The Cleveland Museum of Art, Cleveland, OH (November 12, 1942-March 14, 1943).", "opening_date": "1942-11-12T04:00:00"}, {"id": 355092, "title": "Exhibition of the Month: A Portrait of the So-Called 'Column and Curtain' School", "description": "<i>Exhibition of the Month: A Portrait of the So-Called 'Column and Curtain' School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 1-31, 1943).", "opening_date": "1943-10-01T04:00:00"}, {"id": 518253, "title": "Sir Thomas Lawrence, Regency Painter", "description": "<i>Sir Thomas Lawrence, Regency Painter</i>. Worcester Art Museum, Worcester, MA (organizer) (April 27-June 6, 1960).", "opening_date": "1960-04-27T04:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": []}, "provenance": [{"description": "By descent to Daniel L. Lysons, Hempstead Court, Gloucestershire", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Burton, Knowles & Co., Gloucester, 21 April, 1887, no.284)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Camillo Roth (1888)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Charles Crews (sale: Christie's, London, 1 July 1915, no. 105 to Colnaghi)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "John L. Severance", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "By descent to Daniel L. Lysons, Hempstead Court, Gloucestershire  (sale: Burton, Knowles & Co, Gloucester, 21 April, 1887, no. 284); Camillo Roth (1888); Charles Crews (sale: Christie's, London, 1 July, 1915, no. 105 to Colnaghi); (Colnaghi, London); John L. Severance", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "John L. Severance [1863-1936], Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": null, "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lawrence was a child prodigy and largely self-taught. At the early age of 10, he made accomplished portraits in crayon.", "description": "<br>Charlotte (left) and Sarah were 19 and 21, respectively, when this portrait was painted on the occasion of Sarah\u2019s marriage to the topographer Daniel Lysons. The sisters wear fashionable gowns and jewelry, but their affectionate posture conveys a sisterly tenderness that transcends glamour. There was a seemingly insatiable demand for Thomas Lawrence\u2019s portraits representing stylish English society, but he was notoriously slow working. Although this picture was begun in 1801, it still was not finished in 1806 when a friend noted its presence in the artist\u2019s studio.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514826"], "internet_archive": ["https://archive.org/details/clevelandart-1942.642-portrait-of-charlott"]}, "citations": [{"citation": "John Long Severance Art Collection Photographs: Furniture, Cleveland Museum of Art Archives.", "page_number": "Reproduced: p. 301", "url": "https://archive.org/details/SeveranceFurniture/page/n299/mode/1up"}, {"citation": "<em>Catalogue of the John L. Severance Collection: Bequest of John L. Severance, 1936.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 1942.", "page_number": "Reproduced: p. [19], Plate VII, cat. no. 8; Mention: p. 22, cat. no. 8", "url": "https://archive.org/details/SeveranceBequest/page/n26"}, {"citation": "Francis, Henry. \"Department of Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>29, no. 9 (November 1942): 132-136", "page_number": "Reproduced: p. 133; Mentioned: p. 136", "url": "https://www.jstor.org/stable/25141016"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 19", "url": "https://archive.org/details/CMAPaintings1945/page/n27"}, {"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. 475", "url": "https://archive.org/details/CMAHandbook1958/page/n87"}, {"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. 160", "url": "https://archive.org/details/CMAHandbook1966/page/n184"}, {"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. 160", "url": "https://archive.org/details/CMAHandbook1969/page/n184"}, {"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. 195", "url": "https://archive.org/details/CMAHandbook1978/page/n215"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Reproduced: p. 198; Mentioned: p. 199", "url": null}], "url": "https://clevelandart.org/art/1942.642", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.642/1942.642_web.jpg", "width": "710", "height": "893", "filesize": "381993", "filename": "1942.642_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.642/1942.642_print.jpg", "width": "2705", "height": "3400", "filesize": "5696797", "filename": "1942.642_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.642/1942.642_full.tif", "width": "3978", "height": "5000", "filesize": "59701872", "filename": "1942.642_full.tif"}}, "alternate_images": [{"date_created": "2016-02-08T13:22:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt0_web.jpg", "width": "763", "height": "900", "filesize": "240651"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt0_print.jpg", "width": "2881", "height": "3400", "filesize": "2965183"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt0_full.tif", "width": "5612", "height": "6622", "filesize": "111517740"}}, {"date_created": "2013-07-22T13:29:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt1_web.jpg", "width": "726", "height": "893", "filesize": "122146"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt1_print.jpg", "width": "2765", "height": "3400", "filesize": "1522235"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt1_full.tif", "width": "3173", "height": "3901", "filesize": "37169384"}}, {"date_created": "2016-02-08T09:13:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt2_web.jpg", "width": "757", "height": "900", "filesize": "279244"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt2_print.jpg", "width": "2860", "height": "3400", "filesize": "3251745"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt2_full.tif", "width": "5523", "height": "6566", "filesize": "108825776"}}, {"date_created": "2016-02-08T09:13:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt3_web.jpg", "width": "752", "height": "900", "filesize": "270713"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt3_print.jpg", "width": "2842", "height": "3400", "filesize": "3109299"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.642/1942.642_alt3_full.tif", "width": "5384", "height": "6440", "filesize": "104052376"}}], "creditline": "Bequest of John L. Severance", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Paul J. and Edith Ingalls Vignos Gallery", "athena_id": 122346, "creators": [{"id": 2515, "description": "Thomas Lawrence (British, 1769\u20131830)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1769", "death_year": "1830", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-07-24T00:00:00", "sortable_date": 1801, "date_added_to_oa": null, "date_text": "1801", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Charlotte and Sarah Hardy", "The Daughters of Colonel Thomas Carteret Hardy"], "is_highlight": false, "updated_at": "2026-03-27 00:07:27.289000"}, {"id": 98884, "accession_number": "1918.552", "share_license_status": "CC0", "tombstone": "Bridal Robe (Hwarot), late 1800s. Korea, Joseon dynasty (1392\u20131910). Silk: satin weave; embroidery; paper edging on neck and sleeves; overall: 114.3 x 174 cm (45 x 68 1/2 in.). The Cleveland Museum of Art, The Worcester R. Warner Collection, 1918.552", "current_location": null, "title": "Bridal Robe (Hwarot)", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Silk: satin weave; embroidery; paper edging on neck and sleeves", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Garment", "measurements": "Overall: 114.3 x 174 cm (45 x 68 1/2 in.)", "dimensions": {"overall": {"height": 1.143, "width": 1.74}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u58fd\u5982\u6cb3\u6d77", "inscription_translation": "Longevity as long as the rivers and the seas.", "inscription_remark": "Auspicious inscription running vertically next to the embroidery of a boy holding a lotus.", "sortorder": 1}], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 373312, "title": "Gold Needles: Embroidery Arts from Korea", "description": "<i>Gold Needles: Embroidery Arts from Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 7-October 25, 2020).", "opening_date": "2020-03-07T05:00:00"}, {"id": 539550, "title": "Hwarot: Wedding Robes of the Joseon Dynasty", "description": "<i>Hwarot: Wedding Robes of the Joseon Dynasty</i>. National Palace Museum of Korea, Seoul, Korea (Republic of) (organizer) (September 14-December 13, 2023).", "opening_date": "2023-09-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Worcester R. Warner [1846\u20131929], Cleveland, OH, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This bride's robe is made of densely embroidered silk, but its collar and sleeves are covered in thick paper.", "description": "This bride's robe is exquisitely embroidered with various symbols of happiness in colorful silk threads. Butterflies stand for marital happiness; the phoenix, numerous offspring; and lotus flowers and white cranes, longevity. Yet, the bridal robe does not attest to the life of luxury. To the contrary, many traces of repairs, trimmings, and patchwork, reflect Joseon period women\u2019s commitment to value neo-Confucian aesthetics of frugality and modesty. <br><br>Substantial repairs and patching reveal that this robe served as an important communal resource to be shared and passed down through several generations. Its collar and sleeves are covered in thick white paper; this paper is replaced with new paper for each bride, while the robe itself was reused for decades.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79485903"], "internet_archive": ["https://archive.org/details/clevelandart-1918.552-wedding-gown", "https://archive.org/details/clevelandart-1918.552-bridal-robe-hwarot"]}, "citations": [{"citation": "Suh, Kisook. <em>The Documentary Value of Repairs to the Hwarot, the Korean Bridal Robe</em>. DigitalCommons@University of Nebraska - Lincoln, 2006.", "page_number": "pp. 79\u201387", "url": ""}, {"citation": "Seon Seung-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: p. 65, cat. no. 50", "url": null}, {"citation": "<em>Artistic Court Embroidery</em> [\uc544\ub984\ub2e4\uc6b4 \uad81\uc911\uc790\uc218]. Seoul: National Palace Museum. 2013.", "page_number": null, "url": null}, {"citation": "Kwon, Hea-jin and Ji-yeon Kim. \u201cStudy on the Formative Characteristics of Embroidery Panels of Hwarot at the Victoria and Albert Museum [\ube45\ud1a0\ub9ac\uc544 \uc568\ubc84\ud2b8 \ubc15\ubb3c\uad00 \uc18c\uc7a5 \ud65c\uc637\uc758 \uc870\ud615\uc131 \uc5f0\uad6c].\u201d <em>Boksik </em>(2013): 176\u2013188.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE06676006"}, {"citation": "O, Suk-gyeong and Hong Na-young. \u201cThe Usage of Paper in the Costumes of the Joseon Dynasty [\uc870\uc120\uc2dc\ub300 \ubcf5\uc2dd\uc5d0 \uc0ac\uc6a9\ub41c \uc885\uc774\uc2ec\uc5d0 \uad00\ud55c \uc5f0\uad6c].\u201d <em>Boksik</em> (2015): 75\u201391.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE06676132"}, {"citation": "McCormick, Sooa Im. \"Stitches empowered: Korean embroidery arts form the Joseon Dynasty\" <em>Orientations </em>51, no. 1 (January/February 2020): 60\u201367.", "page_number": "Reproduced: p. 62, fig. 3; Mention: p. 61", "url": null}, {"citation": "McCormick, Sooa Im, Jung-Wha Kim, William Griswold, Seung-Hae Yi, Byungmo Chung, and Young Chae. <em>Gold Needles: Embroidery Arts From Korea / Sooa Im McCormick, Curator.</em> Cleveland, OH: Cleveland Museum of Art, 2020.", "page_number": "Mentioned and reproduced: pp. 10\u201311", "url": null}, {"citation": "\"Gold Needles: Celebrating the stunning embroidery of anonymous Korean women.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 2 (March/April 2020): 32-33.", "page_number": "Reproduced: P. 33; Mentioned: P. 32.", "url": ""}, {"citation": "Exhibitions--Extended Dates. \u201cGold Needles: Embroidery Arts from Korea.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 3 (Summer 2020): 4-5.", "page_number": "Reproduced: P. 5; Mentioned: P. 4.", "url": ""}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 246-247, no. 137", "url": ""}], "url": "https://clevelandart.org/art/1918.552", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.552/1918.552_web.jpg", "width": "1193", "height": "893", "filesize": "466710", "filename": "1918.552_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.552/1918.552_print.jpg", "width": "3400", "height": "2545", "filesize": "4311513", "filename": "1918.552_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.552/1918.552_full.tif", "width": "6668", "height": "4992", "filesize": "99891884", "filename": "1918.552_full.tif"}}, "alternate_images": [{"date_created": "2010-10-26T15:17:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt0_web.jpg", "width": "1193", "height": "893", "filesize": "393492"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt0_print.jpg", "width": "3400", "height": "2545", "filesize": "3827676"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt0_full.tif", "width": "6668", "height": "4992", "filesize": "99900328"}}, {"date_created": "2010-10-26T16:26:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt1_web.jpg", "width": "668", "height": "893", "filesize": "381158"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "5737868"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt1_full.tif", "width": "4992", "height": "6668", "filesize": "99890896"}}, {"date_created": "2010-10-26T16:43:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt2_web.jpg", "width": "724", "height": "893", "filesize": "622842"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt2_print.jpg", "width": "2757", "height": "3400", "filesize": "9065674"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt2_full.tif", "width": "2395", "height": "2953", "filesize": "21245416"}}, {"date_created": "2010-10-26T16:48:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt3_web.jpg", "width": "666", "height": "893", "filesize": "592136"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt3_print.jpg", "width": "2537", "height": "3400", "filesize": "7953282"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt3_full.tif", "width": "1737", "height": "2327", "filesize": "12154320"}}, {"date_created": "2010-10-27T18:53:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt4_web.jpg", "width": "1174", "height": "893", "filesize": "998177"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt4_print.jpg", "width": "3400", "height": "2587", "filesize": "9864541"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt4_full.tif", "width": "5257", "height": "4001", "filesize": "126231284"}}, {"date_created": "2010-10-27T18:59:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt5_web.jpg", "width": "1193", "height": "893", "filesize": "983673"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt5_print.jpg", "width": "3400", "height": "2545", "filesize": "9980790"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.552/1918.552_alt5_full.tif", "width": "6668", "height": "4992", "filesize": "99888672"}}], "creditline": "The Worcester R. Warner Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98884, "creators": [], "legal_status": "accessioned", "accession_date": "1918-09-25T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Bride's Robe", "Wedding Gown"], "is_highlight": false, "updated_at": "2026-03-26 23:59:43.513000"}, {"id": 172659, "accession_number": "1947.2028", "share_license_status": "CC0", "tombstone": "Dancer Looking at the Sole of her Right Foot, 1896\u201397. Edgar Degas (French, 1834\u20131917). Bronze; overall: 46.4 x 21.6 x 20.3 cm (18 1/4 x 8 1/2 x 8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1947.2028", "current_location": "222 Impressionism & Post-Impressionism", "title": "Dancer Looking at the Sole of her Right Foot", "creation_date": "1896\u201397", "creation_date_earliest": 1896, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 46.4 x 21.6 x 20.3 cm (18 1/4 x 8 1/2 x 8 in.)", "dimensions": {"overall": {"height": 0.464, "width": 0.216, "depth": 0.203}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base at left: Degas.  Inscribed behind right foot:  67/B.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311955, "title": "Mural Scrolls", "description": "<i>Mural Scrolls</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 9, 1949-January 1, 1950).", "opening_date": "1949-12-09T05:00:00"}, {"id": 311918, "title": "Rouault: Retrospective Exhibition", "description": "<i>Rouault: Retrospective Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (January 28-March 15, 1953).", "opening_date": "1953-01-28T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 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>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Buchholz Gallery, Cologne, Germany)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Curt Valentin Gallery,New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2028.1947"], "did_you_know": "Degas often frequented the Garnier opera house in Paris to observe the dancers during both onstage performances and backstage rehearsals. Paying careful attention to their movements and poses, he produced nearly 1,500 works depicting ballet dancers, including paintings, drawings, and sculptures.", "description": "Degas produced numerous wax sculptures during his lifetime that were cast in bronze shortly after his death. This late work continues his fascination with dancers and the physical sensation of the human body in motion. Marks made by artist's fingers are visible in the bronze surface.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230164"], "internet_archive": ["https://archive.org/details/clevelandart-1947.2028-dancer-looking-at-th"]}, "citations": [{"citation": "Rewald, John, ed.<em> Degas; Works in Sculpture</em>. New York: Pantheon Books, 1944.", "page_number": "Reproduced: pl. LX", "url": null}, {"citation": "Foote, Helen S. \"Dancer Looking at Sole of Her Right Foot.\" <em>The Bulletin of The Cleveland Museum of Art XXXIV</em>, no. 7, part 1 (September, 1947): 180-181.", "page_number": "Mentioned: p. 180-181", "url": null}, {"citation": "Cleveland Museum of Art. <em>Works by Edgar Degas. Catalogue of a Loan Exhibition at the Cleveland Museum of Art, February 5 to March 9, 1947. </em>[Cleveland]: The Cleveland Museum of Art, 1947.", "page_number": "Reproduced: no. 85, pl. LIX", "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. 334", "url": "https://archive.org/details/CMAHandbook1958/page/n65"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "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. 213", "url": "https://archive.org/details/CMAHandbook1978/page/n233"}, {"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. 101, no. 8", "url": null}], "url": "https://clevelandart.org/art/1947.2028", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.2028/1947.2028_web.jpg", "width": "548", "height": "893", "filesize": "206995", "filename": "1947.2028_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.2028/1947.2028_print.jpg", "width": "2088", "height": "3400", "filesize": "2705028", "filename": "1947.2028_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.2028/1947.2028_full.tif", "width": "3264", "height": "5315", "filesize": "52073540", "filename": "1947.2028_full.tif"}}, "alternate_images": [{"date_created": "2005-10-20T18:59:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2028/1947.2028_alt0_web.jpg", "width": "560", "height": "893", "filesize": "208968"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2028/1947.2028_alt0_print.jpg", "width": "2134", "height": "3400", "filesize": "2789944"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2028/1947.2028_alt0_full.tif", "width": "3323", "height": "5294", "filesize": "52804952"}}, {"date_created": "2005-10-20T19:28:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2028/1947.2028_alt1_web.jpg", "width": "575", "height": "893", "filesize": "215074"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2028/1947.2028_alt1_print.jpg", "width": "2188", "height": "3400", "filesize": "2840251"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2028/1947.2028_alt1_full.tif", "width": "3350", "height": "5206", "filesize": "52349420"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 172659, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-05-07T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896\u201397", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Dancer"], "is_highlight": false, "updated_at": "2026-03-27 00:05:01.849000"}, {"id": 129836, "accession_number": "1952.265", "share_license_status": "CC0", "tombstone": "Pendant: Crocodile, 1930 or earlier. Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith. Gold; overall: 4.9 cm (1 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1952.265", "current_location": "108C African Jewelry and Metalwork", "title": "Pendant: Crocodile", "creation_date": "1930 or earlier", "creation_date_earliest": 1850, "creation_date_latest": 1930, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 4.9 cm (1 15/16 in.)", "dimensions": {"overall": {"width": 0.049, "length": 0.117}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 205336, "title": "Baule:  African Art/Western Eyes", "description": "<i>Baule:  African Art/Western Eyes</i>. Yale University Art Gallery (organizer) (August 30, 1997-January 4, 1998); The Art Institute of Chicago (February 14-May 10, 1998).", "opening_date": "1997-08-30T00:00:00"}, {"id": 221090, "title": "Baule:  African Art/Western Eyes", "description": "<i>Baule:  African Art/Western Eyes</i>. Museum for African Art, NY (September 11, 1998-January 3, 1999); National Museum of African Art, Washington, DC (February 9-May 16, 1999).", "opening_date": "1998-09-11T00:00:00"}, {"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}], "legacy": [{"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00", "opening_date": "2000-02-01T00:00:00"}, {"description": "New Haven, CT: Yale University Art Gallery, 8/30/97 - 1/4/98.  Art Institute of Chicago, 2/14/98 - 5/19/98. NY: The Museum for African Art, 9/11/98 - 1/3/99.  Washington, DC: National Museum for African Art, 2/9/99 - 5/16/99, Baule: African Art: Western Eyes. color repr. p. 201.", "opening_date": "1997-08-30T00:00:00"}]}, "provenance": [{"description": "Tristan Tzara by at least 1935", "citations": [], "footnotes": [], "date": "by at least 1935", "sortorder": null}, {"description": "Nasli Heeramaneck, NY until 1952", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Cleveland Museum of Art by purchase, 1952", "citations": [], "footnotes": null, "date": "1952", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A goldsmith had to create superfine rolls of wax to make the texture of this piece; the wax was used to make a mold into which liquid gold was poured.", "description": "This pendant was cast in gold using the lost-wax method. Gold objects are the only Baule art forms associated with ancestor spirits. Pendants can have many uses. Usually hidden in pots or suitcases, gold adornments can be displayed on important occasions such as funerals. They can be laid out around the corpse before burial. A widow will wear them on a chain around her neck or attached to her hair at the ceremony signaling the end of mourning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756166"], "internet_archive": ["https://archive.org/details/clevelandart-1952.265-pendant-crocodile"]}, "citations": [{"citation": "Radin, Paul, and James Johnson Sweeney. A<em>frican Folktales &amp; Sculpture. </em>New York: Pantheon Books, 1952.", "page_number": "Mentioned: p. 346; Reproduced: pl. 105", "url": null}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955.</em> [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 46; Reproduced: no. 125", "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. 389", "url": "https://archive.org/details/CMAHandbook1958/page/n72"}, {"citation": "Robbins, Warren M. <em>African Art in American Collections = L'art Africain Dans Les Collections Americaines</em>. New York: F.A. Praeger, 1966.", "page_number": "Reproduced: p. 91, no. 86", "url": null}, {"citation": "Sweeney, James Johnson. <em>African Sculpture</em>. [Princeton, N.J.]: Princeton University Press, 1970.", "page_number": "Mentioned: p. 189; Reproduced: pl. 105", "url": null}, {"citation": "Vogel, Susan Mullin.<em> Baule: African Art, Western Eyes</em>. New Haven, Conn: Yale University Press, 1997.", "page_number": "Mentioned: p. 299; Reproduced: p. 201", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935</em>. New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 22; Reproduced: p. 23, no. 13", "url": null}, {"citation": "Robbins, Warren M. <em>African sculpture.</em> Atglen, PA: Schiffer Pub, 2005.", "page_number": "Reproduced: p. 91, no. 86", "url": null}], "url": "https://clevelandart.org/art/1952.265", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.265/1952.265_web.jpg", "width": "1263", "height": "786", "filesize": "580577", "filename": "1952.265_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.265/1952.265_print.jpg", "width": "3400", "height": "2117", "filesize": "4429295", "filename": "1952.265_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.265/1952.265_full.tif", "width": "5259", "height": "3274", "filesize": "51686128", "filename": "1952.265_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.265/1952.265_alt0_web.jpg", "width": "1263", "height": "861", "filesize": "693942"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.265/1952.265_alt0_print.jpg", "width": "3400", "height": "2319", "filesize": "4419607"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.265/1952.265_alt0_full.tif", "width": "5044", "height": "3441", "filesize": "52084408"}}, {"date_created": "2009-07-08T15:47:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.265/1952.265_alt1_web.jpg", "width": "1263", "height": "822", "filesize": "609571"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.265/1952.265_alt1_print.jpg", "width": "3400", "height": "2213", "filesize": "4484840"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.265/1952.265_alt1_full.tif", "width": "4616", "height": "3005", "filesize": "41645628"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129836, "creators": [], "legal_status": "accessioned", "accession_date": "1952-08-13T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "1930 or earlier", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:12.422000"}, {"id": 168750, "accession_number": "2010.454", "share_license_status": "CC0", "tombstone": "Female Bowl-Bearing Figure, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, Luba-style carver. Wood, glass beads, upholstery studs, plant fiber, and iron; overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.454", "current_location": "108A African", "title": "Female Bowl-Bearing Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luba-style carver"], "technique": "Wood, glass beads, upholstery studs, plant fiber, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.)", "dimensions": {"overall": {"height": 0.408, "width": 0.161, "depth": 0.273}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338050, "title": "Tentoonstelling van Kongo-Kunst", "description": "<i>Tentoonstelling van Kongo-Kunst</i>. Stad Stedelijke Feestzaal.", "opening_date": "1937-12-24T05:00:00"}, {"id": 338056, "title": "Frans M. Olbrechts (1899-1958): In Search of Art in Africa", "description": "<i>Frans M. Olbrechts (1899-1958): In Search of Art in Africa</i>. Ethnographic Museum (December 7, 2001-March 31, 2002).", "opening_date": "2001-12-07T05:00:00"}, {"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "<em>Frans M. Olbrechts (1899-1958): In Search of Art in Africa.</em> Ethnographic Museum, Antwerp, BE (December 7, 2001-March 31, 2002)", "opening_date": "2001-12-07T00:00:00"}, {"description": "<em>Tentoonstelling van Kongo-Kunst.</em> Stad Stedelijke Feestzaal, Antwerp, BE (December 24, 1937-January 16, 1938)", "opening_date": "1937-12-24T00:00:00"}]}, "provenance": [{"description": "Gaston Heenen [1880-1963], Brussels, BE, sold to Hendrik Elias", "citations": [], "footnotes": [], "date": "?\u20131939", "sortorder": 1}, {"description": "(Hendrik Elias [b. 1925], Galerie Elmar, Wieze, BE, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": null, "date": "1939\u20131968", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1968\u20132010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Symbolic of anvils, the round metal tacks decorating the figure's hair \"pin\" spirits and their secrets within it. They are at the hairline and each of the four hair cascades (the bottommost is now gone).", "description": "In Luba-style art, an object's beauty affects how well it works. While bowl-bearing figures had many possible uses, a royal diviner likely used this well-carved image of a woman carrying a bowl in rituals. Dusty traces of <em>mpemba</em> (white chalk) fleck the shining exterior and the bowl's interior, showing it once held this sacred powder. Diamond-shaped scarification marks at her waist, chest, and back add to her beauty. Her hair is carved into the cascading layered hairstyle worn in the Luba region at the turn of the twentieth century. Strands of imported glass beads encircle her waist and neck, and dangle from her hair. The alternating white and blue beads may symbolize the moon and Mbidi Kiluwe, a culture hero linked to royal practice and smithing. While much Luba-style art depicts women\u2014who are societally important\u2014men created and owned the majority of such works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60753255"], "internet_archive": ["https://archive.org/details/clevelandart-2010.454-female-bowl-bearing"]}, "citations": [{"citation": "Tentoonstelling van Kongo-kunst, exh. cat., Stadsfeestzaal, Antwerpen (December 24, 1937-January 16, 1938). Antwerp: Antwerpsche Propagandaweken, 1937 [cat. 669; not illustrated]", "page_number": "", "url": ""}, {"citation": "Antwerpen, Stad Stedelijke Feestzaal, and Antwerpsche Propagandaweken. <em>Tentoonstelling van Kongo-Kunst,</em> cat. 669. Exh. Cat. Antwerp: Antwerpsche Propagandaweken, December 24, 1937-January 16, 1938.", "page_number": "Mentioned: cat. 669.", "url": null}, {"citation": "Olbrechts, Frans M. <em>Plastiek van Kongo.</em> Antwerp/Brussels/Ghent/Leuven: Standaards-Boekhandel, 1946.", "page_number": "Reproduced: pl. 108", "url": null}, {"citation": "Olbrechets, Frans M., Constantine Petridis, and Daniel P. Biebuyck. <em>Frans M. Olbrechts (1899-1958): In Search of Art in Africa</em>, cat. 53. Exh. Cat. Antwerp: Ethnographic Museum, December 7, 2001-March 31, 2002.", "page_number": "Reproduced and mentioned: [p. 165] cat. 53", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 119.", "page_number": "Reproduced: p. 119, fig. 4; mentioned: p. 122", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 30, 79, 82-83, 108.", "page_number": "Mentioned: pp. 30, 79-80, 108, 114 ; reproduced: p. 82-83, cat. 26", "url": null}, {"citation": "Cleveland Museum of Art. <em>Masterworks on Loan: Celebrating the 100th Anniversary of the Cleveland Museum of Art: First Quarter 2016</em>. [Cleveland]: Cleveland Museum of Art, 2016.", "page_number": "Reproduced p. 16", "url": null}, {"citation": "Petridis, Constantine. \"Inscriptions: Establishing a Pre-1937 Acquisition Date for 1,525 Central African Sculptures.\" <em>Tribal: The Magazine of Tribal Art</em> XXIV: 4, no. 85 (Autumn, 2017): 127, 130-131.", "page_number": "p. 127, p. 130 color repr., p. 131 sketch", "url": null}], "url": "https://clevelandart.org/art/2010.454", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.454/2010.454_web.jpg", "width": "672", "height": "900", "filesize": "164813", "filename": "2010.454_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.454/2010.454_print.jpg", "width": "2540", "height": "3400", "filesize": "990576", "filename": "2010.454_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.454/2010.454_full.tif", "width": "6912", "height": "9252", "filesize": "191874708", "filename": 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Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168750, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:59.357000"}, {"id": 149386, "accession_number": "1978.43", "share_license_status": "CC0", "tombstone": "Hand Mirror, c. 1900. Designed by F\u00e9lix Bracquemond (French, 1833\u20131914), relief by Auguste Rodin (French, 1840\u20131917), enamel by Alexander Riquet (French), goldsmith work by Alexis Falize (French, 1811\u20131898). Gold, enamel, and ivory; overall: 32.2 x 16.1 x 1.2 cm (12 11/16 x 6 5/16 x 1/2 in.). The Cleveland Museum of Art, Gift of Ralph King, by exchange, 1978.43", "current_location": null, "title": "Hand Mirror", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["France"], "technique": "gold, enamel, and ivory", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 32.2 x 16.1 x 1.2 cm (12 11/16 x 6 5/16 x 1/2 in.)", "dimensions": {"overall": {"height": 0.322, "width": 0.161, "depth": 0.012}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "cipher engraved on inside top of handle:  \"VITTA\" (in monogram form)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Cast at bottom of relief:  A Rod - -", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "on the plique-a-jour enamel, the date and mark of Bracquemond and \"AR,\" the monogram for Alexandre Riquet", "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": 304384, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (March 1-September 1, 1979).", "opening_date": "1979-03-01T05:00:00"}, {"id": 309838, "title": "Mirrors: Art and Symbol", "description": "<i>Mirrors: Art and Symbol</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 3-November 18, 1984).", "opening_date": "1984-07-03T04:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}, {"id": 219712, "title": "F\u00e9lix Bracquemond (1833-1914) et les Arts D\u00e9coratifs Du Japonisme \u00e0 l'Art Nouveau", "description": "<i>F\u00e9lix Bracquemond (1833-1914) et les Arts D\u00e9coratifs Du Japonisme \u00e0 l'Art Nouveau</i>. Mus\u00e9e Adrien Dubouch\u00e9, Limoges, France (April 5-June 27, 2005).", "opening_date": "2005-04-05T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 230465, "title": "Jewelry by Artists, from Art Nouveau to the Avant-gardes", "description": "<i>Jewelry by Artists, from Art Nouveau to the Avant-gardes</i>. Museu Nacional d' Art de Catalunya, Barcelona, Spain (organizer) (October 26, 2010-February 28, 2011).", "opening_date": "2010-10-26T00:00:00"}, {"id": 441598, "title": "Artlens Exhibition 2019", "description": "<i>Artlens Exhibition 2019</i>. The Cleveland Museum of Art, Cleveland, OH (organizer).", "opening_date": "2019-06-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "Commissioned by Baron J. Vitta, by descent to his heirs", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Heirs of Baron J. Vitta", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "[Cyril Humphris, Ltd., Ferrers Gallery, London, England]", "citations": [], "footnotes": null, "date": "-July 1978", "sortorder": 3}, {"description": "Ralph King [1855-1926] Cleveland Heights, OH, given by exchange to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1978-", "sortorder": 5}], "find_spot": null, "related_works": [{"id": 166861, "description": "Design for a Hand Mirror, c. 1900-1902. F\u00e9lix Bracquemond (French, 1833-1914). Watercolor and black ink with graphite; sheet: 18 x 13.8 cm (7 1/16 x 5 7/16 in.); framed: 62 x 45 cm (24 7/16 x 17 11/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund 2009.11.4", "relationship": null}], "former_accession_numbers": [], "did_you_know": "The mirror\u2019s relief of Venus may be the only example of Rodin providing an ornament for a small decorative object.", "description": "We often think of art as the work of just one person. In the case of this mirror, its harmonious appearance conceals the number of people involved in its creation. The designer F\u00e9lix Bracquemond was commissioned by wealthy banker Baron Joseph Vitta to create decorative objects for his multiple homes. Bracquemond worked with other artists in making this mirror: well-known sculptor Auguste Rodin created the figure of Venus; artisan Alexandre Riquet fashioned the elaborate enameled decoration; and goldsmiths from Parisian jewelers Falize Fr\u00e8res completed the mirror and its blue translucent frame embedded with yellow, pink, and white flowers. Through close collaboration between patron, designer, and artists, this mirror represents the trend at the end of the 1800s for blending artistic specialties to create a single work of art. <br><br>The CMA\u2019s collection includes Bracquemond\u2019s preparatory drawings for the mirror and Rodin\u2019s carved plaster model for the figure of Venus.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60763642"], "internet_archive": ["https://archive.org/details/clevelandart-1978.43-hand-mirror"]}, "citations": [{"citation": "Museu Nacional d'Art de Catalunya, Barcelona, Spain (10/26/2010 - 2/28/2011): \"Jewelry by Artists, from Art Nouveau to the Avant-gardes\", ex. cat. no. 177, p. 178-179.", "page_number": null, "url": null}, {"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": "Mentioned: p. 42, no. 7; Reproduced: Back cover", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Weisberg, Gabriel P. \u201cBaron Vitta and the Bracquemond/Rodin Hand Mirror.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 8 (November 1979): 297\u2013310.", "page_number": "Mentioned and reproduced: p. 297-298, figs. 1-2", "url": "http://www.jstor.org/stable/25159645"}, {"citation": "Kozloff, Arielle P., and Sara Jane Pearman. \u201cFurther Reflections.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 8 (October 1984): 276\u2013279.", "page_number": "Mentioned and reproduced: p. 277-279, figs. 4-5", "url": "http://www.jstor.org/stable/25159879"}, {"citation": "Donley, Gregory M, \"A Discerning Eye\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 05, May 1999", "page_number": "Mentioned & reproduced: p. 6", "url": "https://archive.org/details/CMAMM1999-05/page/n5"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, Jeannine J Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, Ohio:  Cleveland Museum of Art in association with New Haven; London: Yale University Press, 2008.", "page_number": "Reproduced: P. 133; Mentioned: P. 324, no. 8", "url": ""}], "url": "https://clevelandart.org/art/1978.43", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.43/1978.43_web.jpg", "width": "670", "height": "893", "filesize": "379845", "filename": "1978.43_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.43/1978.43_print.jpg", "width": "2550", "height": "3400", "filesize": "5532927", "filename": "1978.43_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.43/1978.43_full.tif", "width": "4080", "height": "5440", "filesize": "66617824", "filename": "1978.43_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King, by exchange", "image_credit": null, "sketchfab_id": "b2a253353667465aa071f9bd1ba86cf2", "sketchfab_url": "https://sketchfab.com/models/b2a253353667465aa071f9bd1ba86cf2", "gallery_donor_text": null, "athena_id": 149386, "creators": [{"id": 5538, "description": "F\u00e9lix Bracquemond (French, 1833\u20131914)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1833", "death_year": "1914", "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": "relief by", "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 13439, "description": "Alexander Riquet (French)", "extent": "enamel by", "qualifier": null, "role": "enamelist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}, {"id": 13631, "description": "Alexis Falize (French, 1811\u20131898)", "extent": "goldsmith work by", "qualifier": null, "role": "goldsmith", "biography": null, "name_in_original_language": null, "birth_year": "1811", "death_year": "1898", "use_in_caption": true, "include_extent": true, "weight": 4}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-10 07:00:55.628000"}, {"id": 146111, "accession_number": "1971.297.1", "share_license_status": "CC0", "tombstone": "Male Figure from a Pair (asye usu), late 1800s\u2013early 1900s. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood, resin, glass beads, plant fiber, and metal; overall: 49.5 x 9.1 x 13 cm (19 1/2 x 3 9/16 x 5 1/8 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.297.1", "current_location": "108A African", "title": "Male Figure from a Pair (asye usu)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1935, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood, resin, glass beads, plant fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 49.5 x 9.1 x 13 cm (19 1/2 x 3 9/16 x 5 1/8 in.)", "dimensions": {"overall": {"height": 0.495, "width": 0.091, "depth": 0.13}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 184604, "title": "Object in Focus: Male and Female Spirit Spouse Figures", "description": "<i>Object in Focus: Male and Female Spirit Spouse Figures</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 7-March 9, 2003).", "opening_date": "2003-01-07T00:00:00"}, {"id": 287107, "title": "African Master Carvers: Known and Famous", "description": "<i>African Master Carvers: Known and Famous</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 85, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 38, repr. p. 105.", "opening_date": "1973-03-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; January 7- March 9, 2003.  \" Object in Focus: Male (blolo bian) and Female (blolo bla) Spirit Partner Figures, Africa, Ivory Coast, Baule, c. 1930s [wood; 1971.297.1-2] \"", "opening_date": "2003-01-07T00:00:00"}, {"description": "The Cleveland Museum of Art (3/26/2017-7/16/2017); \u201cAfrican Master Carvers: Known and Famous\u201d.", "opening_date": "2017-03-26T00:00:00"}]}, "provenance": [{"description": "Katherine C. White (aka Katherine Merkel, Katherine Reswick)", "citations": [], "footnotes": null, "date": "?-1971", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH by gift", "citations": [], "footnotes": null, "date": "1971-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["71.297", "837.68"], "did_you_know": "Baule artists looked to the world around them to capture contemporary ideas and ideals of beauty; this figure's hairstyle would have been worn when the sculpture was carved.", "description": "Baule figures carved as pairs usually represent untamed spirits of the wilderness called <em>asye usu.</em> These spirits may intervene in the lives of individuals by taking possession of them. If this possession does not result in madness, it can lead to the human host\u2019s becoming a diviner who can enter into a trance to reveal the causes of ailments and other misfortunes. People who feel their lives are being interrupted by the asye usu commission carvings representing idealized male and female forms whose grace and beauty in both anatomy and adornment will seduce the spirits and compel them to use the sculptures as their temporary homes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779292"], "internet_archive": ["https://archive.org/details/clevelandart-1971.297.1-male-figure-from-a-p"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection, no. 85</em>. Cleveland: Cleveland Museum of Art.", "page_number": "", "url": ""}, {"citation": "\"1972 Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 60, no. 3 (1973), cat. 38", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, and Henry John Drewal. 1989. <em>African Art : A Brief Guide to the Collection : The Cleveland Museum of Art</em>. Cleveland: Museum, fig. 15.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 17, p. 64 - 65", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 12", "url": "https://archive.org/details/CMAMM2014-01"}], "url": "https://clevelandart.org/art/1971.297.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.297.1/1971.297.1_web.jpg", "width": "468", "height": "900", "filesize": "85903", "filename": "1971.297.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.297.1/1971.297.1_print.jpg", "width": "1767", "height": "3400", "filesize": "655888", "filename": "1971.297.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.297.1/1971.297.1_full.tif", "width": "3144", "height": "6048", "filesize": "57076452", "filename": "1971.297.1_full.tif"}}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146111, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1971.297", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Figure of a Spirit Husband", "Figure Pair (Asye Usu)"], "is_highlight": false, "updated_at": "2026-03-27 00:07:32.920000"}, {"id": 146112, "accession_number": "1971.297.2", "share_license_status": "CC0", "tombstone": "Female Figure from a Pair (asye usu), late 1800s\u2013early 1900s. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood, resin, glass beads, plant fiber, and metal; overall: 47.7 x 10 x 11 cm (18 3/4 x 3 15/16 x 4 5/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.297.2", "current_location": "108A African", "title": "Female Figure from a Pair (asye usu)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood, resin, glass beads, plant fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 47.7 x 10 x 11 cm (18 3/4 x 3 15/16 x 4 5/16 in.)", "dimensions": {"overall": {"height": 0.477, "width": 0.1, "depth": 0.11}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 184604, "title": "Object in Focus: Male and Female Spirit Spouse Figures", "description": "<i>Object in Focus: Male and Female Spirit Spouse Figures</i>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 85, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 38, repr. p. 105.", "opening_date": "1973-03-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; January 7- March 9, 2003.  \" Object in Focus: Male (blolo bian) and Female (blolo bla) Spirit Partner Figures, Africa, Ivory Coast, Baule, c. 1930s [wood; 1971.297.1-2]\"", "opening_date": "2003-01-07T00:00:00"}, {"description": "The Cleveland Museum of Art (3/26/2017-7/16/2017); \u201cAfrican Master Carvers: Known and Famous\u201d.", "opening_date": "2017-03-26T00:00:00"}]}, "provenance": [{"description": "Katherine C. White (aka Katherine Merkel, Katherine Reswick)", "citations": [], "footnotes": null, "date": "?-1971", "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["71.298", "838.68"], "did_you_know": "Baule artists looked to the world around them to capture contemporary ideas and ideals of beauty; this figure's hairstyle would have been worn when the sculpture was carved.", "description": "Baule figures carved as pairs usually represent untamed spirits of the wilderness called <em>asye usu.</em> These spirits may intervene in the lives of individuals by taking possession of them. If this possession does not result in madness, it can lead to the human host\u2019s becoming a diviner who can enter into a trance to reveal the causes of ailments and other misfortunes. People who feel their lives are being interrupted by the asye usu commission carvings representing idealized male and female forms whose grace and beauty in both anatomy and adornment will seduce the spirits and compel them to use the sculptures as their temporary homes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60748546"], "internet_archive": ["https://archive.org/details/clevelandart-1971.297.2-female-figure-from-a"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection, no. 85</em>. Cleveland: Cleveland Museum of Art.", "page_number": "", "url": ""}, {"citation": "\"1972 Year in Review\" <em>Bulletin of the Cleveland Museum of Art</em>, vol. 60, no. 3 (1973).", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, and Henry John Drewal. 1989. <em>African Art : A Brief Guide to the Collection : The Cleveland Museum of Art</em>. Cleveland: Museum, fig. 15.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 12", "url": "https://archive.org/details/CMAMM2014-01"}], "url": "https://clevelandart.org/art/1971.297.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.297.2/1971.297.2_web.jpg", "width": "532", "height": "900", "filesize": "89198", "filename": "1971.297.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.297.2/1971.297.2_print.jpg", "width": "2011", "height": "3400", "filesize": "717284", "filename": "1971.297.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.297.2/1971.297.2_full.tif", "width": "3570", "height": "6036", "filesize": "64677416", "filename": "1971.297.2_full.tif"}}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146112, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1971.297", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Figure of a Spirit Wife", "Figure Pair (Asye Usu)"], "is_highlight": false, "updated_at": "2026-03-27 00:06:18.428000"}, {"id": 130330, "accession_number": "1952.95", "share_license_status": "CC0", "tombstone": "Self-Portrait, 1802. John I Smart (British, 1741\u20131811). Watercolor on ivory in a gold frame; framed: 7 x 5.7 cm (2 3/4 x 2 1/4 in.); unframed: 6.9 x 5.4 cm (2 11/16 x 2 1/8 in.). The Cleveland Museum of Art, The Edward B. Greene Collection, 1952.95", "current_location": "203B British Painting and Decorative Arts", "title": "Self-Portrait", "creation_date": "1802", "creation_date_earliest": 1802, "creation_date_latest": 1802, "artists_tags": ["male"], "culture": ["England, early 19th Century"], "technique": "watercolor on ivory in a gold frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 7 x 5.7 cm (2 3/4 x 2 1/4 in.); Unframed: 6.9 x 5.4 cm (2 11/16 x 2 1/8 in.)", "dimensions": {"framed": {"height": 0.07, "width": 0.057}, "unframed": {"height": 0.069, "width": 0.054}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed left:  J S / 1802", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": [{"description": "<em>Main Gallery Rotation (Gallery 202)</em>, The Cleveland Museum of Art, Cleveland, OH (January 5, 2009 - April 6, 2009).", "opening_date": "2009-01-05T00:00:00"}, {"description": "<em>Main European Rotation (Gallery 202)</em>, The Cleveland Museum of Art, Cleveland, OH (January 30, 2012 - July 23, 2012). [Verso on display]", "opening_date": "2012-01-30T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist, John Smart (1741-1811), by inheritance to his son, John James Smart", "citations": [], "footnotes": null, "date": "1802-1811", "sortorder": null}, {"description": "John James Smart (1805-1870), by inheritance to his daughter Mary Ann Bose", "citations": [], "footnotes": null, "date": "1811-1870", "sortorder": 2}, {"description": "Mary Ann Bose (n\u00e9e Smart, 1856\u20131934), by inheritance to her son William H. Bose", "citations": [], "footnotes": null, "date": "1870-1934", "sortorder": 3}, {"description": "William H. Bose (1875-1957)", "citations": [], "footnotes": null, "date": "1934-1945", "sortorder": 4}, {"description": "(Sale: Christie's London, December 17, 1945, lot 18).", "citations": [], "footnotes": null, "date": "December 17, 1945", "sortorder": 5}, {"description": "Robert H. Rocklliff (d. 1963)", "citations": [], "footnotes": null, "date": "1945-1947", "sortorder": 6}, {"description": "(Sale: Sotheby's London, November 11, 1945, lot 119).", "citations": [], "footnotes": null, "date": "November 11, 1945", "sortorder": 7}, {"description": "H.E. Backer, dealer, London, England on commission", "citations": [], "footnotes": null, "date": "-1948", "sortorder": 8}, {"description": "Dr. C.H. Samuelson, Greenacre, Exeter. England", "citations": [], "footnotes": null, "date": "1948-", "sortorder": 9}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1952", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1952-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Smart signed this self-portrait with his initials in the lower left along with the date it was made, 1802.", "description": "This self-portrait depicts the artist\u2019s almost full face with blue-gray eyes; gray, curly hair and sideburns; and a ruddy <br>complexion. In spite of the fact that it was no longer in fashion, the powder on his collar indicates that even in 1802 John Smart continued to powder his hair. He wears a dark blue coat with brass buttons; white stock collar, bow, and frill; and deep yellow waistcoat. Arthur Jaff\u00e9 has argued that the yellow waistcoat also seen in Smart\u2019s portrait in the National Gallery, London, indicates his Whiggish political proclivities. The background of the miniature is yellowish gray, and it is signed at the lower left: \u201cJS / 1802.\u201d The silver-gilt frame is probably original, but the gold monogram JS, placed over an opalescent background, may have been added later.<br><br>The portrait was formerly in the collection of William Henry Bose, who was Smart\u2019s great-grandson. The Bose collection of Smart sketches and preparatory studies was sold February 15, 1937, at Christie\u2019s, London, but the self-portrait was retained and lent to the Victoria and Albert Museum. In her biography of Smart, Daphne Foskett notes that in 1913 William Bose received a letter from the Reynolds Galleries in London informing him that \u201cSmart\u2019s miniatures were not then selling quite as well as they formerly did, and that the average price of a male portrait was from \u00a320 to \u00a330 and for a lady, young and good-looking, from \u00a330 to \u00a370.\u201d In 1947, over three decades later, the market had revived, and the self-portrait sold for \u00a3360.<br><br>In her <em>Dictionary of British Miniature Painters</em>, Foskett notes that Smart painted nine self-portraits, but she does not list them. Having executed at least nine self-portraits during two decades of his mature career, Smart seemed more invested in recording his changing likeness than most of his miniature-painting contemporaries. This attitude of consistent introspection and careful attention to the conservation of his skills outside of the pressures of a commission is in keeping with his practice of executing and retaining highly finished preliminary studies of his sitters for their portraits. In each of his self-portraits, Smart is conservatively dressed and coiffed, with the ruddy complexion and slightly amused expression found in so many of the portraits he painted. Portraits of Smart by other artists reiterate both the humor <br>and intensity seen in the self-portraits.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912069"], "internet_archive": ["https://archive.org/details/clevelandart-1952.95-self-portrait"]}, "citations": [{"citation": "Christie, Manson &amp; Woods.<em> Miniatures, Objects of Art and Vertu. </em>1945.", "page_number": "Lot 18", "url": ""}, {"citation": "Sotheby's (Firm). <em>Fine Portrait Miniatures, Enamels and Snuff Boxes.</em> 1947.", "page_number": "lot 119, pl. VI", "url": ""}, {"citation": "Cleveland Museum of Art, and Edward Belden Greene. <em>Portrait Miniatures ; The Edward B. Greene Collection</em>. 1951.", "page_number": "p. 30, no. 34, pl. IX", "url": ""}, {"citation": "Burchfield, Louise H. \u201cPortrait Miniatures.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 41, no. 2 (1954).", "page_number": "p. 22, 26", "url": "https://www.jstor.org/stable/25141936"}, {"citation": "\u201cThree Paintings Recently Acquired.\u201d <em>Bulletin of the Museum of Fine Arts</em> 52, no. 290 (1954).", "page_number": "p. 90", "url": "https://www.jstor.org/stable/4171186"}, {"citation": "Jaff\u00e9, Arthur. \u201cJohn Smart, Miniature Painter\u20141741(?)\u20131811: His Life and Iconography.\u201d <em>Art Quarterly</em> XVII, no. 3 (Autumn 1954).", "page_number": "fig. 10, pp. 249, 251, 254", "url": ""}, {"citation": "Foskett, Daphne.<em> John Smart: the Man and His Miniatures.</em> [London]: Cory, Adams &amp; Mackay, 1964.", "page_number": "fi g. 6 (repr.), pl. III", "url": ""}, {"citation": "Foskett, Daphne. <em>A Dictionary of British Miniature Painters</em>. London: Faber and Faber, 1972.", "page_number": "vol. 1, pp. 513\u201316; vol. II, no. 840, pl. 336", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong.<em> European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 305", "url": ""}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives. </em>2013.", "page_number": "Mentioned: p. 81", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl. <em>British Portrait Miniatures: The Cleveland Museum of Art. 20</em>13.", "page_number": "Cat. no. 34, pp. 156-159", "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. 197", "url": ""}], "url": "https://clevelandart.org/art/1952.95", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.95/1952.95_web.jpg", "width": "900", "height": "900", "filesize": "130580", "filename": "1952.95_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.95/1952.95_print.jpg", "width": "3400", "height": "3400", "filesize": "1358680", "filename": "1952.95_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.95/1952.95_full.tif", "width": "9218", "height": "9218", "filesize": "254941828", "filename": "1952.95_full.tif"}}, "alternate_images": [{"date_created": "2013-02-07T18:08:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt0_web.jpg", "width": "670", "height": "893", "filesize": "72649"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "849024"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt0_full.tif", "width": "6000", "height": "8000", "filesize": "144023212"}}, {"date_created": "2007-12-17T20:31:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt1_web.jpg", "width": "716", "height": "893", "filesize": "402330"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt1_print.jpg", "width": "2725", "height": "3400", "filesize": "4814231"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt1_full.tif", "width": "3570", "height": "4455", "filesize": "47744480"}}, {"date_created": "2008-10-07T15:47:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt2_web.jpg", "width": "725", "height": "893", "filesize": "438506"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt2_print.jpg", "width": "2762", "height": "3400", "filesize": "5151106"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt2_full.tif", "width": "3385", "height": "4167", "filesize": "42346860"}}, {"date_created": "2025-08-15T16:41:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt3_web.jpg", "width": "900", "height": "900", "filesize": "113577"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt3_print.jpg", "width": "3400", "height": "3400", "filesize": "1135634"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt3_full.tif", "width": "9218", "height": "9218", "filesize": "254941784"}}, {"date_created": "2013-02-07T18:30:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt4_web.jpg", "width": "670", "height": "893", "filesize": "83237"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt4_print.jpg", "width": "2550", "height": "3400", "filesize": "1026676"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.95/1952.95_alt4_full.tif", "width": "6000", "height": "8000", "filesize": "144022356"}}], "creditline": "The Edward B. Greene Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130330, "creators": [{"id": 3691, "description": "John I Smart (British, 1741\u20131811)", "extent": null, "qualifier": null, "role": "artist", "biography": "John Smart is often regarded as the most skilled painter of portrait miniatures at the height of the art form\u2019s popularity in late-eighteenth-century Britain. While the free style and white and blue color palette of his rival Richard Cosway (1742\u20131821) conjured up the glamour of fashionable society, Smart\u2019s attention to minute detail, saturated colors, and frank conveyance of likeness and character attracted a different type of clientele, one who prized these qualities <br>above Cosway\u2019s homogenized modishness.  <br>Information is limited about Smart\u2019s life and career, so much so that while G. C. Williamson had penned the definitive biographies of Cosway, George Engleheart (1752\u20131829), and Andrew Plimer (1763\u20131837) by 1905, it wasn\u2019t until 1964 that a biography of Smart appeared.  Little is known about the artist\u2019s early training beyond evidence suggesting that before the age of fourteen, he was winning prizes from the Society of Arts for his drawings and, like Cosway, was an apprentice in William Shipley\u2019s London school in St. Martin\u2019s Lane.  Smart exhibited for several years as an active member and eventually president of the Society of Artists of Great Britain before seeking his fortune as a miniature painter in India, where he lived between 1785 and 1795, hoping to secure patronage from wealthy princes and those <br>involved in England\u2019s growing trade market. Works from this period are signed with the initial I, signifying India. <br>Unlike Cosway, an ostentatious showman, Smart lived and worked quietly, settling in London after his return from India and exhibiting at the Royal Academy. His style, which changed little throughout his career, is characterized by a meticulous description of a sitter\u2019s countenance through the use of delicate stippling, often featuring wrinkles, crow\u2019s feet around the eyes, and a slightly upturned mouth that suggests joviality. Unlike his contemporaries Cosway, Engleheart, and Plimer, whose backgrounds most often featured blue and white cloudy skies, Smart painted his backgrounds in varying shades of browns, greens, and grays. The size of the artist\u2019s miniatures expanded over time, measuring around 11/ 2 inches until about 1775, then 2 inches until around 1790, and 3 inches thereafter. Though <br>highly sought after in his time, Smart\u2019s work grew even more popular among collectors following his death. The Cleveland Museum of Art has a total of twenty-three portraits by Smart: seven gentlemen sitters painted on ivory and sixteen preparatory drawings of men and women.  Of the seven miniatures on ivory, two date from 1770, three from <br>Smart\u2019s years in India, and two after his 1795 return to London.", "name_in_original_language": null, "birth_year": "1741", "death_year": "1811", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-03-27T00:00:00", "sortable_date": 1802, "date_added_to_oa": null, "date_text": "1802", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:04.072000"}, {"id": 150851, "accession_number": "1982.256", "share_license_status": "CC0", "tombstone": "Marie-Yolande de Fitz-James, 1867. Henri Fantin-Latour (French, 1836\u20131904). Oil on fabric; framed: 65.1 x 57.2 x 7.6 cm (25 5/8 x 22 1/2 x 3 in.); unframed: 50.2 x 42.2 cm (19 3/4 x 16 5/8 in.). The Cleveland Museum of Art, Gift of Lewis C. Williams, 1982.256", "current_location": "222 Impressionism & Post-Impressionism", "title": "Marie-Yolande de Fitz-James", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 65.1 x 57.2 x 7.6 cm (25 5/8 x 22 1/2 x 3 in.); Unframed: 50.2 x 42.2 cm (19 3/4 x 16 5/8 in.)", "dimensions": {"framed": {"height": 0.651, "width": 0.572, "depth": 0.076}, "unframed": {"height": 0.502, "width": 0.422}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper left: Fantin. 67\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Fantin-Latour</em>. Museum of French Art, New York, NY (1932).", "opening_date": "1932-01-01T00:00:00"}, {"description": "<em>Twentieth Anniversary Exhibition</em>. The Cleveland Museum of Art, Cleveland, OH (1936).", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>Fantin-Latour 1836-1904</em>. Grand Palais, Paris, France (November 9, 1982-February 7, 1983); National Gallery of Canada, Ottawa, Ontario (March 17-May 22,1983); California Palace of the Legion of Honor, San Francisco, CA. (June 18-September 6, 1983).", "opening_date": "1983-06-18T00:00:00"}]}, "provenance": [{"description": "Duchesse de Fitz-James [1830-1915], Ch\u00e2teau de la Lorie, Maine-et-Loire. F\u00e9ral, Paris.", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(F & J Tempelaere, Paris, France)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(Kraushaar Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "1926-1929", "sortorder": 3}, {"description": "Possibly Chester Dale [1883-1962], Washington DC", "citations": [], "footnotes": null, "date": "1929", "sortorder": 4}, {"description": "(C. W. Kraushaar, New York, NY, sold to Lewis B. Williams)", "citations": [], "footnotes": null, "date": "1932", "sortorder": 6}, {"description": "Lewis B. Williams, Cleveland, OH, by descent to Lewis C. Williams", "citations": [], "footnotes": null, "date": "1932-1982", "sortorder": 7}, {"description": "Lewis C. Williams, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1982", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1982-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2.74"], "did_you_know": "Fantin-Latour, known for his portraits and flower still lifes, never shared the artistic viewpoint of his friends and contemporaries, the Impressionists. He remained a traditional academic painter throughout his career and the style of this portrait reflects the romanticism of an earlier generation.", "description": "This portrait depicts Marie-Yolande de Fitz-James, the 12-year-old daughter of \u00c9douard de Fitz-James. Fantin-Latour painted a series of portraits of her family members in preparation for a large group portrait that was never completed. The sitter is elegantly dressed in a pink and white dress, identical to one worn by her elder sister, Fran\u00e7oise, for her portrait. Marie-Yolande wears no jewelry and her hair is styled more simply, as would have been suitable for a girl of her age at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474947"], "internet_archive": ["https://archive.org/details/clevelandart-1982.256-marie-yolande-de-fit"]}, "citations": [{"citation": "Jullien, Adolphe. <em>Fantin-Latour, sa vie et ses amitie\u0301s; lettres ine\u0301dites et souvenirs personnels, avec cinquante-trois reproductions d'\u0153uvres du maitre, tire\u0301es a part, six autographes et vingt-deux illustrations dans le texte</em>. Paris, France: L. Laveur, 1909.", "page_number": "Mentioned: pgs. 31,33,197", "url": null}, {"citation": "Fantin-Latour, Victoria. <em>Catalogue de l'\u0153uvre complet (1849-1904) de Fantin-Latour, e\u0301tabli et re\u0301dige\u0301</em>. Paris, France: H. Floury, 1911.", "page_number": "Mentioned: no. 303", "url": null}, {"citation": "Gibson, Frank F. <em>The Art of Henri Fantin-Latour: His Life and Work</em>. London, United Kindgom: Drane's Ltd, 1924.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "<em>The International Studio</em> 37 (June 1926): 37.", "page_number": "Reproduced: P. 37", "url": null}, {"citation": "Topas, J. \u201cFantin-Latour, 1865-1904.\u201d <em>Art in America</em> 17 (December 1928): 25\u201330.", "page_number": "Reproduced: P. 27", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 258-259; vol. II", "url": null}, {"citation": "Verrier, Michelle. <em>Fantin-Latour.</em> New York: Harmony Books, 1978.", "page_number": "Mentioned and reproduced: P. 20-21", "url": null}, {"citation": "Druick, Douglas and Michel Hoog. <em>Fantin-Latour: Exhibition</em>. Ottawa: National Gallery of Canada, 1983.", "page_number": null, "url": null}, {"citation": "Turner, Evan H. \" Year in Review for 1983.\" <em>The Bulletin of The Cleveland Museum of Art LXXI</em>, no. 2 (February, 1984): 39-79.", "page_number": "Reproduced: p. 62, fig. 78", "url": null}, {"citation": "\"1990 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 4 (1991): 151-219.", "page_number": "Mentioned: p. 172", "url": "https://www.jstor.org/stable/25161322"}, {"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. 74", "url": null}, {"citation": "D'Argencourt, Loyuise and Roger Diederen. <em>The Cleveland Museumof Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of art, 1999.", "page_number": "Reproduced: p. 95", "url": null}], "url": "https://clevelandart.org/art/1982.256", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.256/1982.256_web.jpg", "width": "748", "height": "893", "filesize": "454034", "filename": "1982.256_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.256/1982.256_print.jpg", "width": "2848", "height": "3400", "filesize": "7220726", "filename": "1982.256_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.256/1982.256_full.tif", "width": "4750", "height": "5670", "filesize": "80830212", "filename": "1982.256_full.tif"}}, "alternate_images": [], "creditline": "Gift of Lewis C. Williams", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 150851, "creators": [{"id": 1862, "description": "Henri Fantin-Latour (French, 1836\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "At the age of ten, Henri Fantin-Latour began painting with his father, Th\u00e9odore Fantin-Latour (1805-1875). In 1850 he left Grenoble and moved to Paris to study under Horace Lecoq de Boisbaudran (1802-1897), an innovative and nontraditional instructor who developed and published his own unique teaching method based on painting and drawing from memory. Fantin studied with him for six years and then attended the \u00c9cole des Beaux-Arts for less than a year in 1854. Encouraged by J. A. M. Whistler (1834-1903), whom he met in 1858 at the Louvre, Fantin-Latour made several trips to London from 1859 to 1881, where he exhibited at the Royal Academy. London collectors appreciated his still lifes, and he began accepting numerous portrait commissions from English patrons. It was in London, through Whistler's brother-in-law Francis Seymour Haden (1818-1910), that Fantin first learned to etch. After his first Salon submissions were rejected in 1859, Fantin, in an effort to become better known in France, began exhibiting with his friend Manet (q.v.) and future impressionists Renoir (q.v.) and Monet (q.v.). In 1865 Fantin wrote collector Edwin Edwards: \"We form a group and make noise because there are lots of painters about and one is easily overlooked. When we get together . . . we gain strength in numbers and grow more adventurous. I thought it could last. That was my mistake.\" Unlike the realists and the impressionists, Fantin did not paint out of doors; rather, he preferred literary subjects, still lifes, and portraits that could be painted in his studio. In addition to portraits and still lifes, he made numerous paintings and more than 150 prints that were fantasy works and dream visions, paving the way for symbolist artists. These works were inspired by allegorical and mythological subjects as well as motivated by contemporary German composers such as Schumann and Wagner. After Fantin's death in 1904, critic Ren\u00e9-Marc Ferry wrote: \"when he found realism too limited and stifling, he lost himself in dreams, but his dreams went no further than the windows of his studio. Deep down, he was first and foremost a studio artist.\"1\r\n1. Druick and Hoog 1982, 28.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-12-20T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:08.014000"}, {"id": 149769, "accession_number": "1979.81", "share_license_status": "CC0", "tombstone": "Susanna Anderson Rose, 1862. Frederick Sandys (British, 1829\u20131904). Oil on wood; framed: 54 x 47 x 4.5 cm (21 1/4 x 18 1/2 x 1 3/4 in.); unframed: 34.7 x 28 cm (13 11/16 x 11 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1979.81", "current_location": "220 19th Century European", "title": "Susanna Anderson Rose", "creation_date": "1862", "creation_date_earliest": 1862, "creation_date_latest": 1862, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on wood", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 54 x 47 x 4.5 cm (21 1/4 x 18 1/2 x 1 3/4 in.); Unframed: 34.7 x 28 cm (13 11/16 x 11 in.)", "dimensions": {"framed": {"height": 0.54, "width": 0.47, "depth": 0.045}, "unframed": {"height": 0.347, "width": 0.28}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: 1862/fas [monogram in shield]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"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"}], "legacy": [{"description": "<em>Annual Exhibition.</em> Royal Academy, London, United Kingdom (1863).", "opening_date": null}]}, "provenance": [{"description": "The sitter, Mrs. Susanna Rose [1795-1870]   London, England, by descent to her son, Col. Sir William Anderson Rose", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Col. Sir William Anderson Rose [1820-1881] London, England, by descent to his granddaughter, Adria Rose Oxley", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "His granddaughter, Adria Rose Oxley of Kilravock Castle. Her husband, Lt. Col. M. S. Oxley. Their daughter, Valerie Oxley of Tidworth, Hampshire.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Their daughter, Valerie Oxley of Tidworth, Hampshire. London sale, Christie's, 2 February 1979 (lot 82, repr.), Portrait of Mrs. Susanna Rose, aged 67 years, for \u00a37,000.", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "(Fischer Fine Art, Ltd., London, United Kingdom, 1979, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1979", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1979-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Pre-Raphaelite movement revised elements of old art forms and this painting has all the qualities of a carefully executed Renaissance painting; decorative fabric, a window, and a coat of arms. Gallery 204, our Colonial American gallery, also has a portrait that includes these elements.", "description": "This keenly perceptive portrait of Susanna Anderson Rose (1795\u20131870) was painted when the sitter was 67 years old. The fine network of lines on her face are meticulously observed as are her silver gray curls and pale blue eyes. Frederick Sandys\u2019s ability to render detail is evident in the subject\u2019s bonnet, elaborately trimmed with lace and azure ribbon, and the texture of her brown fur cloak.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474304"], "internet_archive": ["https://archive.org/details/clevelandart-1979.81-portrait-of-susanna", "https://archive.org/details/clevelandart-1979.81-susanna-anderson-ros"]}, "citations": [{"citation": "\"The Royal Academy.\" <em>The Art-Journal </em>2 (June 1, 1863): 105-116.", "page_number": "Mentioned: P 110", "url": null}, {"citation": "\"Royal Academy 101st Exhibition.\" <em>The Art-Journal </em>8 (July 1, 1869): 197-204.", "page_number": "Mentioned: P. 202", "url": null}, {"citation": "Gray, J. M. \"Frederick Sandys.\" <em>The Art-Journal </em>8 (1884): 73-78.", "page_number": "Mentioned: 77-78", "url": null}, {"citation": "Wood, Esther. <em>A Consideration of the Art of Frederick Sandys</em>. Westminster London, United Kingdom: Archibald Constable and Co, 1896.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "Bate, Percy H. \"The Late Frederick Sandys: A Retrospect.\" <em>The Studio </em>33 (October 1904): 3-17.", "page_number": "Mentioned: P. 12", "url": null}, {"citation": "Ross, Robert. \"Frederick Sandys.\" In <em>The Dictionary of National Biography. </em>Weaver, J. R. H, and H. W. C Davis, eds., 263-265.London: Oxford University Press, 1920.", "page_number": "Mentioned: Vol. 1, P. 264", "url": null}, {"citation": "Chamberlain, Arthur B. \"Works by Frederick Sandys in the Birmingham Art Gallery.\" <em>Apollo: A Journal of the Arts </em>2 (November 1925): 258-263..", "page_number": "Mentioned:P. 269", "url": null}, {"citation": "Crombie, Theodore. \"Some Portraits by Frederick Sandys.\" <em>Apollo: A Journal of the Arts </em>82 (November 1965): 398-400..", "page_number": "Mentioned: P. 400", "url": null}, {"citation": "Maas, Jeremy. <em>Victorian Painters</em>. London, United Kingdom: Barrie &amp; Rockliff, the Cresset P., 1969.", "page_number": "Reproduced: p. 217", "url": null}, {"citation": "O'Looney, Betty. <em>Frederick Sandys, 1829-1904</em>. Brighton, United Kingdom: Brighton Museum and Art Gallery, 1974.", "page_number": "Reproduced: p. 31", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art LXVII</em>, no. 3 (March, 1980):58-99.", "page_number": "Mentioned: p. 61, p. 97, no. 90; Reproduced: p. 75, no. 90", "url": null}, {"citation": "Talbot, William S. \"A Victorian Portrait by Frederick Sandys.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 10 (1980): 299-309.", "page_number": "Reproduced: Cover, P. 299", "url": "http://www.jstor.org/stable/25159700."}, {"citation": "<em>Fischer Fine Art Limited, London: 1972-1982</em>. London, United Kingdom: Fischer Fine Art Limited, 1982.", "page_number": "Reproduced: fig. 6", "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. 213", "url": null}, {"citation": "Elzea, Betty. \"Anthony Frederick Augustus Sandys.\" In <em>The Dictionary of Art.</em> J.S. Turner, ed., 726-727. New York: Grove, 1996.", "page_number": "Mentioned: Vol. 27, P. 726", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Foud; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 202", "url": null}, {"citation": "Elzea, Betty.. <em>Frederick Sandys, 1829-1904: A Catalogue Raisonne\u0301</em>. Woodbridge, Suffolk, United Kingdom: Antique Collectors' Club in association with Norfolk Museums &amp; Archaeology Service, 2001.", "page_number": "Mentioned: p. 164-165; Reproduced: color plate 14", "url": null}, {"citation": "Elzea, Betty. <em>A Singular Man: A Documented Life of the Artist Frederick Sandys, 1829-1904.</em> London: Unicorn Press, 2023.", "page_number": "Mentioned and reproduced: p. 68-69", "url": ""}], "url": "https://clevelandart.org/art/1979.81", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.81/1979.81_web.jpg", "width": "710", "height": "893", "filesize": "446690", "filename": "1979.81_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.81/1979.81_print.jpg", "width": "2704", "height": "3400", "filesize": "6244882", "filename": "1979.81_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.81/1979.81_full.tif", "width": "4269", "height": "5368", "filesize": "68788948", "filename": "1979.81_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 149769, "creators": [{"id": 2780, "description": "Frederick Sandys (British, 1829\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "Frederick Sandys received his initial training from his father, a minor Norwich artist. Encouraged by Rev. James Bulwer (1820-1899), a pupil and patron of John Sell Cotman (1782-1842), he attended the Norwich School of Design from 1846. When he arrived in London five years later, he was already a skilled illustrator. Through a family connection, Sandys was introduced to George Richmond (1809-1896), one of the century's most accomplished portraitists. From Richmond he acquired the skills and taste for life-size chalk portraits. Portraiture would remain his principal means of support for the rest of his career, although for a brief period in the 1860s he practiced oil painting and designed what were arguably many of the finest book illustrations of the Victorian era, including his celebrated illustration to Christina Rossetti's poem Amor Mundi (1865). In 1857 John Everett Millais (1829-1896) had exhibited at the Royal Academy a troubadour painting, Sir Isumbras at the Ford (Lady Lever Art Gallery, Port Sunlight), of which Sandys produced a brilliant engraved parody, substituting for the figures in the picture caricatures of the founding members of the Pre-Raphaelite Brotherhood-Millais, Dante Gabriel Rossetti (1828-1882), and Hunt (q.v.)-and a braying ass, identified as John Ruskin, for Sir Isumbras's charger. This had the unexpected result of solidifying Sandys's friendship with Rossetti, with whom he later resided in Chelsea in 1866-67. Under Rossetti's influence Sandys painted his most important subject picture, Medea (Birmingham Museum and Art Gallery), which was exhibited at the Royal Academy in 1869. During that year Rossetti accused Sandys of plagiarism, thus precipitating a permanent breach in their relationship. Sandys soon after abandoned oil painting to concentrate on chalk portraits and drawings of idealized female figures, the choicest of which were derived from the features of his common-law wife, Mary Jones. Rossetti is generally credited with directing Sandys toward such Aestheticism, but Leighton's (q.v.) resplendent series of pseudonymous portraits of his model Nanna Risi, exhibited at the Royal Academy in 1858-59, offered an equally inspiring precedent devoid of the symbolic mysticism of Rossetti's femmes fatales.1\r\n1. See, for example, the pictures titled Pavonia reproduced in Stephen Jones et al., Frederick Leighton, exh. cat., London, Royal Academy of Arts (1996), 112-13. In both pictures the exquisitely painted head and shoulders of the sitters are set against backdrops of decorative vegetation and peacock tail-feathers. Sandys resorted to this format repeatedly in his works of the late 1860s and 1870s.", "name_in_original_language": null, "birth_year": "1829", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-11-14T00:00:00", "sortable_date": 1862, "date_added_to_oa": null, "date_text": "1862", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mrs. Susanna Rose"], "is_highlight": false, "updated_at": "2026-03-27 00:07:44.166000"}, {"id": 124256, "accession_number": "1945.25", "share_license_status": "CC0", "tombstone": "Lion on the Watch, c. 1885. Jean-L\u00e9on G\u00e9r\u00f4me (French, 1824\u20131904). Oil on wood panel; framed: 105 x 133 x 13.5 cm (41 5/16 x 52 3/8 x 5 5/16 in.); unframed: 72.3 x 100.5 cm (28 7/16 x 39 9/16 in.). The Cleveland Museum of Art, Gift of Mrs. F. W. Gehring in memory of her husband, F. W. Gehring, 1945.25", "current_location": null, "title": "Lion on the Watch", "creation_date": "c. 1885", "creation_date_earliest": 1880, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 105 x 133 x 13.5 cm (41 5/16 x 52 3/8 x 5 5/16 in.); Unframed: 72.3 x 100.5 cm (28 7/16 x 39 9/16 in.)", "dimensions": {"framed": {"height": 1.05, "width": 1.33, "depth": 0.135}, "unframed": {"height": 0.723, "width": 1.005}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: j. l. gerome\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 444952, "title": "Jean-Leon Gerome (1824 - 1904)", "description": "<i>Jean-Leon Gerome (1824 - 1904)</i>. Dayton Art Institute, Dayton, OH (organizer) (November 10-December 31, 1972); Minneapolis Institute of Art, Minneapolis, MN (January 26-March 11, 1973); Walters Art Gallery, Baltimore, MD (April 6-May 20, 1973).", "opening_date": "1972-11-10T05:00:00"}, {"id": 310015, "title": "Animals as Romantic Icons in French Art", "description": "<i>Animals as Romantic Icons in French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 6-July 27, 1986).", "opening_date": "1986-04-06T04:00:00"}, {"id": 220660, "title": "Jean-L\u00e9on G\u00e9r\u00f4me", "description": "<i>Jean-L\u00e9on G\u00e9r\u00f4me</i>. J. Paul Getty Museum, Los Angeles, CA (June 15-September 12, 2010); Mus\u00e9e d'Orsay, Paris, France (organizer) (October 18, 2010-January 23, 2011).", "opening_date": "2010-06-15T00:00:00"}, {"id": 441481, "title": "Gallery One 2012", "description": "<i>Gallery One 2012</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-March 5, 2017).", "opening_date": "2012-12-12T05:00:00"}], "legacy": [{"description": "Dayton Art Institute; Minneapolis Institute of Arts; Baltimore, Walters Art Gallery. Jean-L\u00e9on G\u00e9r\u00f4me 1824-1904 (1972-73), no. 35 (repr.).", "opening_date": "1904-01-01T00:00:00"}, {"description": "J. Paul Getty Museum, Los Angeles (6/15/2010 - 9/12/2010) and Mus\u00e9e d'Orsay, Paris (10/18/2010 - 1/23/2011):  \"Jean-L\u00e9on G\u00e9r\u00f4me\"", "opening_date": "2010-06-15T00:00:00"}]}, "provenance": [{"description": "Frederick Gehring, Cleveland. Given to the CMA in 1945.", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Knoedler & Co., New York, sold to Frederick Gehring in 1904)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In addition to his fascination with the classical past, G\u00e9r\u00f4me was one of the leading painters of \"orientalist\" subjects-exotic and romantic themes inspired by Napoleonic adventures abroad, romantic literature, and European colonialism. From 1855, G\u00e9r\u00f4me travelled regularly in Turkey, Egypt, and Asia Minor. Long fascinated by African animals, he sketched lions in the Paris zoo as a student and later hunted them on safari in North Africa.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515151"], "internet_archive": ["https://archive.org/details/clevelandart-1945.25-lion-on-the-watch"]}, "citations": [{"citation": "Francis, Henry. \"'Lion on the Watch,' by Jean L\u00e9on G\u00e9r\u00f4me.\" <em>The Bulletin of the Cleveland Museum of Art </em>33, no. 4 (April 1946): 47-48", "page_number": "Mentioned: p. 48; Reproduced: p. 51", "url": "https://www.jstor.org/stable/25141274"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 293-295, Vol. I, no. 105", "url": ""}, {"citation": "Ackerman, Gerald M. <em>Jean-Le\u0301on Ge\u0301ro\u0302me: monographie re\u0301vise\u0301e, catalogue raisonne\u0301 mis a\u0300 jour</em>. Courbevoie: ACR, 2000.", "page_number": "Reproduced and mentioned: pp. 372-373, cat. 529", "url": null}], "url": "https://clevelandart.org/art/1945.25", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1945.25/1945.25_web.jpg", "width": "1245", "height": "893", "filesize": "703311", "filename": "1945.25_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1945.25/1945.25_print.jpg", "width": "3400", "height": "2439", "filesize": "5052714", "filename": "1945.25_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1945.25/1945.25_full.tif", "width": "5904", "height": "4236", "filesize": "75060664", "filename": "1945.25_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. F. W. Gehring in memory of her husband, F. W. Gehring", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124256, "creators": [{"id": 1694, "description": "Jean-L\u00e9on G\u00e9r\u00f4me (French, 1824\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Vesoul near the Swiss border, Jean-L\u00e9on G\u00e9r\u00f4me grew up in comfort. His goldsmith father approved of his decision to become an artist and supported his study in Paris with Delaroche (q.v.) during the early 1840s. Delaroche's interest in historical reconstruction, precise detail, and smooth picture surface had a significant effect on the young student. After failing to win the Prix de Rome in 1846, which his father pressured him to enter, G\u00e9r\u00f4me decided to make his name at the Salons. His debut there in 1847 with A Cock Fight (Mus\u00e9e d'Orsay, Paris) was a huge success and brought him and his fellow neo-Grecs, as they were called, much attention. Several important commissions and purchases followed, including church decoration and the huge historical picture The Age of Augustus (Mus\u00e9e d'Orsay, Paris) that emulated the kind of classicizing panorama of Delaroche in the hemicycle for the \u00c9cole des Beaux-Arts. G\u00e9r\u00f4me also studied briefly with Charles Gleyre (1808-1874) after Delaroche closed his studio in 1842. Gleyre's travel and sketches from the Near and Middle East may also have played a critical role in introducing the young artist to another major interest of his career, orientalist subject matter. With the twenty thousand francs paid for The Age of Augustus, the artist treated himself to a trip to Constantinople with his actor-friend Edmond Got. Further travels to the Middle East followed, and G\u00e9r\u00f4me exhibited his first Egyptian themes in the 1857 Salon. \r\nIn the 1878 Universal Exposition in Paris, he exhibited his first attempts at sculpture, which corresponded closely with his painted works, first following their themes, then serving as models for his canvases, especially the Pygmalion pictures. During the 1880s he was, like several other artists, drawn to incorporate polychromy and various precious and semi-precious materials into his sculpture; this was known to be a widespread practice among ancient sculptors, and it heightened the illusion of lifelikeness as well as the decorative aspect of these works. \r\nAlthough he had not succeeded at the \u00c9cole des Beaux-Arts, G\u00e9r\u00f4me received one of three prestigious professorships in 1863 following the somewhat controversial reforms of the fine arts institutions in Paris. His official rather than academic achievements made him a good candidate to lead the new generation of French painters out of the decadence into which many believed French art had fallen. He taught hundreds of students in his atelier at the \u00c9cole as well as at his independent studio and had an especially strong impact on his American students, such as Thomas Eakins (1844-1916) and Frederick Arthur Bridgman (1847-1928). Although the majority of G\u00e9r\u00f4me's students remember him as an exacting but fair master, he showed intractable resistance to the new modes of impressionism and symbolism and campaigned against the acceptance of Gustave Caillebotte's (1843-1893) bequest of such art to the French state. \r\nIn 1863 G\u00e9r\u00f4me married Marie Goupil, the daughter of well-known international art dealer Adolphe Goupil, who became the exclusive representative of his work. Goupil not only sold his son-in-law's pictures through his branches in Europe and New York, but he also disseminated their reputation through photographic reproductions.1 G\u00e9r\u00f4me received all the highest honors awarded to nineteenth-century artists and achieved considerable financial success.\r\n1. See Linda Whiteley, \"Goupil, (Jean-Michel-) Adolphe,\" Dictionary of Art (London, 1996), 13:228; and Mus\u00e9e Goupil, Conservatoire de L'image Industrielle Bordeaux, \u00c9tat des lieux 1 (Bordeaux, 1994), esp. 9-36.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-02-21T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:03.254000"}, {"id": 142748, "accession_number": "1966.454", "share_license_status": "CC0", "tombstone": "Miniature Chair, 1896\u20131906. House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, silver gilt, enamel, rubies, diamonds; overall: 10.5 x 5.3 x 4.8 cm (4 1/8 x 2 1/16 x 1 7/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.454", "current_location": "211 Faberg\u00e9", "title": "Miniature Chair", "creation_date": "1896\u20131906", "creation_date_earliest": 1896, "creation_date_latest": 1906, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, silver gilt, enamel, rubies, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 10.5 x 5.3 x 4.8 cm (4 1/8 x 2 1/16 x 1 7/8 in.)", "dimensions": {"overall": {"height": 0.105, "width": 0.053, "depth": 0.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "56, Kokoshnik; tester's initials in Cyrillic; 84, Kokoshnik, tester's initials in Cyrillic; \u041a.\u0424\u0410\u0411\u0415\u0420\u0416\u0415 [C. Faberg\u00e9]; Kokoshnik; double-headed eagle; \u041a.\u0424. [C.F.]; 25196 scratched.", "inscription_translation": "\u041a \u0424\u0410\u0411\u0415\u0420\u0416\u0415 (C. Faberg\u00e9)\n\u041a.\u0424. (C.F.)", "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 443609, "title": "Faberge 1846 - 1920", "description": "<i>Faberge 1846 - 1920</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (June 23-October 23, 1977).", "opening_date": "1977-06-23T04:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This miniature chair has a clever mechanism that allows the seat cushion to slide forward and upward slightly so that it can be opened to reveal a compartment, probably used to hold stamps on a desk.", "description": "The giving of small precious objects as intimate gifts between family members within the imperial court was spurred by the House of Faberg\u00e9's seemingly endless supply of bejeweled utilitarian objects decorated as expensively as possible, such as this stamp holder disguised as an exquisite miniature chair in the Louis XVI taste of the late 1700s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60750282"], "internet_archive": ["https://archive.org/details/clevelandart-1966.454-miniature-chair"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 114-5, cat. 54.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "\u201cBack Matter.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 3 (March 1967): 89.", "page_number": "Reproduced: p. 89", "url": "http://www.jstor.org/stable/25152147"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned: p. 30; p. 42, cat. 15; reproduced:  p. 42.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Hawley, Henry H., \"Some Faberge Sources\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 37 no. 04, April 1997", "page_number": "Mentioned and reproduced: p. 7", "url": "https://archive.org/details/CMAMM1997-04/page/6"}, {"citation": "Tillander-Godenhielm, Ulla. <em>Golden Years of Faberge\u0301: Drawings and Objects from the Wigstro\u0308m Workshop</em>. [Place of publication not identified]: A La Vieille Russie, 2000.", "page_number": "Reproduced: p. 99.", "url": "https://ingallslibrary.on.worldcat.org/oclc/43979547"}, {"citation": "Tillander-Godenhielm, Ulla, and Peter Carl Faberge\u0301. <em>Faberge\u0301: ja ha\u0308nen suomalaiset mestarinsa</em>. Helsinki: Kustannusosakeyhtio\u0308 Tammi, 2008.", "page_number": "Mentioned: p. 50.", "url": "https://ingallslibrary.on.worldcat.org/oclc/317629230"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 199, cat. 75.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.454", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.454/1966.454_web.jpg", "width": "669", "height": "893", "filesize": "227061", "filename": "1966.454_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.454/1966.454_print.jpg", "width": "2546", "height": "3400", "filesize": "3438678", "filename": "1966.454_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.454/1966.454_full.tif", "width": "4118", "height": "5500", "filesize": "67977276", "filename": "1966.454_full.tif"}}, "alternate_images": [{"date_created": "2007-12-28T18:33:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.454/1966.454_alt0_web.jpg", "width": "1156", "height": "893", "filesize": "410503"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.454/1966.454_alt0_print.jpg", "width": "3400", "height": "2627", "filesize": "3418463"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.454/1966.454_alt0_full.tif", "width": "4496", "height": "3474", "filesize": "46888400"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142748, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896\u20131906", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:46.465000"}, {"id": 124040, "accession_number": "1944.524", "share_license_status": "CC0", "tombstone": "The Brierwood Pipe, 1864. Winslow Homer (American, 1836\u20131910). Oil on canvas; framed: 68.9 x 64.1 x 9.2 cm (27 1/8 x 25 1/4 x 3 5/8 in.); unframed: 42.8 x 37.5 cm (16 7/8 x 14 3/4 in.); former: 69 x 64 x 8 cm (27 3/16 x 25 3/16 x 3 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1944.524", "current_location": null, "title": "The Brierwood Pipe", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 68.9 x 64.1 x 9.2 cm (27 1/8 x 25 1/4 x 3 5/8 in.); Unframed: 42.8 x 37.5 cm (16 7/8 x 14 3/4 in.); Former: 69 x 64 x 8 cm (27 3/16 x 25 3/16 x 3 1/8 in.)", "dimensions": {"framed": {"height": 0.689, "width": 0.641, "depth": 0.092}, "unframed": {"height": 0.428, "width": 0.375}, "former": {"height": 0.69, "width": 0.64, "depth": 0.08}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Homer 64", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355428, "title": "Exhibition of the Month: Atmospheric Depth in Painting", "description": "<i>Exhibition of the Month: Atmospheric Depth in Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 31, 1947).", "opening_date": "1947-02-10T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 518720, "title": "The Civil War: The Artists' Record", "description": "<i>The Civil War: The Artists' Record</i>. Corcoran Gallery of Art, Washington, DC (organizer) (November 18-December 31, 1961); Museum of Fine Arts, Boston, Boston, MA (February 1-March 4, 1962).", "opening_date": "1961-11-18T05:00:00"}, {"id": 304725, "title": "Winslow Homer: Portrait of America", "description": "<i>Winslow Homer: Portrait of America</i>. The Cleveland Museum of Art, Cleveland, OH (November 10, 1965-May 16, 1966).", "opening_date": "1965-11-10T05:00:00"}, {"id": 361410, "title": "Winslow Homer", "description": "<i>Winslow Homer</i>. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996).", "opening_date": "1995-10-15T04:00:00"}, {"id": 211500, "title": "The Civil War and American Art", "description": "<i>The Civil War and American Art</i>. Smithsonian American Art Museum, Washington, DC (organizer) (November 16, 2012-April 27, 2013); The Metropolitan Museum of Art, New York, NY (May 21-September 2, 2013).", "opening_date": "2012-11-16T00:00:00"}], "legacy": [{"description": "New York, Dodworth's Studio Building, Fourth Artists' Reception (before 25 March 1864); see Winslow Homer: The Paintings of the Civil War p. 21.", "opening_date": null}, {"description": "New York, National Academy of Design, Thirty-ninth Annual Exhibition (April, 1864), no. 140, listed p. 451.", "opening_date": null}, {"description": "Worcester, Worcester Art Museum, Winslow Homer (16 November-17 December 1944), no. 2.", "opening_date": "1944-11-16T00:00:00"}, {"description": "Oxford, OH, Miami University, Sesquicentennial Celebration (15 May-15 June 1959).", "opening_date": "1959-05-15T00:00:00"}, {"description": "Washington, D.C., The Corcoran Gallery of Art, The Civil War: The Artists' Record (18 November-31 December 1961); traveled to Boston, The Museum of Fine Arts (1 February-4 March 1962); pp. 63-64, illus. no. 46, p. 66.", "opening_date": "1961-11-18T00:00:00"}, {"description": "San Fransisco, The Fine Arts Museum of San Fransisco, Winslow Homer: Paintings of the Civil War (2 July-18 September 1988); traveled to Portland, Portland Museum of Art (8 October-18 December 1988); cat. no. 8, fig. 8.1, pp. 166-172; also included references to CMA painting pp. 21, 72-73, 111-112, 115, 119, 161, 195-196, 208-215, 236.", "opening_date": "1988-07-02T00:00:00"}, {"description": "Washington, D.C., The National Gallery of Art, Winslow Homer (15 October 1995-28 January 1996); traveled to Boston, Museum of Fine Arts (21 February-26 May 1996); New York, The Metropolitan Museum of Art (20 June-22 September 1996); illus. no. 3, pg. 43.", "opening_date": "1996-02-21T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1944-", "sortorder": 1}, {"description": "Mrs. Z. Boylston Adams (Helen Foster), Brookline, MA, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "Probably 1940-1944", "sortorder": 2}, {"description": "Zabdiel Boylston Adams [1875-1940], Brookline, MA, to his wife, Mrs. Z. Boylston Adams1", "citations": [], "footnotes": ["<div><!--block-->1The exact mode of transfer and date of this painting from Mr. to Mrs. Boylston Adams are unknown, but she likely received it upon his death in 1940.</div><div><!--block--><br><br></div>"], "date": "1915 - probably 1940", "sortorder": 3}, {"description": "Annie Adams Fields (Mrs. James T. Fields) [1834-1915], Boston, MA, by bequest to her nephew, Zabdiel Boylston Adams", "citations": [], "footnotes": null, "date": "1881-1915", "sortorder": 4}, {"description": "James Thomas Fields [1817-1881], Boston, MA", "citations": [], "footnotes": null, "date": "-1881", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "During the Civil War, Homer worked as an artist-reporter for the New York newspaper <em>Harper's Weekly</em>.", "description": "Created during the United States Civil War, Winslow Homer\u2019s painting depicts two volunteers for the Union Army who sport their regiment\u2019s highly colorful uniforms, a design discovered to be impractical due to its ability to be spotted by sharpshooters. Passing idle time in their encampment, one soldier holds a lit pipe and watches his companion whittle a block of wood. The painting shares its title with a contemporary poem, in which a soldier smokes a brierwood pipe and daydreams of the time when the conflict will end so he can return home. The museum acquired this painting during World War II, and it seems likely that the painting\u2019s subject was viewed as especially significant for its wartime audience.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q7720110"], "internet_archive": ["https://archive.org/details/clevelandart-1944.524-the-brierwood-pipe"]}, "citations": [{"citation": "Marr, Timothy. \"The American Zouave.\" <em>Military Images </em>34, no. 4. 22-29", "page_number": "Reproduced: 22-23, 27.", "url": null}, {"citation": "Goodrich, Lloyd, and Abigail Booth Gerdts. <em>Record of Works by Winslow Homer</em>. 2005.", "page_number": null, "url": null}, {"citation": "Holzer, Harold and Mark E. Neely, Jr., eds. <em>Mine Eyes Have Seen The Glory: The Civil War in Art.</em> (New York: Orion, 1993).", "page_number": "Mentioned pp. 281-83; reproduced p. 283.", "url": ""}, {"citation": "Downes, William Howe. <em>The Life and Works of Winslow Homer</em>. Boston: Houghton Mifflin Co, 1911.", "page_number": "Mentioned: P. 51", "url": ""}, {"citation": "Cox, Kenyon. <em>Winslow Home</em>r. New York: Privately printed, 1914.", "page_number": "Mentioned: P. 18", "url": ""}, {"citation": "Burchfield, Louise H. \u201cPaintings by Winslow Homer.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 33, no. 9 (November 1946): 165\u201371.", "page_number": "Mentioned: P. 166; Reproduced: P. 168", "url": "http://www.jstor.org/stable/25141315"}, {"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. 543", "url": "https://archive.org/details/CMAHandbook1958/page/n101"}, {"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. 187", "url": "https://archive.org/details/CMAHandbook1966/page/n211"}, {"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. 187", "url": "https://archive.org/details/CMAHandbook1969/page/n211"}, {"citation": "Adams, Celeste, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1972.", "page_number": "Mentioned and reproduced: P. 10-13", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: P. 28, no. 88", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Williams, Hermann Warner. <em>Mirror to the American Past; A Survey of American Genre Painting: 1750-1900.</em> Greenwich, Conn: New York Graphic Society, 1973.", "page_number": "Mentioned and reproduced: P. 182-183, no. 176", "url": ""}, {"citation": "Grossman, Julian. <em>Echo of a Distant Drum: Winslow Homer and the Civil War.</em> New York: Harry N. Abrams, 1974.", "page_number": "Mentioned and reproduced: P. 112-113", "url": ""}, {"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. 231", "url": "https://archive.org/details/CMAHandbook1978/page/n251"}, {"citation": "Hendricks, Gordon. <em>The Life and Work of Winslow Homer.</em> New York: Harry N. Abrams,1979.", "page_number": "Mentioned and reproduced: P. 318, no. CL-555", "url": ""}, {"citation": "Ledes, Allison Eckardt. \"Current and Coming: Winslow Homer and the Civil War.\" <em>The Magazine Antique</em>s 134 (August 1988): 216-230.", "page_number": "Mentioned and reproduced: P. 216", "url": ""}, {"citation": "Cikovsky, Nicolai. \" Winslow Homer's Unfinished Business.\" In <em>American Art Around 1900: Lectures in Memory of Daniel Fraad, </em>Doreen Bolger, and Nicolai Cikovsky, eds., 93-117. Washington: National Gallery of Art, 1990.", "page_number": "Mentioned: P. 98, fig. 12; Reproduced: P. 100, fig.12", "url": ""}, {"citation": "Cikovsky, Nicolai. <em>Winslow Homer</em>. New York: Abrams,1990.", "page_number": "Mentioned and reproduced: P. 20-21", "url": ""}, {"citation": "Jennings, Kate F. <em>Winslow Home</em>r. New York, N.Y.: Crescent Books, 1990.", "page_number": "Mentioned, p. 8-9, 19; reproduced: p. 20.", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art.</em> Cleveland, Ohio: The Museum, 1991.", "page_number": "Reproduced: P. 130", "url": ""}, {"citation": "Cikovsky, Nicolai. <em>Winslow Homer</em>. [New York, N.Y.]: [Rizzoli], 1992.", "page_number": "Reproduced: Pl. 1", "url": ""}, {"citation": "Sears, Stephen W. <em>The Civil War: A Treasury of Art and Literat</em>ure. New York: Hugh Lauter Levin Associates, 1992.", "page_number": "Reproduced: P. 145, pl. 40", "url": ""}, {"citation": "Cikovsky, Nicolai. \"Winslow Homer.\" <em>Portraits: The Lives and Works of Eminent Artists </em>1, no.6.", "page_number": "Reproduced: Cover", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 106", "url": ""}, {"citation": "Cikovsky, Nicolai. \"The School of War.\" In <em>Winslow Home</em>r, Nicolai Cikovsky and Franklin Kelly, 17-60. Washington: National Gallery of Art; New Haven: Yale University Press,1995.", "page_number": "Mentioned and reproduced: P. 42-43, no. 3", "url": ""}, {"citation": "Conrads, Margaret C. <em>Winslow Homer and the Critics: Forging a National Art in the 1870s.</em> Princeton, N.J.: Princeton University Press in association with the Nelson-Atkins Museum of Art, 2001.", "page_number": "Mentioned and reproduced: P. 14, fig. 4", "url": ""}, {"citation": "Mitchell, Mark D. <em>Francis A. Silva (1835-1886): In His Own Light</em>. New York, N.Y.: Berry-Hill Galleries, 2002.", "page_number": "Mentioned and reproduced: P. 22, fig. 7", "url": ""}, {"citation": "Jennings, Kate F. <em>Winslow Homer.</em> North Dighton, Mass: JG Press/World Publications Group, 2004.", "page_number": "Mentioned and reproduced: P. 19-20", "url": ""}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Ar</em>t. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Mentioned and reproduced: P. 96-97", "url": ""}, {"citation": "Stebbins, Theodore E. <em>American Paintings at Harvard</em>. Cambridge, Massachusetts: Harvard Art Museums; New Haven: Yale University Press, 2008.", "page_number": "Mentioned: Vol. II, P. 148", "url": ""}, {"citation": "\"Welcome Back.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>48, no. 5 (May/June 2008): 5-6.", "page_number": "Mentioned: P. 6", "url": ""}, {"citation": "Harvey, Eleanor Jones. <em>The Civil War and American Art.</em> Washington, D.C.: Smithsonian American Art Museum; New Haven, Connecticut: in association with Yale University Press, 2012.", "page_number": "Mentioned and reproduced: P. 154-155, no. 53", "url": ""}], "url": "https://clevelandart.org/art/1944.524", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_web.jpg", "width": "791", "height": "893", "filesize": "113881", "filename": "1944.524_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_print.jpg", "width": "3012", "height": "3400", "filesize": "1672433", "filename": "1944.524_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.524/1944.524_full.tif", "width": "4613", "height": "5207", "filesize": "72084800", "filename": "1944.524_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt0_web.jpg", "width": "778", "height": "893", "filesize": "496470"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt0_print.jpg", "width": "2962", "height": "3400", "filesize": "5819295"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt0_full.tif", "width": "3666", "height": "4208", "filesize": "46307220"}}, {"date_created": "2010-04-19T16:12:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt1_web.jpg", "width": "821", "height": "893", "filesize": "572836"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt1_print.jpg", "width": "3125", "height": "3400", "filesize": "6165357"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt1_full.tif", "width": "3415", "height": "3716", "filesize": "38165644"}}, {"date_created": "2010-04-19T16:12:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt2_web.jpg", "width": "821", "height": "893", "filesize": "572836"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt2_print.jpg", "width": "3125", "height": "3400", "filesize": "6165357"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.524/1944.524_alt2_full.tif", "width": "3415", "height": "3716", "filesize": "38165644"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124040, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1944-11-06T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Briarwood Pipe"], "is_highlight": false, "updated_at": "2026-03-27 16:32:35.564000"}, {"id": 135262, "accession_number": "1958.27", "share_license_status": "CC0", "tombstone": "Before the Race, c. 1887\u201389. Edgar Degas (French, 1834\u20131917). Pastel with charcoal underdrawing on tracing paper mounted on cardboard; sheet: 57.5 x 65.4 cm (22 5/8 x 25 3/4 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.27", "current_location": null, "title": "Before the Race", "creation_date": "c. 1887\u201389", "creation_date_earliest": 1887, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel with charcoal underdrawing on tracing paper mounted on cardboard", "support_materials": [{"description": "tracing paper mounted to cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 57.5 x 65.4 cm (22 5/8 x 25 3/4 in.)", "dimensions": {"sheet": {"height": 0.575, "width": 0.654}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black pastel: Degas", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312095, "title": "Works of Edgar Degas", "description": "<i>Works of Edgar Degas</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 5-March 9, 1947).", "opening_date": "1947-02-05T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 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": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}, {"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": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Exposition du pastel fran\u00e7ais du XVIIe si\u00e8cle \u00e0 nos jours</em>. Andr\u00e9 J. Seligmann, Paris (November 18\u2013December 9, 1933).", "opening_date": "1933-12-09T00:00:00"}, {"description": "<em>Masterpieces of Art, New York World\u2019s Fair</em>. New York (May\u2013October, 1940).", "opening_date": "1940-10-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Degas for the Benefit of the New York Infirmary</em>. Wildenstein, New York (April 7\u2013May 14, 1949).", "opening_date": "1949-05-14T00:00:00"}, {"description": "<em>Edgar Degas: Pastelle, \u00d6lskizzen, Zeichnungen</em>. Kunsthalle T\u00fcbingen (January 14\u2013March 25, 1984); Nationalgalerie Berlin (April 5\u2013May 20, 1984).", "opening_date": "1984-03-25T00:00:00"}]}, "provenance": [{"description": "Henry Lerolle [1848\u20131929], Paris", "citations": [], "footnotes": null, "date": "by 1918-after 1933", "sortorder": 1}, {"description": "(Hector Brame, Paris)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(C\u00e9sar M. de Hauke, New York)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "(Jacques Seligmann, New York, sold to Leonard C. Hanna, Jr., Cleveland, OH)", "citations": [], "footnotes": null, "date": "after 1933-1939", "sortorder": 4}, {"description": "Leonard C. Hanna Jr. [1889\u20131957], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1939-1958", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When creating the series to which this pastel belongs, Edgar Degas was inspired by the 19th-century photographer Eadweard Muybridge, who attempted to record motion in static images.", "description": "Degas returned to the theme of horse and rider time and again throughout his career. Scholars believe that he executed the first version of this composition of four jockeys on horseback in a charcoal and pastel drawing. Several years later, he traced the composition, reversing its orientation to create the highly finished Cleveland pastel. The palette is intensified, the distance between the second and third jockeys is increased, and the foliage along the horizon has been added to suggest a lush spring day.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80028324"], "internet_archive": ["https://archive.org/details/clevelandart-1958.27-before-the-race"]}, "citations": [{"citation": "Hourticq, Louis. \u201cE. Degas.\u201d <em>Art et D\u00e9coration</em> 32, no. 2 (1912): 97-113.", "page_number": "Reproduced: p. 111", "url": null}, {"citation": "Lafond, Paul. <em>Degas</em>. Paris: H. Floury, 1918.", "page_number": "Reproduced: after p. 126", "url": null}, {"citation": "Hertz, Henri. <em>Degas</em>. Paris: F\u00e9lix Alcan, 1920.", "page_number": "Reproduced: pl. VI", "url": null}, {"citation": "Coquiot, Gustave. <em>Degas.</em> Paris: Ollendorff, 1924.", "page_number": "Reproduced: opposite p. 160", "url": null}, {"citation": "Fosca, Fran\u00e7ois. <em>Degas</em>. Paris: Librarie de France, 1930", "page_number": "Reproduced: pl. 17", "url": null}, {"citation": "<em>Exposition du pastel fran\u00e7ais du XVIIe si\u00e8cle \u00e0 nos jours</em>. Exh. cat. Paris: Andr\u00e9 J. Seligmann, 1933.", "page_number": "Mentioned: p. 45, no. 67", "url": null}, {"citation": "Pach, Walter. <em>Catalogue of European &amp; American Paintings, 1500\u20131900. </em>Exh. cat. New York: World\u2019s Fair, 1940.", "page_number": "Mentioned and reproduced: p. 185, no. 269", "url": null}, {"citation": "Lemoisne, Paul Andr\u00e9. <em>Degas et son \u0153uvre</em>. Paris: Brame et de Hauke, 1946.", "page_number": "Mentioned and reproduced: vol. 3, pp. 428-29, no. 755", "url": null}, {"citation": "Francis, Henry Sayles. <em>Works by Degas</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1947.", "page_number": "Mentioned: p. 15, no. 22; Reproduced: pl. XVII", "url": null}, {"citation": "<em>A Loan Exhibition of Degas for the Benefit of the New York Infirmary</em>. Exh. cat. New York: Wildenstein, 1949.", "page_number": "Mentioned: p. 61, no. 67", "url": null}, {"citation": "Cabanne, Pierre. <em>Edgar Degas.</em> Paris: Pierre Tisn\u00e9, 1957.", "page_number": "Mentioned and reproduced: 117, no. 107.", "url": null}, {"citation": "Seligman, Germain. <em>Merchants of Art: 1880\u20131960, Eighty Years of Professional Collecting</em>. New York: Appleton-Century-Crofts, 1961.", "page_number": "Reproduced: pl. 76b", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1966/page/n199"}, {"citation": "Werner, Alfred. <em>Degas Pastels</em>. New York: Watson-Guptill, 1968.", "page_number": "Mentioned: p. 60; Reproduced: p. 61", "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. 175", "url": "https://archive.org/details/CMAHandbook1969/page/n199"}, {"citation": "Russoli, Franco. <em>L'opera completa di Degas</em>. Milan: Rizzoli, 1970.", "page_number": "Mentioned and reproduced: pp. 119\u201320, no. 703", "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. 214", "url": "https://archive.org/details/CMAHandbook1978/page/n234"}, {"citation": "Bell, Clive. <em>The French Impressionists</em>. New York: Phaidon, 1978.", "page_number": "Mentioned: p. 3; Reproduced: pl. 20", "url": null}, {"citation": "Lister, Ron. <em>Drawing with Pastels</em>. Englewood Cliffs, NJ: Prentice Hall, 1982.", "page_number": "Reproduced: p. 10", "url": null}, {"citation": "Borowitz, Helen O. \u201cThe Rembrandt and Monet of Marcel Proust.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 2 (February 1983): 73\u201395.", "page_number": "Mentioned and reproduced: p. 84-85, fig. 10", "url": "http://www.jstor.org/stable/25159803"}, {"citation": "Gotz, Adriani. <em>Degas Pastels, Oil Sketches, Drawings</em>. Exh. cat. T\u00fcbingen: Kunsthalle, 1984.", "page_number": "Mentioned: p. 380, no. 148; Reproduced: pl. 148", "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. 98, no. 5", "url": ""}, {"citation": "Boggs, Jean Sutherland, Douglas W. Druick, Henri Loyrette, Michael Pantazzi, and Gary Tinterow. <em>Degas</em>. Exh. cat. New York: Metropolitan Museum of Art, 1988.", "page_number": "Mentioned and reproduced: p. 565", "url": null}, {"citation": "Gordon, Robert and Andrew Forge. <em>Degas</em>. New York: Harry N. Abrams, 1988.", "page_number": "Reproduced: p. 85", "url": null}, {"citation": "Maheux, Anne F. <em>Degas Pastels</em> Ottawa: National Gallery of Canada, 1988.", "page_number": "Mentioned: pp. 68-69; Reproduced: pp. 69 (detail), 72", "url": null}, {"citation": "Pickvance, Ronald. <em>Degas</em>. Exh. cat. Martigny: Fondation Pierre Gianadda, 1993.", "page_number": "Mentioned and reproduced: p. 35", "url": null}, {"citation": "Boggs, Jean Sutherland, ed. <em>Degas at the Races</em>. Exh. cat. Washington, DC: National Gallery of Art, 1998.", "page_number": "Mentioned: pp. 138-40; Reproduced: p. 140", "url": null}, {"citation": "Marmor, Michael F. <em>Degas through His Own Eyes: Visual Disability and the Late Style of Degas</em>, 38, 46 (ill.). Paris: Somogy, 2002.", "page_number": "Mentioned and reproduced: pp. 38, 46", "url": null}, {"citation": "<em>Impressionist and Modern Works on Paper</em>. New York: Christie's, 2007.", "page_number": "Mentioned and reproduced: p. 18", "url": null}, {"citation": "Lemonedes, Heather, \"Unparalleled Color\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 47 no. 10, December 2007", "page_number": "Mentioned & reproduced: p. 3", "url": "https://archive.org/details/CMAMM2007-10/page/2"}, {"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. 166", "url": ""}, {"citation": "Barbe-Gall, Franc\u0327oise, and Edgar Degas. Pourquoi Degas est Degas. Paris: E\u0301ditions Le Deuxie\u0300me Horizon, 2019.", "page_number": "Mentioned and reproduced: pp. 58-59", "url": ""}, {"citation": "Lerolle, Aggy. <em>Henry Lerolle: Paris 1848-1929.</em> Willaupuis, Belgium: Wapica; Paris: Socie\u0301te\u0301 des Amis d'Henry Lerolle, 2022.", "page_number": "Mentioned and reproduced: P. 78-79", "url": ""}, {"citation": "\"Drawn to Excellence.\" <em>Fine Art Connoisseur </em>20, no. 1 (January/February 2023): 90.", "page_number": "Reproduced: P. 90", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 146-153, no. 28a", "url": ""}], "catalogue_raisonne": "Lemoisne 755", "url": "https://clevelandart.org/art/1958.27", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.27/1958.27_web.jpg", "width": "1035", "height": "893", "filesize": "219453", "filename": "1958.27_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.27/1958.27_print.jpg", "width": "3400", "height": "2933", "filesize": "2182520", "filename": "1958.27_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.27/1958.27_full.tif", "width": "13382", "height": "11544", "filesize": "463469452", "filename": "1958.27_full.tif"}}, "alternate_images": [{"date_created": "2007-06-20T15:48:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.27/1958.27_alt0_web.jpg", "width": "1032", "height": "893", "filesize": "843504"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.27/1958.27_alt0_print.jpg", "width": "3400", "height": "2943", "filesize": "8537139"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.27/1958.27_alt0_full.tif", "width": "5000", "height": "4328", "filesize": "64973848"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.27/1958.27_alt1_web.jpg", "width": "1032", "height": "893", "filesize": "841709"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.27/1958.27_alt1_print.jpg", "width": "3400", "height": "2943", "filesize": "8287741"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.27/1958.27_alt1_full.tif", "width": "5000", "height": "4328", "filesize": "64954804"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135262, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "c. 1887\u201389", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Race Horses"], "is_highlight": false, "updated_at": "2026-03-27 00:09:14.288000"}, {"id": 135480, "accession_number": "1958.47", "share_license_status": "CC0", "tombstone": "The Apple Seller, c. 1890. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; framed: 93 x 82.2 x 9.5 cm (36 5/8 x 32 3/8 x 3 3/4 in.); unframed: 65.8 x 54.5 cm (25 7/8 x 21 7/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.47", "current_location": null, "title": "The Apple Seller", "creation_date": "c. 1890", "creation_date_earliest": 1885, "creation_date_latest": 1895, "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: 93 x 82.2 x 9.5 cm (36 5/8 x 32 3/8 x 3 3/4 in.); Unframed: 65.8 x 54.5 cm (25 7/8 x 21 7/16 in.)", "dimensions": {"framed": {"height": 0.93, "width": 0.822, "depth": 0.095}, "unframed": {"height": 0.658, "width": 0.545}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed center right: a. renoir / 1864\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 343625, "title": "Color: Light to Palette", "description": "<i>Color: Light to Palette</i>. Taft Museum of Art, Cincinnati, OH (organizer) (October 22-December 6, 1965).", "opening_date": "1965-10-22T04:00:00"}, {"id": 343633, "title": "A loan exhibition for the benefit of The American Association of Museums : in commemoration of the fiftieth anniversary of Renoir\u2019s death", "description": "<i>A loan exhibition for the benefit of The American Association of Museums : in commemoration of the fiftieth anniversary of Renoir\u2019s death</i>. Wildenstein & Co. (March 27-May 3, 1969).", "opening_date": "1969-03-27T05:00:00"}, {"id": 338396, "title": "Renoir", "description": "<i>Renoir</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 3-April 1, 1973).", "opening_date": "1973-02-03T05:00:00"}, {"id": 343645, "title": "Renoir Retrospective", "description": "<i>Renoir Retrospective</i>. Nagoya City Art Museum, Nagoya, Japan (organizer) (October 15-December 11, 1988); Hiroshima Museum of Art, Hiroshima City, Japan (December 17, 1988-February 12, 1989); Nara Prefectural Museum of Art, Nara, Japan (February 18-April 9, 1989).", "opening_date": "1988-10-15T04:00:00"}, {"id": 220956, "title": "Rise and Fall of Modernity: Weimar- a German Example 1890-1990", "description": "<i>Rise and Fall of Modernity: Weimar- a German Example 1890-1990</i>. Kunstsammlungen zu Weimar, Weimar, Th\u00fcringen, Germany (May 9-August 1, 1999).", "opening_date": "1999-05-09T00:00:00"}, {"id": 222741, "title": "Renoir: 1870 - 1892", "description": "<i>Renoir: 1870 - 1892</i>. Artizon Museum, Tokyo, Japan (February 10-April 15, 2001); Nagoya City Art Museum, Nagoya, Japan (organizer) (April 21-June 24, 2001).", "opening_date": "2001-02-10T00:00:00"}, {"id": 179631, "title": "CMA Highlights", "description": "<i>CMA Highlights</i>. The Cleveland Museum of Art (organizer) (June 21-September 11, 2005).", "opening_date": "2005-06-21T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. 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": 231063, "title": "Renoir - Tradition and Innovation", "description": "<i>Renoir - Tradition and Innovation</i>. National Art Center, Tokyo, Japan (January 20-April 5, 2010); National Museum of Art, Osaka, Japan (April 17-June 27, 2010).", "opening_date": "2010-01-20T00:00:00"}], "legacy": [{"description": "<em>Exposition Renoir.</em> Durand-Ruel, Paris, France (1896).", "opening_date": null}, {"description": "<em>Exhibition of French Masters from Courbet to Seura</em>t. Jacques Seligmann &amp; Co., Inc. New York, NY (1937).", "opening_date": "1937-01-01T00:00:00"}, {"description": "<em>The Hanna Collection of Modern Masterpieces</em>. J. B. Speed Memorial Museum, Louisville, KY (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "<em>Summer Loan: group of fourteen Hanna paintings.</em> Metropolitan Museum of Art, New York, NY . (June-September 1949).", "opening_date": "1949-06-01T00:00:00"}]}, "provenance": [{"description": "(Durand-Ruel, Paris, France, November 9, 1891, stock no. 1915, purchased from the artist)", "citations": [], "footnotes": [], "date": "1891", "sortorder": 1}, {"description": "(Durand-Ruel, Paris, France, June 12, 1896, sold to Graf von Kessler)", "citations": [], "footnotes": [], "date": "1891-1896", "sortorder": 2}, {"description": "Graf von Kessler [1868-1937], Berlin, Germany", "citations": [], "footnotes": null, "date": "1896-", "sortorder": 3}, {"description": "Marquis de Biron [1859-1939], Geneva, Switzerland", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Jacques Seligmann & Co., New York, NY, February 5, 1941, sold to Leonard C. Hanna Jr.)", "citations": [], "footnotes": null, "date": "1937-1941", "sortorder": 5}, {"description": "Leonard C. Hanna Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1941-1958", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Using repetitive, soft, light-of-touch brushstrokes to form patches of color, Renoir creates a sense of dappled light that reflects on the ground and caresses the figures, giving the painting an ethereal, dreamlike quality.", "description": "This painting depicts a young country girl offering apples to Renoir's wife, Aline. The boy in the straw hat may be the artist's nephew, Edmond, but the young girl with the ribbon in her hair has not been identified. Bathed in soft, dappled sunlight, the figures are united through the fluid brushstrokes that cover the canvas. The leaping dog provides an accent of humor and motion in an otherwise tranquil scene. The picture was probably completed at Essoyes, in eastern France.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465147"], "internet_archive": ["https://archive.org/details/clevelandart-1958.47-the-apple-seller"]}, "citations": [{"citation": "Meier-Graefe, Julius, Florence Simmonds, and George W. Chrystal. <em>Modern art; being a contribution to a new system of \u00e6sthetics.</em> London,UK: W. Heinemann, 1908.", "page_number": "Reproduced: p,. 286, vol. 1", "url": null}, {"citation": "Davidson, Martha. \"Courbet--Seurat: From Realism to Neo-Impressionism.\" <em>ARTnews </em>35 (March 27, 1937): 17-18, 24.", "page_number": "Reproduced: p. 17", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: vol. 2, p. 76", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art XLV,</em> no. 6 (June, 1958)", "page_number": "Reproduced: on cover", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: frontispiece, no. 31", "url": null}, {"citation": "\"Great Show of French Masters: Cleveland Celebrates Legacy of Hanna Collection.\" <em>Life</em> 45, no. 8 (August 25, 1958): 41-46.", "page_number": "Reproduced: p. 42", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art XLVI,</em> no. 6 (June, 1959)", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Henning, Edward B. \"From Turner to Guston.\" <em>Apollo: A Journal of the Arts </em>78 (December 1963): 481-488.", "page_number": "Reproduced: p. 484", "url": null}, {"citation": "Taft Museum. <em>Color, Light to Palette: [Exhibition, Taft Museum]</em>. [Place of publication not identified]: The Museum, 1900.", "page_number": "Reproduced: cat. no. 21", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1966/page/n200"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1969/page/n200"}, {"citation": "Renoir, Auguste, and Charles Durand-Ruel. <em>A Loan Exhibition for the Benefit of The American Association of Museums; In Commemoration of the Fiftieth Anniversary of Renoir's Death, March 27-May 3 [1969]</em>. New York: Wildenstein, 1969.", "page_number": "Reproduced: cat. no. 75", "url": null}, {"citation": "Daulte, Franc\u0327ois. <em>Auguste Renoir: catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Lausanne, SW: Durand-Ruel, 1971.", "page_number": "Reproduced p. 55", "url": null}, {"citation": "Daulte, Franc\u0327ois. <em>Auguste Renoir</em>. Milano, IT: Fratelli Fabbri Editori, 1972.", "page_number": "Reproduced: p. 52, fig. 3", "url": null}, {"citation": "Renoir, Auguste, and John Maxon. <em>Paintings by Renoir</em>. [Chicago]: Art Institute of Chicago, 1973.", "page_number": "Reproduced: cat. no. 57", "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. 218", "url": "https://archive.org/details/CMAHandbook1978/page/n238"}, {"citation": "Monneret, Sophie. <em>L'impressionnisme et son e\u0301poque: dictionnaire international illustre\u0301</em>. Paris, FR: Denoe\u0308l, 1978.", "page_number": "Reproduced: p.130, 303, vol. 1; p. 181, vol. 2", "url": null}, {"citation": "White, Barbara Ehrlich. <em>Renoir, His Life, Art, and Letters</em>. New York, NY: Abrams, 1984.", "page_number": "Reproduced: p. 194; Mentioned: p. 191", "url": null}, {"citation": "Renoir, Auguste. <em>Renoir: Hayward Gallery, London, 30 January-21 April 1985, Galeries Nationales Du Grand Palais, Paris, 14 May-2 September 1985, Museum of Fine Arts, Boston, 9 October 1985-5 January 1986</em>. [London]: Arts Council of Great Britain, 1985.", "page_number": "Mentioned and Reproduced: cat. no 87, p. 134, 258", "url": null}, {"citation": "House, John. \"Renoir and the Earthly Paradise.\" <em>Oxford Art Journal</em> 8, no. 2 (1985): 21-27.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "Orton, Fred. \"Reactions to Renoir Keep Changing.\" <em>Oxford Art Journal</em> 8, no. 2 (1985): 28-35.", "page_number": "Mentioned: p. 33", "url": null}, {"citation": "Wadley, Nicholas. <em>Renoir: A Retrospective</em>. New York, NY: H.L. Levin Associates, 1987.", "page_number": "Reprooduced: p. 376", "url": null}, {"citation": "Renoir, Auguste. <em>Runoa\u0304ru ten: 1988-nen 10-gatsu 15-nichi--12-gatsu 11 nichi, Nagoya-shi Bijutsukan</em>. [Nagoya-shi?]: Chu\u0304nichi Shinbunsha, 1988.", "page_number": "Reproduced: cat no. 40", "url": null}, {"citation": "Stevenson, Lesley. <em>Renoir</em>. London, UK: Bison Books Ltd, 1991.", "page_number": "Reproduced: p. 140-141", "url": null}, {"citation": "Denvir, Bernard. <em>The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists</em>. London, UK: Thames and Hudson, 1993.", "page_number": "Reproduced: p. 207", "url": null}, {"citation": "Wiggins, Colin. <em>Post-Impressionism</em>. London, UK: Dorling Kindersley in association with the Art Institute of Chicago, 1993.", "page_number": "Reproduced: p. 44", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 195", "url": null}, {"citation": "Distel, Anne.<em> Renoir, \"il faut embellir</em>\". [Paris]: Gallimard, 1993.", "page_number": "Mentioned and reproduced: 102", "url": null}, {"citation": "House, John, Anthea Callen, and Kathleen Adler. <em>Renoir: Master Impressionist</em>. Sydney, AS: Art Exhibitions Australia, 1994.", "page_number": "Reproduced: fig. 7", "url": null}, {"citation": "Bothe, Rolf, and Thomas Fo\u0308hl. <em>Aufstieg und Fall der Moderne</em>. Ostfildern: Hatje Cantz, 1999.", "page_number": "Reproduced: p. 100-101", "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. 2, p. 530-532", "url": null}, {"citation": "<em>Runowa\u0304ru: itanji kara kyosho\u0304 e no michi, 1870-1892.</em> Nagoya-shi, Japan: Chu\u0304nichi Shinbunsha, 2001.", "page_number": "Reproduced: p. 162-163", "url": null}, {"citation": "Jiminez, Jill Berk, and Joanna Banham. <em>Dictionary of Artists' Models</em>. London, UK: Fitzroy Dearborn, 2001.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "Ne\u0301ret, Gilles. <em>Renoir: Painter of Happiness 1841-1919</em>. Ko\u0308ln, DK: Taschen Verlag, 2001.", "page_number": "Reproduced: p. 282; Mentioned: p. 282-283", "url": null}, {"citation": "Shone, Richard. <em>The Janice H. Levin Collection of French Art</em>. New York, NY: Metropolitan Museum of Art, 2002.", "page_number": "Reproduced: p. 86", "url": null}, {"citation": "Rubin, James Henry. <em>Impressionist Cats &amp; Dogs: Pets in the Painting of Modern Life</em>. New Haven, CT: Yale University Press, 2003.", "page_number": "Reproduced: p. 75, fig. 98", "url": null}, {"citation": "Brettell, Richard R., Paul Hayes Tucker, and Natalie Henderson Lee.<em> The Robert Lehman Collection III: Nineteenth and Twentieth Century Paintings.</em> New York, N.Y.: Metropolitan Museum of Art in association with Princeton University Press, 2009.", "page_number": "Reproduced: p. 212, fig. 1", "url": null}, {"citation": "<em>Renoir: tradition and innovation</em>. Osaka, JP: Yomiuri Shimbun, 2010.", "page_number": "Reproduced: p. 192-193", "url": null}, {"citation": "Loire, Stephane. \"L'Emergence du Paysage a Rome: Entre 1600 et 1650.\" <em>L'Estampille</em> 466 (Mars 2011): 48-57.", "page_number": "Reproduced: p. 55", "url": null}, {"citation": "Lucy, Martha and John House. <em>Renoir in the Barnes Foundation</em>. New Haven, CT: Yale University Press, 2012.", "page_number": "Reproduced: p. 131, fig. 1", "url": null}, {"citation": "Drost, Julia and Alexandre Kostka. Harry Graf Kessler: Portra\u0308t eines europa\u0308ischen Kulturvermittlers. Berlin: Deutscher Kunstverlag, [2015]", "page_number": "Reproduced: p. 105, plate III", "url": null}, {"citation": "Kessler, Harry. <em>Journal: regards sur l'art et les artistes contemporains, 1889-1937.</em> Paris : \u00c9ditions Fondation Maison des sciences de l\u2019homme, [2017].", "page_number": "Reproduced: pl. 14", "url": null}], "url": "https://clevelandart.org/art/1958.47", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.47/1958.47_web.jpg", "width": "740", "height": "900", "filesize": "319549", "filename": "1958.47_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.47/1958.47_print.jpg", "width": "2795", "height": "3400", "filesize": "4929363", "filename": "1958.47_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.47/1958.47_full.tif", "width": "11502", "height": "13993", "filesize": "482875736", "filename": "1958.47_full.tif"}}, "alternate_images": [{"date_created": "2007-10-15T19:37:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt0_web.jpg", "width": "738", "height": "893", "filesize": "522508"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt0_print.jpg", "width": "2810", "height": "3400", "filesize": "7551180"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt0_full.tif", "width": "4229", "height": "5117", "filesize": "64955128"}}, {"date_created": "2017-05-08T13:44:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt1_web.jpg", "width": "675", "height": "900", "filesize": "292870"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "4430107"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt1_full.tif", "width": "12000", "height": "16000", "filesize": "576031436"}}, {"date_created": "2017-05-08T14:04:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt2_web.jpg", "width": "675", "height": "900", "filesize": "279906"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "4152982"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.47/1958.47_alt2_full.tif", "width": "12000", "height": "16000", "filesize": "576030976"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135480, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:48.645000"}, {"id": 144732, "accession_number": "1969.52", "share_license_status": "CC0", "tombstone": "Storm in the Mountains, 1847. Frederic Edwin Church (American, 1826\u20131900). Oil on canvas; framed: 98.7 x 86.4 x 9.2 cm (38 7/8 x 34 x 3 5/8 in.); unframed: 75.5 x 62.8 cm (29 3/4 x 24 3/4 in.); former: 94.5 x 81.5 x 9 cm (37 3/16 x 32 1/16 x 3 9/16 in.). The Cleveland Museum of Art, Gift of various donors by exchange and Purchase from the J. H. Wade Fund, 1969.52", "current_location": "206 American Landscape", "title": "Storm in the Mountains", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 98.7 x 86.4 x 9.2 cm (38 7/8 x 34 x 3 5/8 in.); Unframed: 75.5 x 62.8 cm (29 3/4 x 24 3/4 in.); Former: 94.5 x 81.5 x 9 cm (37 3/16 x 32 1/16 x 3 9/16 in.)", "dimensions": {"framed": {"height": 0.987, "width": 0.864, "depth": 0.092}, "unframed": {"height": 0.755, "width": 0.628}, "former": {"height": 0.945, "width": 0.815, "depth": 0.09}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in center on tree: \"F. CHURCH. 1847\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}], "legacy": [{"description": "New York, American Art Union 1847, no. 120; listed as the property of E. G. Merick of Clayton, NY in Mary Bartlett Cowdrey, American Academy of Fine Arts and American Art-Union Exhibition Record 1816-1852, (New York, 1953), p. 70.", "opening_date": "1953-01-01T00:00:00"}, {"description": "Columbus, Ohio, Columbus Museum of Art, Ohio, A Nation\u2019s Legacy: 150 Years of American Art from Ohio Collections; (19 January - 15 March 1992), traveled to Tokyo, Isetan Museum (9 April - 5 May 1992), Yamaguchi, The Yamaguchi Prefectural Museum of Art (12 May- 21 June 1992), Fukushima, the Fukushima Prefectural Museum of Art (27 June - 2 August 1992), Takamatsu, the Takamatsu City Museum of Art (7 August- 6 September 1992) and Osaka, Daimaru Museum Umeda (23 September- 5 October 1992); cat. no. 4, repr. p. 29, p. 174.", "opening_date": "1992-01-19T00:00:00"}, {"description": "Fort Worth, TX, Amon Carter Museum, The Early Landscapes of Frederic Edwin Church (9 March - 29 April 1984); p. 43, 86-7. illus. p. 87 as cat. 4; Blasted Tree (Storm in the Mountains).", "opening_date": "1984-03-09T00:00:00"}, {"description": "Washington, D. C., National Gallery of Art, Frederic Edwin Church (8 October 1989- 18 March 1990), p. 36-7, 40, cat. no. 2.", "opening_date": "1989-10-08T00:00:00"}]}, "provenance": [{"description": "Sold to E. G. Merrick, Clayton, NY (in family until 1967): (Eldridge Gerry Merrick, E. G. Merrick II, Mrs. John P. Nevins (daughter), West Brattleboro, VT); Adams Davidson and Company, Washington, DC, 1967; Hirschl and Adler, NY, sold to the Cleveland Museum of Art, 1969.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Church's spectacular home and studio, named Olana, is preserved as a New York State Historical Site.", "description": "Dominating this composition is a lightning-blasted tree embodying nature's awe-inspiring power and endless cycle of life and death. A popular motif because of these associations, the blasted tree was favored by many landscape painters like Church, who prominently featured it here.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q20202094"], "internet_archive": ["https://archive.org/details/clevelandart-1969.52-storm-in-the-mountai"]}, "citations": [{"citation": "Howat, John K., <em>Frederic Church. </em>New Haven: Yale University Press, 2005.", "page_number": "Mentioned and reproduced, p. 20.", "url": ""}, {"citation": "\"Visions of Landscape East and West.\" <em>Asia</em> Vol. 4, No. 5 (January/February 1982): pp. 24-29.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Carr, Gerald L. <em>Frederic Edwin Church: Catalogue Raisonne\u0301 of Works of Art at Olana State Historic Site.</em> Cambridge [England]: Cambridge University Press, 1994.", "page_number": "Reproduced: p. 70, fig. 27", "url": null}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 52 - 53", "url": ""}], "url": "https://clevelandart.org/art/1969.52", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.52/1969.52_web.jpg", "width": "742", "height": "893", "filesize": "506435", "filename": "1969.52_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.52/1969.52_print.jpg", "width": "2824", "height": "3400", "filesize": "7320432", "filename": "1969.52_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.52/1969.52_full.tif", "width": "4813", "height": "5794", "filesize": "83687840", "filename": "1969.52_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt0_web.jpg", "width": "737", "height": "893", "filesize": "511507"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt0_print.jpg", "width": "2807", "height": "3400", "filesize": "6321174"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt0_full.tif", "width": "3779", "height": "4577", "filesize": "51918064"}}, {"date_created": "2009-09-02T13:19:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt1_web.jpg", "width": "780", "height": "893", "filesize": "540601"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt1_print.jpg", "width": "2969", "height": "3400", "filesize": "6176573"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.52/1969.52_alt1_full.tif", "width": "3000", "height": "3436", "filesize": "30961952"}}], "creditline": "Gift of various donors by exchange and Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 144732, "creators": [{"id": 2697, "description": "Frederic Edwin Church (American, 1826\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Blasted Tree"], "is_highlight": false, "updated_at": "2026-03-27 00:00:14.987000"}, {"id": 115067, "accession_number": "1935.233", "share_license_status": "CC0", "tombstone": "Vase of Flowers, c. 1905. Odilon Redon (French, 1840\u20131916). Oil on fabric; framed: 90.8 x 62.2 x 10.2 cm (35 3/4 x 24 1/2 x 4 in.); unframed: 73 x 59 cm (28 3/4 x 23 1/4 in.). The Cleveland Museum of Art, Gift of Roberta Holden Bole, 1935.233", "current_location": null, "title": "Vase of Flowers", "creation_date": "c. 1905", "creation_date_earliest": 1900, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["France, late 19th-early 20th Century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 90.8 x 62.2 x 10.2 cm (35 3/4 x 24 1/2 x 4 in.); Unframed: 73 x 59 cm (28 3/4 x 23 1/4 in.)", "dimensions": {"framed": {"height": 0.908, "width": 0.622, "depth": 0.102}, "unframed": {"height": 0.73, "width": 0.59}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: odilon redon\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338011, "title": "A survey of French paintings", "description": "<i>A survey of French paintings</i>. Carnegie Institute, Pittsburgh, PA (organizer) (April 2-May 14, 1935).", "opening_date": "1935-04-02T05:00:00"}, {"id": 312527, "title": "Autumn Flower Show", "description": "<i>Autumn Flower Show</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-December 1, 1935).", "opening_date": "1935-11-01T04:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 338014, "title": "Picasso and French Republican Art", "description": "<i>Picasso and French Republican Art</i>. Grand Rapids Art Museum (March 23-April 15, 1942).", "opening_date": "1942-03-23T04:00:00"}, {"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": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 338020, "title": "Odilon Redon: 1840-1916", "description": "<i>Odilon Redon: 1840-1916</i>. Society of the Four Arts (March 18-April 3, 1955).", "opening_date": "1955-03-18T05:00:00"}, {"id": 338289, "title": "An Exhibition of Paintings and Pastels by Odilon Redon", "description": "<i>An Exhibition of Paintings and Pastels by Odilon Redon</i>. Rosenberg & Co. (February 9-March 7, 1959).", "opening_date": "1959-02-09T05:00:00"}, {"id": 519097, "title": "Art Museum of the Month", "description": "<i>Art Museum of the Month</i>. Grand Rapids Art Museum, Grand Rapids, MI (organizer) (December 3-31, 1961).", "opening_date": "1961-12-03T05:00:00"}, {"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": 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": 213485, "title": "Working among Flowers: French Still Life in the 19th Century", "description": "<i>Working among Flowers: French Still Life in the 19th Century</i>. The Dallas Museum of Art, Dallas, TX (organizer) (October 26, 2014-February 1, 2015); Virginia Museum of Fine Arts, Richmond, VA (March 22-June 21, 2015); Denver Art Museum, Denver, CO (July 19-October 11, 2015).", "opening_date": "2014-10-26T00:00:00"}], "legacy": [{"description": "<em>French Painting from the Fifteenth Century to the Present Day.</em> California Palace of the Legion of Honor, San Francisco, CA (1934).", "opening_date": "1934-01-01T00:00:00"}, {"description": "<em>A Survey of French Painting</em>. Baltimore Museum of Art, Baltimore, MD. (1934-35).", "opening_date": "1934-01-01T00:00:00"}]}, "provenance": [{"description": "(Georges Bernheim, Paris, France, January 1929, stock no. A498, sold to Knoedler & Co.)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 1}, {"description": "(Knoedler & Co., New York, NY, September 1929, stock no. A1021, sold to George C. Lee)", "citations": [], "footnotes": [], "date": "1929", "sortorder": 2}, {"description": "Mrs. G. C. Lee returned to Knoedler & Co., New York, NY (stock number A1021) November 1929, held jointly with E. Bignou.", "citations": [], "footnotes": [], "date": "1929", "sortorder": 3}, {"description": "(Knoedler & Co., New York, NY, January 1930, stock number A1171,  jointly with E. Bignou, sold to Mrs. R.T. Wilson)", "citations": [], "footnotes": [], "date": "1929-1930", "sortorder": 4}, {"description": "Mrs. R.T. Wilson [1875-1947], New York, NY returned to Knoedler & Co., May 1930", "citations": [], "footnotes": null, "date": "1930", "sortorder": 5}, {"description": "(M. Knoedler & Co., New York, NY, December 1935, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1930-1935", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1935-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Redon returned to the subject of flowers many times throughout his career. His interest in plants may have been inspired by his friend and mentor Armand Clavaud, a botanist and illustrator who lived in Redon's hometown of Bordeaux.", "description": "Rapturous flower still lifes like this dominated the last decade and a half of Odilon Redon\u2019s career and provided his greatest commercial success. His interest in plants and flowers began in his youth; child of wine producers, he grew up northwest of Bordeaux and was sensitive to fluctuations in weather, light, and temperature affecting the grape harvest. When he was 20, Redon met Armond Clavaud, a botanist and draftsman who illustrated his own compendium of flowers of the Bordeaux region. Clavaud\u2019s meticulously rendered drawings sparked the young Redon\u2019s imagination and helped to instill his desire to paint \u201cnature, as seen in a dream.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513952"], "internet_archive": ["https://archive.org/details/clevelandart-1935.233-vase-of-flowers"]}, "citations": [{"citation": "[Cover]. <em>Decorative Arts </em>I, no. 1 (December 1934): cover.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Francis, Henry S. \"A Flower Piece by Odilon Redon.\" <em>The Bulletin of the Cleveland Museum of Art </em>XXIII, no. 1 (January 1936): 4-6.", "page_number": "Reproduced: cover; Mentioned: p. 4-6", "url": null}, {"citation": "\"Cleveland Gets Redon Work: Vase of Flowers.\" <em>ARTnews </em>34 (January 11, 1936): 16.", "page_number": "Mentioned and Reproduced: p. 16", "url": null}, {"citation": "Carnegie Institute. Department of Fine Arts. <em>A Survey of French Painting : Gallery A, Second Floor April 2 to May 14 Mcmxxxvi</em>. Pittsburgh, PA: Department of Fine Arts, Carnegie Institute, 1936.", "page_number": "Mentioned: cat. no. 36", "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: cat. no. 341, p 127", "url": null}, {"citation": "\"Vase of Flowers.\" <em>Arts </em>30 (December 1955): 41.", "page_number": "Reproduced: p. 41", "url": null}, {"citation": "Paul Rosenberg &amp; Co. <em>An Exhibition of Paintings and Pastels by Odilon Redon (1840-1916) February 9 to March 7, 1959</em>. 1959.", "page_number": "Mentioned and Reproduced: cat. no. 8, p. 21", "url": null}, {"citation": "Redon, Odilon. \"Odilon Redon: To Myself.\"<em> Portfolio </em>8 (Spring 1964): 100-120.", "page_number": "Reproduced: p. 108", "url": null}, {"citation": "Berger, Klaus. <em>Odilon Redon: Fantasy and Colour</em>. New York: McGraw-Hill, 1965.", "page_number": "Reproduced: p. 203, no. 307", "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. 181", "url": "https://archive.org/details/CMAHandbook1966/page/n205"}, {"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. 181", "url": "https://archive.org/details/CMAHandbook1969/page/n205"}, {"citation": "Awazu, Norio. <em>Redon</em>. Tokyo: Shinchosa, 1975.", "page_number": "Reproduced: no. 11", "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. 224", "url": "https://archive.org/details/CMAHandbook1978/page/n244"}, {"citation": "Wildenstein, Alec. <em>Odilon Redon: Catalogue Raisonne\u0301 de l'Oeuvre Peint et Dessine\u0301.</em> Paris: Wildenstein Institute, 1992.", "page_number": "Reproduced: p. 111, no. 1522, vol. 3", "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. 191", "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, 1999.", "page_number": "Mentioned and reproduced: p. 518-520, no. 181", "url": null}, {"citation": "Lemonedes, Heather. \"Bits of Rainbows: Odilon Redon's <em>Vase of Flowers </em>and the power of enlightenment.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 1 (January/February 2016): 5-7.", "page_number": "Reproduced and Mentioned: p. 5", "url": "https://archive.org/details/CMAMM2016-01/page/4/mode/2up"}], "url": "https://clevelandart.org/art/1935.233", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.233/1935.233_web.jpg", "width": "657", "height": "893", "filesize": "557057", "filename": "1935.233_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.233/1935.233_print.jpg", "width": "2500", "height": "3400", "filesize": "8670915", "filename": "1935.233_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.233/1935.233_full.tif", "width": "4190", "height": "5699", "filesize": "71671244", "filename": "1935.233_full.tif"}}, "alternate_images": [], "creditline": "Gift of Roberta Holden Bole", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115067, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1935-12-19T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "c. 1905", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:04.516000"}, {"id": 95265, "accession_number": "1916.1038", "share_license_status": "CC0", "tombstone": "Tannh\u00e4user, 1886. Henri Fantin-Latour (French, 1836\u20131904). Oil on canvas; framed: 123.5 x 139.5 x 14 cm (48 5/8 x 54 15/16 x 5 1/2 in.); unframed: 86.4 x 103.3 cm (34 x 40 11/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1038", "current_location": null, "title": "Tannh\u00e4user", "creation_date": "1886", "creation_date_earliest": 1886, "creation_date_latest": 1886, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 123.5 x 139.5 x 14 cm (48 5/8 x 54 15/16 x 5 1/2 in.); Unframed: 86.4 x 103.3 cm (34 x 40 11/16 in.)", "dimensions": {"framed": {"height": 1.235, "width": 1.395, "depth": 0.14}, "unframed": {"height": 0.864, "width": 1.033}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Fantin 86\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 300859, "title": "The Venetian Tradition", "description": "<i>The Venetian Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957).", "opening_date": "1956-11-08T05:00:00"}, {"id": 515708, "title": "Fifteenth Anniversary Exhibition", "description": "<i>Fifteenth Anniversary Exhibition</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (November 4, 1965-January 2, 1966).", "opening_date": "1965-11-04T05:00:00"}, {"id": 515936, "title": "Henri Fantin-Latour", "description": "<i>Henri Fantin-Latour</i>. Smith College Museum of Art, Northampton, MA (organizer) (April 28-June 6, 1966).", "opening_date": "1966-04-28T04:00:00"}, {"id": 229779, "title": "Richard Wagner: Visions d'artistes. D'Auguste Renoir \u00e0 Anselm Kiefer", "description": "<i>Richard Wagner: Visions d'artistes. D'Auguste Renoir \u00e0 Anselm Kiefer</i>. Mus\u00e9e Rath, Geneva, Switzerland (September 22, 2005-January 29, 2006).", "opening_date": "2005-09-22T00:00:00"}, {"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}], "legacy": [{"description": "<em>Salon</em>. Palais des Champs-\u00c9lys\u00e9es, Paris, France. (1886).", "opening_date": null}, {"description": "<em>Liverpool Autumn Exhibition.</em> Walker Art Gallery Liverpool, United Kingdom (1888).", "opening_date": null}, {"description": "<em>Exposition Universelle Internationale de 1889. </em>Paris, France (1889).", "opening_date": null}, {"description": "<em>World's Columbian Exposition</em>. Chicago, IL. (1893).", "opening_date": null}, {"description": "<em>The Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art.</em> Kinney and Levan Building, Cleveland, OH (1913).", "opening_date": "1913-01-01T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by Durand-Ruel, Paris, France, February 21, 1890 (stock number 2636),", "citations": [], "footnotes": null, "date": "1890", "sortorder": null}, {"description": "Sold to Durand-Ruel, New York, NY, March 6, 1890 (stock number 1000)", "citations": [], "footnotes": null, "date": "1890", "sortorder": 2}, {"description": "(Durand-Ruel, New York, NY, January 4, 1891, sold to J. H. Wade)", "citations": [], "footnotes": null, "date": "1890-1891", "sortorder": 3}, {"description": "Mr. and Mrs. J.H. Wade, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1891-1916", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As he will eventually return to reality, Tannh\u00e4user, the singer in the lower left, is painted in dark tones. In contrast, his vision into another realm is evoked by the soft muted hues of Venus and her court.", "description": "Tannh\u00e4user, the male figure seated on the left, does not seem fully engaged in this merry scene. Among pale bodies and pastel hues, he alone is cast in shadow. The Wagner opera that inspired the painting centers on a struggle between profane and sacred love, and the tension between them appears embodied in the brooding Tannh\u00e4user.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502353"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1038-tannhauser"]}, "citations": [{"citation": "<em>Illustrated Catalogue of the Liverpool Corporation Autumn Exhibition of Pictures at the Walker Art Gallery, 1888</em>. Liverpool, United Kingdom: D. Marples, 1888.", "page_number": "Mentioned: p. 36", "url": null}, {"citation": "Jullien, Adolphe. <em>Fantin-Latour, sa vie et ses amitie\u0301s; lettres ine\u0301dites et souvenirs personnels, avec cinquante-trois reproductions d'\u0153uvres du maitre, tire\u0301es a part, six autographes et vingt-deux illustrations dans le texte</em>. Paris, France: L. Laveur, 1909.", "page_number": "Reproduced: p. 54; Mentioned p. 205", "url": null}, {"citation": "Fantin-Latour, Victoria. <em>Catalogue de l'\u0153uvre complet (1849-1904) de Fantin-Latour, e\u0301tabli et re\u0301dige\u0301.</em> Paris: H. Floury, 1911.", "page_number": "Mentioned: P. 130, no. 1254", "url": null}, {"citation": "Warner, Langdon. \"The Wade Collection.\" <em>The Bulletin of The Cleveland Museum of Art IV</em>, no. 1 (January, 1917): 3-8.", "page_number": "Mentioned: p. 3; Reproduced: p. 11", "url": null}, {"citation": "\"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 1 (1917): 3-12.", "page_number": "Mentioned: p. 3; reproduced: p. 7", "url": "http://www.jstor.org/stable/25136053"}, {"citation": "McK., W. McC. \"Fantin-Latour Lithographs.\" <em>The Bulletin of the Cleveland Museum of Art</em> 7, no. 9 (1920): 135-38.", "page_number": "Mentioned: p. 136", "url": "http://www.jstor.org/stable/25136419"}, {"citation": "Gibson, Frank F. <em>The Art of Henri Fantin-Latour: His Life and Work</em>. London, United Kingdom: Drane's Ltd, 1924.", "page_number": "Reproduced: p. 65; Mentioned: p. 212-213", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 29", "url": "https://archive.org/details/CMAHandbook_80839/page/n30"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 36", "url": "https://archive.org/details/CMAHandbook1928/page/n40"}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland. </em>Thesis M.A. Oberlin College,1955.", "page_number": "Reproduced: V. 2, P. 251", "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. 500", "url": "https://archive.org/details/CMAHandbook1958/page/n92"}, {"citation": "Curry, Larry. \"Henri Fantin-Latour's Tannhauser on Venusberg.\" <em>Bulletin/Los Angeles County Museum of Art </em>XVI, no. 1 (1964): 3-19.", "page_number": "Mentioned and reproduced: P.16-18", "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. 171", "url": "https://archive.org/details/CMAHandbook1966/page/n194"}, {"citation": "<em>Fiftieth Anniversary Exhibition, 1915-1965. </em>Minneapolis, MN: Minneapolis Institute of Arts,1966.", "page_number": "Reproduced: no. 23", "url": null}, {"citation": "<em>Henri Fantin-Latour, 1836-1904; An Exhibition</em>. Northhampton, MA: Smith College, 1966.", "page_number": "Reproduced: no. 21", "url": null}, {"citation": "Trapp, Frank Anderson. \"Fantin-Latour at Smith College.\" <em>The Burlington Magazine</em> 108, no. 760 (July 1966): 393-94.", "page_number": "Reproduced: P. 394, fig. 80", "url": "http://www.jstor.org/stable/875039."}, {"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. 171", "url": "https://archive.org/details/CMAHandbook1969/page/n194"}, {"citation": "Druick, Douglas W. and Michel Hoog. <em>Fantin-Latour: Exhibition</em>. Ottawa, Ontario: National Gallery of Canada, 1983.", "page_number": "Reproduced: p. 278", "url": null}, {"citation": "Wardius, Janine N. \"Fantin-Latour's Tannhauser Unveiled: The Previous State of the Painting as Revealed by Infrared Photography.\" <em>The Bulletin of The Cleveland Museum of Art LXXVI</em>, no.10 (October, 1989): 280-291.", "page_number": "Reproduced: p. 208", "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.74", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 98", "url": null}, {"citation": "Se\u0301rie\u0301, Pierre, Bruno Foucart, and Peter Cooke. La Peinture d'Histoire en France, 1860-1900: La Lyre Ou le Poignard. Paris, France: Arthena Editions, 2014.", "page_number": "Mentioned and reproduced: P. 423-424", "url": null}, {"citation": "Carr, Carolyn Kinder. <em>Sara Tyson Hallowell: Pioneer Curator and Art Advisor in the Gilded Age. </em>Washington, D.C.: Smithsonian Institution Scholarly Press, 2009.", "page_number": "Mentioned: p. 144", "url": ""}], "url": "https://clevelandart.org/art/1916.1038", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1038/1916.1038_web.jpg", "width": "1078", "height": "893", "filesize": "726724", "filename": "1916.1038_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1038/1916.1038_print.jpg", "width": "3400", "height": "2817", "filesize": "7170080", "filename": "1916.1038_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1038/1916.1038_full.tif", "width": "4910", "height": "4068", "filesize": "59954500", "filename": "1916.1038_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95265, "creators": [{"id": 1862, "description": "Henri Fantin-Latour (French, 1836\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "At the age of ten, Henri Fantin-Latour began painting with his father, Th\u00e9odore Fantin-Latour (1805-1875). In 1850 he left Grenoble and moved to Paris to study under Horace Lecoq de Boisbaudran (1802-1897), an innovative and nontraditional instructor who developed and published his own unique teaching method based on painting and drawing from memory. Fantin studied with him for six years and then attended the \u00c9cole des Beaux-Arts for less than a year in 1854. Encouraged by J. A. M. Whistler (1834-1903), whom he met in 1858 at the Louvre, Fantin-Latour made several trips to London from 1859 to 1881, where he exhibited at the Royal Academy. London collectors appreciated his still lifes, and he began accepting numerous portrait commissions from English patrons. It was in London, through Whistler's brother-in-law Francis Seymour Haden (1818-1910), that Fantin first learned to etch. After his first Salon submissions were rejected in 1859, Fantin, in an effort to become better known in France, began exhibiting with his friend Manet (q.v.) and future impressionists Renoir (q.v.) and Monet (q.v.). In 1865 Fantin wrote collector Edwin Edwards: \"We form a group and make noise because there are lots of painters about and one is easily overlooked. When we get together . . . we gain strength in numbers and grow more adventurous. I thought it could last. That was my mistake.\" Unlike the realists and the impressionists, Fantin did not paint out of doors; rather, he preferred literary subjects, still lifes, and portraits that could be painted in his studio. In addition to portraits and still lifes, he made numerous paintings and more than 150 prints that were fantasy works and dream visions, paving the way for symbolist artists. These works were inspired by allegorical and mythological subjects as well as motivated by contemporary German composers such as Schumann and Wagner. After Fantin's death in 1904, critic Ren\u00e9-Marc Ferry wrote: \"when he found realism too limited and stifling, he lost himself in dreams, but his dreams went no further than the windows of his studio. Deep down, he was first and foremost a studio artist.\"1\r\n1. Druick and Hoog 1982, 28.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1886", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:23.360000"}, {"id": 159023, "accession_number": "1995.23", "share_license_status": "CC0", "tombstone": "If\u00e1 diviner's necklace (\u00f2d\u00ecgb\u00e0 If\u00e1), 1900s. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Cloth, glass beads, cardboard, cotton, probably wool, and wood; overall: 49.5 cm (19 1/2 in.); bag: 21.5 x 19.6 cm (8 7/16 x 7 11/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1995.23", "current_location": null, "title": "If\u00e1 diviner's necklace (\u00f2d\u00ecgb\u00e0 If\u00e1)", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1930, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "Cloth, glass beads, cardboard, cotton, probably wool, and wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 49.5 cm (19 1/2 in.); Bag: 21.5 x 19.6 cm (8 7/16 x 7 11/16 in.)", "dimensions": {"overall": {"height": 0.495}, "bag": {"height": 0.215, "width": 0.196}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Pace Primitive, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131995", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1995\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1995.23.a", "1995.23.b"], "did_you_know": "Look closely at the minuscule beads used to make the complex patterns of this multicolored necklace containing two pouches with thin strands that are connected by rope-like cords. A Yoruba diviner would have communicated with the spirit world while wearing this accessory.", "description": "The use of colorful glass beads adds luster to the divination session and underlines the high status diviners enjoy in Yor\u00f9b\u00e1 society. Like kings, diviners derive their authority from the otherworld, \u00f2r\u00fan. A beaded necklace with two beaded pouches is an accessory carried by the itinerant Yor\u00f9b\u00e1 diviner. Substances sewn into the miniature bags protect the diviner and ensure his power.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60748556"], "internet_archive": ["https://archive.org/details/clevelandart-1995.23-ifa-diviner-s-neckla"]}, "citations": [{"citation": "Young-Sanchez, Margaret. \"The Cleveland Museum of Art.\" African Arts 30, no.1 (1997): 66-71, p. 70", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 23, p. 76 - 77", "url": ""}], "url": "https://clevelandart.org/art/1995.23", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1995.23/1995.23_web.jpg", "width": "917", "height": "893", "filesize": "576481", "filename": "1995.23_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1995.23/1995.23_print.jpg", "width": "3400", "height": "3312", "filesize": "8192704", "filename": "1995.23_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1995.23/1995.23_full.tif", "width": "5982", "height": "5828", "filesize": "104610360", "filename": "1995.23_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.23/1995.23_alt0_web.jpg", "width": "840", "height": "893", "filesize": "525368"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.23/1995.23_alt0_print.jpg", "width": "3199", "height": "3400", "filesize": "7204990"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.23/1995.23_alt0_full.tif", "width": "4705", "height": "5000", "filesize": "70604924"}}, {"date_created": "2009-06-09T19:40:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.23/1995.23_alt1_web.jpg", "width": "867", "height": "893", "filesize": "548843"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.23/1995.23_alt1_print.jpg", "width": "3301", "height": "3400", "filesize": "8179495"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.23/1995.23_alt1_full.tif", "width": "5616", "height": "5784", "filesize": "97469924"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159023, "creators": [], "legal_status": "accessioned", "accession_date": "1995-06-07T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Necklace (Odigba Ileke Ifa)", "Pair of Divination Bags"], "is_highlight": false, "updated_at": "2026-03-27 00:06:35.565000"}, {"id": 115162, "accession_number": "1935.309", "share_license_status": "CC0", "tombstone": "Knife-sheath tip (sika boha), 1800s. Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild. Gold; overall: 6.4 x 2.1 cm (2 1/2 x 13/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1935.309", "current_location": "108C African Jewelry and Metalwork", "title": "Knife-sheath tip (sika boha)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/Kingdom, Kumasi or probably Kumasi, member of the goldsmiths' guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Arms and Armor", "measurements": "Overall: 6.4 x 2.1 cm (2 1/2 x 13/16 in.)", "dimensions": {"overall": {"height": 0.064, "width": 0.021}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"id": 297093, "title": "The Power of Gold: Asante Royal Regalia from Ghana", "description": "<i>The Power of Gold: Asante Royal Regalia from Ghana</i>. The Dallas Museum of Art, Dallas, TX (organizer) (April 15-August 12, 2018).", "opening_date": "2018-04-15T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935: \"African Negro Art,\" cat. no. 162, (also to CMA 9/27 - 10/27, 1935).", "opening_date": "1927-09-01T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. \"Perfect Documents: Walker Evans and African Art\" 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68.", "opening_date": "2000-02-01T00:00:00"}]}, "provenance": [{"description": "Treasury of asantehene (King) Agyeman Prempeh I, Kumasi, Ghana", "citations": [], "footnotes": ["<div><!--block-->Original catalogue card (CMA Curatorial File)</div>"], "date": "?\u20131896", "sortorder": 1}, {"description": "(Charles Ratton Gallery, Paris, France via Pierre Matisse, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Original catalogue card (CMA Curatorial File)</div>"], "date": "?\u20131935", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This chape would have been secured to the very tip of a knife sheath, modeled after European style sheaths.", "description": "Gold sheaths covered the cast iron blade of a king\u2019s ceremonial knife (<em>sikay</em>), wrapping them with symbolism. In Akan states like the Asante Kingdom, gold embodies life force (<em>kra</em>) and is the sun\u2019s earthly counterpart. Only goldsmiths\u2019 guild members could make gold ornaments for the royals and their entourage, or for the royal treasury. Here, the goldsmith used a tool to push the raised floral, leaf, and geometric designs from the back of a soft sheet of gold (repouss\u00e9 technique). Small dots outlining some motifs were punched into the metal. Similarly decorated gold sheets and solid ornaments capped a knife\u2019s handle.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008267"], "internet_archive": ["https://archive.org/details/clevelandart-1935.309-knife-sheath-tip-sik"]}, "citations": [{"citation": "Wixom, William D. \u201cAfrican Art in the Cleveland Museum of Art,\u201d <em>African Arts</em> 10, no. 3 (April 1977): 16-24.", "page_number": "Repr. p. 21.", "url": ""}, {"citation": "Milliken, William. \"Exhibition of Gold.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 9 (November 1947): 211-212.", "page_number": "Mentioned: p. 211-212; Reproduced: p. 235", "url": "https://www.jstor.org/stable/25141408"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 19, p. 68 - 69", "url": ""}, {"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art</em>. New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 39, no. 162.", "url": null}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935.</em> New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 22; reproduced: p. 23, fig. 13, p. 68, no. 18.", "url": null}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display.</em> Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 112", "url": null}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955</em>. [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 39", "url": null}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter. <em>African Art in American Collections, Survey 1989.</em> Washington: Smithsonian Institution Press, 1989.", "page_number": "Reproduced and mentioned: p. 202-203, fig 516", "url": null}, {"citation": "Walker, Roslyn A., Martha J. Ehrlich, Christraud M. Geary, M. D. McLeod, and Doran H. Ross. <em>The Power of Gold: Asante Royal Regalia from Ghana. </em>Yale University Press, New Haven and London. Dallas : Dallas Museum of Art, 2018.", "page_number": "Reproduced: p. 95, cat. 43", "url": null}], "url": "https://clevelandart.org/art/1935.309", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.309/1935.309_web.jpg", "width": "530", "height": "893", "filesize": "216615", "filename": "1935.309_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.309/1935.309_print.jpg", "width": "2018", "height": "3400", "filesize": "3315229", "filename": "1935.309_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.309/1935.309_full.tif", "width": "2582", "height": "4350", "filesize": "33716168", "filename": "1935.309_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115162, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:43.664000"}, {"id": 153382, "accession_number": "1986.68", "share_license_status": "CC0", "tombstone": "On a Terrace, 1867. Ernest Meissonier (French, 1815\u20131891). Oil on wood panel; framed: 50.5 x 40 x 8 cm (19 7/8 x 15 3/4 x 3 1/8 in.). The Cleveland Museum of Art, Bequest of Clara Louise Gehring Bickford, 1986.68", "current_location": "220 19th Century European", "title": "On a Terrace", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 50.5 x 40 x 8 cm (19 7/8 x 15 3/4 x 3 1/8 in.)", "dimensions": {"framed": {"height": 0.505, "width": 0.4, "depth": 0.08}, "unframed": {"height": 0.302, "width": 0.2}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: \"EMeissonier 1867 [EM in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 441330, "title": "Ernest Meissonier: R\u00e9trospective", "description": "<i>Ernest Meissonier: R\u00e9trospective</i>. Mus\u00e9e des Beaux-Arts de Lyon, 69001 Lyon, France (organizer) (March 25-June 27, 1993).", "opening_date": "1993-03-25T05:00:00"}], "legacy": [{"description": "<em>Exposition Meissonier</em>. Galerie Georges Petit, Paris, (1893).", "opening_date": null}, {"description": "Sur un balcon, collection de M. Leroy, (1867).", "opening_date": null}]}, "provenance": [{"description": "Ernest Secr\u00e9tan [1836-1899], Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Georges Petit Gallery, Paris, France, March 15, 1908, sold to to F. F. van der Doucht, Brussels, Belgium, according to Knoedler sale book no. 7, p. 270, 15 March 1908).", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "(E. Le Roy & Co., by 1893, according to exh. cat., Georges Petit, 1893).", "citations": [], "footnotes": [], "date": "by 1893", "sortorder": 3}, {"description": "(Le Roy consigned it to Knoedler & Co., Paris, France, stock no. 8878a.)", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "(Knoedler & Co., New York, NY, March 15, 1899, sold to Samuel L. Bronson)", "citations": [], "footnotes": [], "date": "1897-1899", "sortorder": 5}, {"description": "Samuel L. Bronson [1834-1917] New Haven, CT", "citations": [], "footnotes": [], "date": "1899-1901", "sortorder": 6}, {"description": "(Bought back by Knoedler, 8 May 1901 (stock number 9444) and sold 10 March 1908 to Thomas Henry Burchell)", "citations": [], "footnotes": [], "date": "1901-1908", "sortorder": 7}, {"description": "Thomas Henry Burchell [-1942] New York, NY, sold it back to Knoedler, November 3, 1910 (stock number 12199).", "citations": [], "footnotes": [], "date": "1908-1910", "sortorder": 8}, {"description": "(Knoedler Gallery, New York, NY, April 15, 1911, sold to Frederick Gehring)", "citations": [], "footnotes": [], "date": "1910-1911", "sortorder": 9}, {"description": "Clara Louise Gehring Bickford [1903-1985] Cleveland, OH, by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1986", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1986-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Meissionier was known for his masterful draftsmanship and scrupulous attention to detail. He amassed a \"work library\" of accessories from local costume markets to ensure that the subjects in his paintings were authenticity attired.", "description": "Trained as a printmaker and book illustrator, Meissonier specialized in small paintings depicting scenes from French history and literature. This painting on wood panel depicts a man dressed like a character from The Three Musketeers (published in 1844) by Alexandre Dumas p\u00e8re. Such paintings, admired for their technical virtuosity and romantic subjects, were immensely popular. Meissonier also painted contemporary military subjects and themes and became an arch-foe of the Realist painter Gustave Courbet.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475907"], "internet_archive": ["https://archive.org/details/clevelandart-1986.68-on-a-terrace"]}, "citations": [{"citation": "<em>The Complete Works of E. Meissonier: With Biography</em>. New York, NY: J.W. Bouton, 1884.", "page_number": null, "url": null}, {"citation": "Meissonier, Jean Louis Ernest. <em>The Complete Works of E. Meissonier: With Biography.</em> New York: J.W. Bouton, 1884.", "page_number": "Reproduced: pl. xlii", "url": null}, {"citation": "Chaumelin, Marius. <em>Portraits d'Artistes</em>. Paris: C. Marpon et E. Flammarion, 1887.", "page_number": "Mentioned: P. 51, no. 137", "url": null}, {"citation": "Gre\u0301ard, Octave. <em>Meissonier, His Life and His Art</em>. New York. NY: A.C. Armstrong, 1897.", "page_number": "Reproduced: p. 194", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1986.\" <em>The Bulletin of The Cleveland Museum of Art LXXIV, </em>no.<em> 2 </em>(February, 1987):39-79.", "page_number": "Reproduced: on cover; Mentioned: p. 62, no. 39", "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. 152", "url": null}, {"citation": "Gotlieb, Marc. <em>The Plight of Emulation: Ernest Meissonier and French Salon Painting</em>. Princeton, NJ.: Princeton University Press, 1996.", "page_number": "Mentioned: p. 188; Reproduced: p. 246, fig. 65", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: the Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 149", "url": null}, {"citation": "Thion, Ste\u0301phane. <em>French armies of the Thirty Years' War</em>. Auzielle, France: LRT, 2008.", "page_number": "Reproduced: Cover and Title pages", "url": null}], "url": "https://clevelandart.org/art/1986.68", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.68/1986.68_web.jpg", "width": "583", "height": "893", "filesize": "370023", "filename": "1986.68_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.68/1986.68_print.jpg", "width": "2219", "height": "3400", "filesize": "5003203", "filename": "1986.68_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.68/1986.68_full.tif", "width": "3915", "height": "6000", "filesize": "70501940", "filename": "1986.68_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Clara Louise Gehring Bickford", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 153382, "creators": [{"id": 1661, "description": "Ernest Meissonier (French, 1815\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ernest Meissonier had little formal or institutional artistic training, having studied only briefly in Cogniet's (q.v.) studio. Meissonier began his career making woodcuts for book illustrations, which must have served his craftsmanship and influenced his tendency toward working in a small format. From the beginning he was inspired by seventeenth-century Dutch and Flemish genre painters, as attested by his first Salon painting, Dutch Burghers (1834, Wallace Collection, London). His subjects would eventually have a more typical French flavor, representing artists, musicians, or members of the bourgeoisie involved in leisurely activities, and mostly in eighteenth-century settings. Meissonier joined the French army during the Austro-Italian War (1859), after which he frequently painted military scenes, such as Napoleon III at Solferino (1863, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Along with the many small depictions of the soldier's life, Meissonier also produced some military paintings on a grand scale. Such works were his attempt to make history paintings and served to counter the criticism that his subjects were frivolous. His military paintings culminated in a partly finished project of four large canvases depicting events in Napoleon I's military career that occupied him from 1864 through 1876. But no matter the size or subject of his paintings, they were always meticulously executed. The Franco-Prussian War also inspired some important works, such as Ruins of the Tuileries (1871, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Meissonier's work was extremely popular with the upwardly mobile mercantile elite who appreciated his craftsmanship. Criticism came from artists like Degas (q.v.) and Manet (q.v.), who advocated a more Courbet-like realism, addressing contemporary issues rather than painting idealized reflections of the past. Meissonier led the jury that excluded Courbet (q.v.) from the Salon of 1872 because of his involvement in the Paris Commune in 1871. Yet in 1889 Meissonier was also involved in founding the more progressive artist's organization and exhibitions of the Soci\u00e9t\u00e9 Nationale des Beaux-Arts that seceded from the traditional Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais. Meissonier received many honors and was the first artist to be promoted to the grand croix, the highest rank of the Legion of Honor (1899).", "name_in_original_language": null, "birth_year": "1815", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-09-26T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:28.871000"}, {"id": 138515, "accession_number": "1962.407", "share_license_status": "CC0", "tombstone": "First Steps, c. 1859\u201366. Jean-Fran\u00e7ois Millet (French, 1814\u20131875). Black chalk and pastel on beige laid paper; sheet: 29.5 x 45.9 cm (11 5/8 x 18 1/16 in.); secondary support: 36 x 50.9 cm (14 3/16 x 20 1/16 in.). The Cleveland Museum of Art, Gift of Mrs. Thomas H. Jones, Sr., 1962.407", "current_location": null, "title": "First Steps", "creation_date": "c. 1859\u201366", "creation_date_earliest": 1854, "creation_date_latest": 1871, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk and pastel on beige laid paper", "support_materials": [{"description": "beige(1) laid paper, perimeter mounted to  beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 29.5 x 45.9 cm (11 5/8 x 18 1/16 in.); Secondary Support: 36 x 50.9 cm (14 3/16 x 20 1/16 in.)", "dimensions": {"sheet": {"height": 0.295, "width": 0.459}, "secondary support": {"height": 0.36, "width": 0.509}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black chalk: J. F. Millet\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361479, "title": "Jean-Fran\u00e7ois Millet", "description": "<i>Jean-Fran\u00e7ois Millet</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (January 20-March 7, 1976); Galeries Nationales du Grand Palais, 75008 Paris, France (organizer) (October 17-January 5, 1976).", "opening_date": "1975-10-17T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 304414, "title": "Idea to Image: Preparatory Studies from the Renaissance to Impressionism", "description": "<i>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</i>. The Cleveland Museum of Art (organizer) (February 19-March 23, 1980).", "opening_date": "1980-02-19T05:00:00"}, {"id": 310038, "title": "The Graphic Art of the Barbizon School", "description": "<i>The Graphic Art of the Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-May 17, 1987).", "opening_date": "1987-03-17T05:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Emile Gavet [1830-1904], Paris", "citations": [], "footnotes": ["<div><!--block-->Herbert in Paris/London 1975-76 includes in the provenance a work that sold at Drouot, Paris, 30 April 1888, as no. 5, which is incorrect, since this lot is a painting; no other works in the sale correspond to the Cleveland drawing.</div>"], "date": "after 1859 - 1875", "sortorder": 1}, {"description": "(his sale, H\u00f4tel Drouot, Paris, June 11\u201312, 1875, no. 80, sold to \"Del\")", "citations": [], "footnotes": [], "date": "1875", "sortorder": 2}, {"description": "\"Del\"", "citations": [], "footnotes": [], "date": "1875-?", "sortorder": 3}, {"description": "(Rosenberg & Stiebel, Inc., New York)", "citations": [], "footnotes": [], "date": "?-1962", "sortorder": 4}, {"description": "Mrs. Thomas H. Jones Sr. [Katharine Brooks Jones, d. 1979], Cleveland, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1962", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1962-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At the time this drawing was made, many critics disparaged Millet's depictions of peasants as politically radical.", "description": "In the 1860s Jean-Fran\u00e7ois Millet began to add pastel to his black chalk drawings of peasants and rural life, with the hope that the addition of color would make his monochromatic drawings more marketable. Between 1865 and 1869, he worked almost exclusively in pastel, producing more than 100 works. The taste for \u201cenhanced\u201d or \u201cpastelled drawings,\u201d as Millet described them, grew among collectors and artists, and inspired a revival of the medium in the 1870s and 1880s. Here, in a fenced-in garden behind a house, parents encourage their child to walk for the first time. Delicate passages of blue, green, yellow, and red enliven the composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80034442"], "internet_archive": ["https://archive.org/details/clevelandart-1962.407-first-steps"]}, "citations": [{"citation": "Talbot, William S. \"Jean-Fran\u00e7ois Millet: Return from the Fields.\" <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 9 (1973): 259-66.", "page_number": "Mentioned: p. 265; Reproduced: p. 264", "url": "http://www.jstor.org/stable/25152497"}, {"citation": "<em>Millet, Van Gogh</em>. Exh. Cat. Paris: Mus\u00e9e d'Orsay, 1998.", "page_number": "Mentioned: p. 158 n. 33-34", "url": null}, {"citation": "Hitchcock, Ripley. \"Millet and the Children.\" <em>St. Nicholas </em>14, no. 3 (January 1887): 166-178.", "page_number": "Mentioned: p. 168", "url": null}, {"citation": "Soulli\u00e9, Louis. <em>Peintures, aquarelles, pastels, dessins de Jean-Fran\u00e7ois Millet relev\u00e9s dans les catalogues de ventes de 1849 \u00e0 1900</em>. Paris: Librairie sp\u00e9ciale des catalogues de ventes annot\u00e9s, 1900.", "page_number": "Mentioned: p. 121", "url": null}, {"citation": "Cartwright, Julia. <em>Jean Fran\u00e7ois Millet: His Life and Letters</em>. New York: Macmillan, 1902.", "page_number": "Mentioned: p. 377", "url": null}, {"citation": "Gensel, Walther. <em>Millet und Rousseau</em>. Bielefelder: Velhagen &amp; Klasing, 1902.", "page_number": "Reproduced: p. 57", "url": null}, {"citation": "Rolland, Romain. <em>Millet</em>. London: Duckworth, 1902.", "page_number": "Mentioned: p. X; Reproduced: p. 75", "url": null}, {"citation": "Holme, Charles, ed. <em>Corot and Millet</em>. New York: International Studio, 1903.", "page_number": "Reproduced: plate M17", "url": null}, {"citation": "B\u00e9n\u00e9dite, L\u00e9once. <em>Les dessins de J.F. Millet</em>. Paris: Hachette, 1906.", "page_number": "Mentioned: p. 24", "url": null}, {"citation": "Mireur, H. <em>Dictionnaire des ventes d'art faites en France et \u00e0 l'etranger pendant les XVIIIe &amp; XIXe si\u00e8cles</em>. Paris: Vincenti, 1911.", "page_number": "Mentioned: vol. 5, p. 206", "url": null}, {"citation": "Diez, E. <em>Jean Fran\u00e7ois Millet</em>. Bielefelder: Velhagen &amp; Klasing, 1912.", "page_number": "Reproduced: p. 29", "url": null}, {"citation": "Veth, Jan. \"Une m\u00eame composition chez Joseph Isra\u00ebls et chez Millet.\" <em>L'Art flamand &amp; hollandais </em>9, no. 17 (1912): 53-60.", "page_number": "Mentioned: pp. 55, 57-60; Reproduced: between pp. 58", "url": null}, {"citation": "Cox, Kenyon. <em>Artist and Public</em>. New York: Charles Scribner's Sons, 1914.", "page_number": "Mentioned: pp. 65-66; Reproduced: plate 8", "url": null}, {"citation": "Moreau-N\u00e9laton, \u00c9tienne. <em>Millet racont\u00e9 par lui-m\u00eame</em>. Paris: Henri Laurens, 1921.", "page_number": "Mentioned: vol. 2, pp. 38, 59, 192; Reproduced: between pp. 40 and 41; vol. 3, p. 127", "url": null}, {"citation": "Gsell, Paul. <em>Millet</em>. Paris: Rieder, 1928.", "page_number": "Mentioned: p. 55", "url": null}, {"citation": "<em>Drawings by Jean-Fran\u00e7ois Millet</em>. Exh. Cat. Cardiff: Arts Council of Great Britain, 1956.", "page_number": "Mentioned: p. 35, under no. 50a", "url": null}, {"citation": "Bouchot-Saupique, Jacqueline. <em>Dessins de Jean-Fran\u00e7ois Millet</em>. Exh. Cat. Paris: Mus\u00e9e du Louvre, 1960.", "page_number": "Mentioned: p. 22, under no. 36", "url": null}, {"citation": "<em>Some Paintings of the Barbizon School</em>. Exh. Cat. London: Hazlitt Gallery, 1960.", "page_number": "Mentioned: p. 13, under no. 27", "url": null}, {"citation": "Chase, Alice Elizabeth. <em>Famous Paintings</em>. New York: Platt &amp; Munk, 1962.", "page_number": "Mentioned and reproduced: p. 11", "url": null}, {"citation": "Bacou, Roseline. <em>Millet: One Hundred Drawings</em>. New York: Harper &amp; Row, 1975.", "page_number": "Mentioned: p. 206, under no. 43", "url": null}, {"citation": "Herbert, Robert L., Roseline Bacou, and Michel Laclotte. <em>Jean-Fran\u00e7ois Millet</em>. Exh. Cat. Paris: Grand Palais, 1975.", "page_number": "Mentioned and reproduced: no. 97", "url": null}, {"citation": "Fermigier, Andr\u00e9. <em>Jean-Fran\u00e7ois Millet</em>. Geneva: Skira, 1977.", "page_number": "Mentioned: pp. 54, 62-63, 143; Reproduced: p. 63", "url": null}, {"citation": "<em>Catalogue of Important Nineteenth Century European Drawings and Watercolours</em>. London: Sotheby's, 1980.", "page_number": "Mentioned: under no. 75A", "url": null}, {"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1980.", "page_number": "Mentioned: pp. 62-64; Reproduced: p. 64", "url": null}, {"citation": "<em>Les plus belles pages de la po\u00e9sie fran\u00e7aise</em>. Paris: S\u00e9lection du Reader's Digest, 1982.", "page_number": "Reproduced: pp. 380-381", "url": null}, {"citation": "Meixner, Laura L. <em>An International Episode: Millet, Monet and their North American Counterparts</em>. Exh. Cat. Memphis: Dixon Gallery and Gardens, 1982.", "page_number": "Mentioned and reproduced: p. 85", "url": null}, {"citation": "Murphy, Alexandra R. <em>Jean-Fran\u00e7ois Millet</em>. Exh. Cat. Boston: Museum of Fine Arts, 1984.", "page_number": "Mentioned: p. 115", "url": null}, {"citation": "Meixner, Laura L. \"Will Hicok Low (1853-1932): His Early Career and Barbizon Experience.\" <em>American Art Journal</em> 17, no. 4 (Autumn 1985): 51-70.", "page_number": "Mentioned: p. 59; Reproduced: p. 60", "url": null}, {"citation": "Tilborgh, Louis van, Sjraar van Heugten, and Philip Conisbee. <em>Van Gogh &amp; Millet</em>. Exh. Cat. Amsterdam: Van Gogh Museum, 1988.", "page_number": "Mentioned: p. 111, under no. 39", "url": null}, {"citation": "Lepoittevin, Lucien. <em>Jean-Fran\u00e7ois Millet, images et symboles</em>. Cherbourg: Iso\u00e8te, 1990.", "page_number": "Mentioned: p. 41", "url": null}, {"citation": "Fermigier, Andr\u00e9. <em>Millet</em>. Geneva: Skira, 1991.", "page_number": "Mentioned: p. 58, 137; Reproduced: p. 63", "url": null}, {"citation": "<em>19th Century Continental Pictures, Watercolours and Drawings</em>. London: Christie's, 1992.", "page_number": "Mentioned: 25, under no. 17", "url": null}, {"citation": "Kimura, Shigenobu. <em>Urban Utopia</em>. Tokyo: Kodansha, 1993.", "page_number": "Mentioned: pp. 64, 146; Reproduced: p. 64", "url": null}, {"citation": "<em>19th Century European Paintings, Drawings, Watercolors and Sculpture</em>. New York: Christie's, 1994.", "page_number": "Mentioned: p. 70, under no. 91", "url": null}, {"citation": "Gu\u00e9gan, St\u00e9phane. <em>Millet peintre paysan</em>. Paris: Flammarion, 1998.", "page_number": "Mentioned: p. 78; Reproduced: p. 79", "url": ""}, {"citation": "Murphy, Alexandra R., Richard Rand, Brian T. Allen, et al. <em>Jean-Fran\u00e7ois Millet: Drawn into the Light</em>. Exh. Cat. Williamstown, MA: Clark Art Institute, 1999.", "page_number": "Mentioned: p. 89, under no. 54", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 134-135, pp. 290-291, no. 53; Reproduced: p. 135", "url": null}, {"citation": "Manoeuvre, Laurent. <em>Jean-Fran\u00e7ois Millet, pastels et dessins</em>. Paris: Biblioth\u00e8que de l'Image, 2002.", "page_number": "Reproduced: p. 19", "url": null}, {"citation": "Lemonedes, Heather. \"Pure Color: A new exhibition celebrates luminous pastels.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 6 (November/December 2016): 8-9.", "page_number": "Reproduced: p. 8; Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2016-06"}, {"citation": "Milesi, Silvana. Il padre nell'arte e nel tempo. Bergamo : Corponove, 2020, 23.", "page_number": "Reproduced and mentioned: p. 23", "url": ""}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: Acquiring the now-on-view collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 1 (2023): 8-9.", "page_number": "Reproduced and Mentioned: p. 8", "url": "https://archive.org/details/CMAMM2023-01/page/n7"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 100-101, no. 11", "url": ""}], "url": "https://clevelandart.org/art/1962.407", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.407/1962.407_web.jpg", "width": "900", "height": "577", "filesize": "273234", "filename": "1962.407_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.407/1962.407_print.jpg", "width": "3400", "height": "2178", "filesize": "3437164", "filename": "1962.407_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.407/1962.407_full.tif", "width": "13670", "height": "8756", "filesize": "359115656", "filename": "1962.407_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Thomas H. Jones, Sr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138515, "creators": [{"id": 1667, "description": "Jean-Fran\u00e7ois Millet (French, 1814\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a wealthy farmer, Jean-Fran\u00e7ois Millet studied with a portrait painter from Cherbourg, Bon du Mouchel (1807-1846), himself a student of David (q.v.). Mouchel required his young apprentice to copy paintings in the museum in Cherbourg, where Millet had been sent to enter the studio of Lucien-Th\u00e9ophile Langlois (1803-1845), a former student of Gros (q.v.). Millet received a stipend from the city to move to Paris in 1837, enrolling in the \u00c9cole des Beaux-Arts in the studio of Delaroche (q.v.), where he met Couture (q.v.). Within two years he had left Delaroche, and his stipend was withdrawn. To earn a living, he executed pastels and small paintings in the style of Jean Antoine Watteau (1684-1729) and Fran\u00e7ois Boucher (1703-1770). In 1839 the first painting that Millet sent to the Salon, Saint Anne Instructing the Virgin, was refused. The following year one portrait was accepted at the Salon, and Millet spent the winter in Cherbourg where he could make a living painting portraits. After his marriage to Pauline-Virginie Ono, he returned to Paris, painting various subjects but finding little success. He met Th\u00e9odore Rousseau (q.v.) and Diaz de la Pe\u00f1a (q.v.) and was introduced to Durand-Ruel, who purchased some of his works, at that point mainly pastoral scenes and nudes. In the late 1840s Millet began to devote himself to painting peasants and rural life, subjects that automatically had political overtones in the light of the 1848 revolutions. In 1849 he settled in Barbizon, continuing his depictions of the peasantry. He achieved some financial security thanks to Alfred Sensier, who supplied him with materials and sold his paintings. At the Salon of 1850-51 Millet exhibited The Sower (Museum of Fine Arts, Boston), which received a great deal of attention. Although the conservatives accused Millet of overemphasizing the poverty of the peasants, the republican and leftist movement hailed the painting as a dignified representation of the working class. Millet claimed to be interested solely in the biblical allusions of his subject, yet he seemed to persist in painting the poorest peasants at the worst tasks. The final ten years of his life were successful ones. A retrospective of his work at the Paris Exposition Universelle in 1867 solidified his reputation, and the following year he received the Legion of Honor. His work was influential for generations of artists.", "name_in_original_language": null, "birth_year": "1814", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1854, "date_added_to_oa": null, "date_text": "c. 1859\u201366", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:51.171000"}, {"id": 128808, "accession_number": "1951.430", "share_license_status": "CC0", "tombstone": "Sheet of Studies and Sketches, 1858. Edgar Degas (French, 1834\u20131917). Graphite, pen and dark brown ink, and watercolor on thick ivory wove paper; sheet: 30.4 x 23.5 cm (11 15/16 x 9 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1951.430", "current_location": null, "title": "Sheet of Studies and Sketches", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite, pen and dark brown ink, and watercolor on thick ivory wove paper", "support_materials": [{"description": "ivory wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 30.4 x 23.5 cm (11 15/16 x 9 1/4 in.)", "dimensions": {"sheet": {"height": 0.304, "width": 0.235}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower left, in graphite: Flor. 1857; stamped, lower left, in red ink: artist\u2019s stamp [Lugt 658]; verso, in red ink: estate stamp [Lugt 657]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 361395, "title": "Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art, 1800\u20131870", "description": "<i>Ingres & Delacroix through Degas & Puvis de Chavannes: The Figure in French Art, 1800\u20131870</i>. Shepherd Gallery, New York, NY (organizer) (May 20-June 28, 1975).", "opening_date": "1975-05-20T04:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 338947, "title": "The Private Degas", "description": "<i>The Private Degas</i>. Whitworth Art Gallery, Manchester, United Kingdom of Great Britain and Northern Ireland (January 20-February 28, 1987); Fitzwilliam Museum, Cambridge CB2 1RB (March 17-May 3, 1987).", "opening_date": "1987-01-20T05:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 295862, "title": "Degas: A Passion for Perfection", "description": "<i>Degas: A Passion for Perfection</i>. Denver Art Museum, Denver, CO (organizer) (February 11-May 20, 2018).", "opening_date": "2018-02-11T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Studio of the artist", "citations": [], "footnotes": null, "date": "1858 - 1917", "sortorder": 1}, {"description": "Estate of Edgar Degas [1834-1917], Paris", "citations": [], "footnotes": ["<div><!--block-->Lugt 658, lower left, in red ink; Lugt 657, verso, upper center, in red ink.</div>"], "date": "1917-1919", "sortorder": 2}, {"description": "(his fourth sale, Galerie Georges Petit, Paris, July 2-4, 1919, no. 74b, sold to Nun\u00e8s)", "citations": [], "footnotes": ["<div><!--block-->As \"T\u00eate de femme. -- T\u00eate d'homme. -- Lutteurs. -- Cavalier,\" for 2,000 F.</div>"], "date": "1919", "sortorder": 3}, {"description": "(Galerie Nun\u00e8s et Fiquet, Paris)", "citations": [], "footnotes": [], "date": "1919-?", "sortorder": 4}, {"description": "Private collection", "citations": [], "footnotes": null, "date": "after 1919-by 1931", "sortorder": 5}, {"description": "(Victor D. Spark, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "by 1950-1951", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The date Degas wrote on this drawing is incorrect; he didn't visit Florence until 1858, and must have inscribed the sheet years later.", "description": "Degas traveled to Florence, Italy, in July 1858, where he made this sheet of studies. The featured imagery is fragmented and dissociated, suggesting the young artist's engagement with art of the past. The refined female head drawn at center in graphite was copied from a drawing then attributed to Leonardo da Vinci in the Uffizi Gallery's collection. Other sketches record Degas's responses to Florentine sculpture. At upper right, he sketched an informal portrait of his cousin Giulia Bellelli, probably from life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781314"], "internet_archive": ["https://archive.org/details/clevelandart-1951.430-sheet-of-studies-and"]}, "citations": [{"citation": "<em>Catalogue des tableaux, pastels et dessins par Edgar Degas et provenant de son atelier</em>. Paris: Galerie Georges Petit, 1919.", "page_number": "Mentioned and reproduced: p. 70, no. 74b", "url": null}, {"citation": "George, Waldemar. \"The Youth of Degas.\" <em>Formes</em> 15 (May 1931).", "page_number": "Reproduced: after p. 76", "url": null}, {"citation": "Graber, Hans. <em>Edgar Degas: Nach eigenen und fremden Zeugnissen</em>. Basel: Benno Schwabe, 1942.", "page_number": "Mentioned: p. 246, Reproduced: opp. p. 20.", "url": null}, {"citation": "Henry S. Francis. \"Drawings by Degas.\" <em>The Bulletin of the Cleveland Museum of Art</em> 44, no. 10 (December 1957): 212-217", "page_number": "Mentioned: p. 213; Reproduced: p. 210", "url": "https://www.jstor.org/stable/25142248"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 601", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "Vitali, Lamberto. \u201cThree Italian Friends of Degas.\u201d <em>Burlington Magazine</em> 105, no. 723 (June 1963): 266-73.", "page_number": "Mentioned: pp. 266 n. 4, 269 n. 6", "url": ""}, {"citation": "Reymert, Martin L. H. and Gary Koehler. <em>Ingres &amp; Delacroix through Degas &amp; Puvis de Chavannes: The Figure in French Art, 1800\u20131870</em>. Exh. cat. New York: Shepherd Gallery, 1975.", "page_number": "Mentioned and reproduced: cover, pp. 317-18, no. 134", "url": null}, {"citation": "Russoli, Franco. <em>L\u2019Opera completa di Degas</em>. Milan: Rizzoli, 1978.", "page_number": "Reproduced: pp. 86-87, no. 17", "url": null}, {"citation": "Thomson, Richard. <em>The Private Degas</em>. Exh. cat. London: Arts Council of Great Britain, 1987.", "page_number": "Mentioned: pp. 15-17, 51, 138, no. 10; Reproduced: plate 65.", "url": null}, {"citation": "DeGrazia, Diane and Carter E. Foster.<em> Master Drawings from the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: p. 8, pp. 132-33, p. 290; Reproduced: p. 133", "url": null}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 14", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 16", "url": ""}, {"citation": "Reff, Theodore. <em>The Letters of Edgar Degas</em>. New York: Wildenstein Plattner, 2020.", "page_number": "Mentioned: vol. 1, p. 114 n. 3.", "url": ""}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: The widely recognized collection of the Cleveland Museum of Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 4 (December 2022): Cover, 18-19.", "page_number": "Reproduced and Mentioned: p. 18.", "url": "https://archive.org/details/CMAMM2022-04/page/18/mode/2up"}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 2, fig. 2", "url": ""}, {"citation": "Mayhew, Timothy David. \"Traditional 19th-Century French Graphite Drawing Materials and Techniques.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>43-51. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 48-49, fig. 28", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 98-99, no. 10", "url": ""}], "url": "https://clevelandart.org/art/1951.430", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.430/1951.430_web.jpg", "width": "700", "height": "900", "filesize": "319743", "filename": "1951.430_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.430/1951.430_print.jpg", "width": "2645", "height": "3400", "filesize": "4331336", "filename": "1951.430_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.430/1951.430_full.tif", "width": "9368", "height": "12042", "filesize": "338455098", "filename": "1951.430_full.tif"}}, "alternate_images": [{"date_created": "2010-11-05T14:57:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt0_web.jpg", "width": "693", "height": "893", "filesize": "505658"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt0_print.jpg", "width": "2640", "height": "3400", "filesize": "8038217"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt0_full.tif", "width": "4992", "height": "6429", "filesize": "96309500"}}, {"date_created": "2007-08-27T14:54:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt1_web.jpg", "width": "694", "height": "893", "filesize": "480459"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt1_print.jpg", "width": "2643", "height": "3400", "filesize": "6986188"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt1_full.tif", "width": "4275", "height": "5500", "filesize": "70570264"}}, {"date_created": "2021-07-01T19:14:15.022000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt2_web.jpg", "width": "714", "height": "900", "filesize": "276310"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt2_print.jpg", "width": "2698", "height": "3400", "filesize": "2273944"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt2_full.tif", "width": "3760", "height": "4739", "filesize": "53492928"}}, {"date_created": "2021-07-07T10:36:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt3_web.jpg", "width": "700", "height": "900", "filesize": "273024"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt3_print.jpg", "width": "2645", "height": "3400", "filesize": "4064020"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.430/1951.430_alt3_full.tif", "width": "9368", "height": "12041", "filesize": "338424726"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128808, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-11-15T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Sheet of Sketches"], "is_highlight": true, "updated_at": "2026-03-26 23:59:58.818000"}, {"id": 130528, "accession_number": "1953.268", "share_license_status": "CC0", "tombstone": "Diego Martelli, 1879. Edgar Degas (French, 1834\u20131917). Charcoal and white chalk; sheet: 44 x 31.3 cm (17 5/16 x 12 5/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1953.268", "current_location": null, "title": "Diego Martelli", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "charcoal and white chalk", "support_materials": [{"description": "brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 44 x 31.3 cm (17 5/16 x 12 5/16 in.)", "dimensions": {"sheet": {"height": 0.44, "width": 0.313}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped in red, at lower left: Degas estate stamp (Lugt 658)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 516000, "title": "Drawings by Edgar Degas", "description": "<i>Drawings by Edgar Degas</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (January 20-February 26, 1967); Philadelphia Museum of Art, Philadelphia, PA (March 10-April 30, 1967); Minneapolis Institute of Art, Minneapolis, MN (May 16-June 25, 1967).", "opening_date": "1967-01-20T05:00:00"}, {"id": 442453, "title": "Degas 1879", "description": "<i>Degas 1879</i>. National Galleries of Scotland, Edinburgh, United Kingdom of Great Britain and Northern Ireland (organizer) (August 13-September 30, 1979).", "opening_date": "1979-08-13T04:00:00"}, {"id": 304414, "title": "Idea to Image: Preparatory Studies from the Renaissance to Impressionism", "description": "<i>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</i>. The Cleveland Museum of Art (organizer) (February 19-March 23, 1980).", "opening_date": "1980-02-19T05:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 224301, "title": "Edgar Degas and the Italians in Paris", "description": "<i>Edgar Degas and the Italians in Paris</i>. Royal Scottish Academy, Edinburgh, Scotland (December 12, 2003-February 29, 2004).", "opening_date": "2003-09-14T00:00:00"}], "legacy": [{"description": "<em>Edgar Degas: Pastelle, Olskizzen, Zeichnungen. </em>Kunsthalle Tubingen (January 14 - March 18, 1984); Nationalgalerie, Berlin (April 4 - May 20, 1984).", "opening_date": "1984-01-14T00:00:00"}, {"description": "<em>Degas 1879</em>. National Gallery of Scotland, Edinburgh (August 13 - September 30, 1979).", "opening_date": "1979-08-13T00:00:00"}, {"description": "<em>Drawings by Degas</em>. City Art Museum, St. Louis (January 20 - February 26, 1967); Philadelphia Museum of Art (March 10 - April 30, 1967); Minneapolis Institute of Arts (May 16 - June 25, 1967).", "opening_date": "1967-01-20T00:00:00"}]}, "provenance": [{"description": "Estate of Edgar Degas [1834-1917], Paris", "citations": [], "footnotes": ["<div><!--block-->Lugt 658, lower left, in red ink</div>"], "date": "1879-1919", "sortorder": 1}, {"description": "(Galerie Georges Petit, third Degas sale, Paris, April 8-9, 1919, no. 160.1, probably sold to Georges Viau)", "citations": [], "footnotes": [], "date": "1919", "sortorder": 2}, {"description": "Georges Viau [1855-1939], Paris", "citations": [], "footnotes": ["<div><!--block-->According to label formerly on back of frame; no. 21, titled \"Portrait de graveur Diego Martelli \u00e9tude pour le tableau\"</div>"], "date": "probably 1919-?", "sortorder": 3}, {"description": "Mme. Demotte, Paris", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 4}, {"description": "B. Natanson, Paris", "citations": [], "footnotes": ["<div><!--block-->According to label formerly on back of frame.</div>"], "date": "?-?", "sortorder": 5}, {"description": "(Victor D. Spark, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "by 1950-1953", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The ghostly white tone of Diego Martelli's face was likely pink or peach when Degas made the work, and has gradually faded over time.", "description": "This sheet is one of many studies that Degas made in 1879 of his friend and supporter, the Italian art critic and patron Diego Martelli (1839-1896). Martelli was one of the most important champions of progressive modern art in Italy, and his writings on the 1879 Impressionist show became famous, playing a crucial role in publicizing the movement. This sheet relates to two painted portraits of the critic, one in the National Gallery of Scotland, Edinburgh, and the other in the National Museum of Fine Arts, Buenos Aires.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912372"], "internet_archive": ["https://archive.org/details/clevelandart-1953.268-diego-martelli"]}, "citations": [{"citation": "<em>Catalogue des tableaux, pastels, et dessins par Edgar Degas et provenant de son atelier...3e vente...</em> Paris: Georges Petit, 1919.", "page_number": "Mentioned and reproduced: no. 160", "url": null}, {"citation": "\"Accessions of American and Canadian Museums, April - June 1953.\" <em>Art Quarterly</em> 16, no. 4 (Winter 1953): 346-365.", "page_number": "Mentioned: p. 353", "url": null}, {"citation": "Francis, Henry S. \"Drawings by Degas.\" <em>Bulletin of the Cleveland Museum of Art</em> 44, no. 10 (December 1957): 212-217.", "page_number": "Mentioned: p. 216; Reproduced: cover", "url": "https://www.jstor.org/stable/25142248"}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 602", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "Boggs, Jean Sutherland. <em>Portraits by Degas</em>. Berkeley: University of California Press, 1962.", "page_number": "Mentioned: p. 123", "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. 172", "url": "https://archive.org/details/CMAHandbook1966/page/n196"}, {"citation": "Boggs, Jean Sutherland. <em>Drawings by Degas</em>. Exh. Cat. St. Louis: City Art Museum of Saint Louis, 1966.", "page_number": "Mentioned: p. 142, no. 89; Reproduced: p. 141", "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. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "<em>Degas' Drawings</em>. New York: Dover, 1973.", "page_number": "Mentioned: p. viii, no. 76; Reproduced: pl. 76", "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. 213", "url": "https://archive.org/details/CMAHandbook1978/page/n233"}, {"citation": "Pickvance, Ronald. <em>Degas 1879</em>. Exh. Cat. Edinburgh: National Gallery of Scotland, 1979.", "page_number": "Mentioned and reproduced: p. 54, no. 56", "url": null}, {"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1980.", "page_number": "Mentioned: pp. 59-60; Reproduced: p. 60", "url": null}, {"citation": "Adriani, G\u00f6tz. <em>Edgar Degas: Pastelle, Olskizzen, Zeichnungen</em>. Exh. Cat. Tubingen: Kunsthalle, 1984.", "page_number": "Mentioned: pp. 372-3, no. 130", "url": null}, {"citation": "Sutton, Denys. <em>Edgar Degas: Life and Work</em>. New York: Rizzoli, 1986.", "page_number": "Mentioned: pp. 10, 290; Reproduced: p. 286, pl. 276", "url": null}, {"citation": "Boggs, Jean Sutherland, et al. <em>Degas</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1988.", "page_number": "Mentioned: p. 312", "url": null}, {"citation": "Weingrod, Carmi. \"The Essence of Charcoal.\" <em>American Artist</em> 57, no. 616 (November 1993): 10-16.", "page_number": "Reproduced: p. 12", "url": null}, {"citation": "Stratis, Harriet K. \"Unintended Outcomes: Recognizing Change in 19th-Century French Drawings.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>11-23. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 60-61, fig. 40", "url": ""}], "url": "https://clevelandart.org/art/1953.268", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.268/1953.268_web.jpg", "width": "641", "height": "893", "filesize": "88539", "filename": "1953.268_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.268/1953.268_print.jpg", "width": "2440", "height": "3400", "filesize": "1505404", "filename": "1953.268_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.268/1953.268_full.tif", "width": "4399", "height": "6129", "filesize": "80910072", "filename": "1953.268_full.tif"}}, "alternate_images": [{"date_created": "2013-01-04T21:22:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.268/1953.268_alt0_web.jpg", "width": "640", "height": "893", "filesize": "92838"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.268/1953.268_alt0_print.jpg", "width": "2437", "height": "3400", "filesize": "1881311"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.268/1953.268_alt0_full.tif", "width": "3935", "height": "5489", "filesize": "64822332"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130528, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-07-17T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:04.358000"}, {"id": 142739, "accession_number": "1966.447.a", "share_license_status": "CC0", "tombstone": "Parrot from the Parrot on a Perch, 1896\u20131903. Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9 (Russian, 1842\u20131918). Jasper, agate, emeralds; overall: 15.3 x 7.4 cm (6 x 2 15/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.447.a", "current_location": "211 Faberg\u00e9", "title": "Parrot from the Parrot on a Perch", "creation_date": "1896\u20131903", "creation_date_earliest": 1896, "creation_date_latest": 1903, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "jasper, agate, emeralds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 15.3 x 7.4 cm (6 x 2 15/16 in.)", "dimensions": {"overall": {"height": 0.153, "width": 0.074}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. The Walters Art Museum, Baltimore, MD (organizer) (February 14-July 27, 2003); Columbus Museum of Art, Columbus, OH (October 12, 2003-January 4, 2004); Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Christie's, London, November 25, 1958, lot 152)", "citations": [], "footnotes": null, "date": "?-1958", "sortorder": null}, {"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1958-1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This parrot is part of a figure that includes a perch for the bird to sit upon.", "description": "In creating luxurious accessories for a desk or tabletop, Faberg\u00e9 often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Faberg\u00e9 and his craftsmen brought them to life, turning milky agate into a begging poodle or green and black jasper into this parrot. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760924"], "internet_archive": ["https://archive.org/details/clevelandart-1966.447.a-parrot-from-the-parr"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 14-5, cat. 3.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 109, cat. 88", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Faberge\u0301, Peter Carl, and Deborah E. Horowitz. <em>The Faberge\u0301 Menagerie</em>. London: Philip Wilson Pub, 2003.", "page_number": "Mentioned and reproduced: p. 130, cat. 64.", "url": "https://ingallslibrary.on.worldcat.org/oclc/196795062"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 185, cat. 82.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"citation": "Henry Hawley, <em>Faberg\u00e9 and His Contemporaries </em>(Cleveland: The Cleveland Museum of Art, 1967), 14.", "page_number": "14", "url": null}], "url": "https://clevelandart.org/art/1966.447.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.447.a/1966.447.a_web.jpg", "width": "773", "height": "900", "filesize": "153709", "filename": "1966.447.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.447.a/1966.447.a_print.jpg", "width": "2919", "height": "3400", "filesize": "1000727", "filename": "1966.447.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.447.a/1966.447.a_full.tif", "width": "4505", "height": "5247", "filesize": "70938148", "filename": "1966.447.a_full.tif"}}, "alternate_images": [{"date_created": "2021-09-08T20:30:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447.a/1966.447.a_alt0_web.jpg", "width": "775", "height": "900", "filesize": "157718"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447.a/1966.447.a_alt0_print.jpg", "width": "2927", "height": "3400", "filesize": "1042198"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.447.a/1966.447.a_alt0_full.tif", "width": "4435", "height": "5151", "filesize": "68559132"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142739, "creators": [{"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896\u20131903", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.447", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:21.513000"}, {"id": 320778, "accession_number": "2019.18", "share_license_status": "CC0", "tombstone": "Banks of the Oise at Dawn, 1888. Louis Hayet (French, 1864\u20131940). Oil on canvas; 51 x 71 cm (20 1/16 x 27 15/16 in.). The Cleveland Museum of Art, Sundry Art - Miscellaneous Fund, 2019.18", "current_location": "222 Impressionism & Post-Impressionism", "title": "Banks of the Oise at Dawn", "creation_date": "1888", "creation_date_earliest": 1887, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France"], "technique": "Oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "51 x 71 cm (20 1/16 x 27 15/16 in.)", "dimensions": {"No Extent Specified": {"width": 0.51, "depth": 0.71}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Louis Hayet, oeuvres ne\u0301o-impressionnistes de 1885 \u00e0 1895</em>, Muse\u0301e Tavet, 13 April - 4 August 1991.", "opening_date": "1991-04-13T00:00:00"}, {"description": "<em>Post-impressionism : cross-currents in European painting.</em> Royal Academy of Arts, London, United Kingdom (November 17, 1979 - March 16, 1980).", "opening_date": "1979-11-17T00:00:00"}, {"description": "<em>Georges Seurat, Paul Signac e i neoimpressionisti.</em> Palazzo Reale, Milan, Italy (October, 2008-January 25, 2009).", "opening_date": "2009-01-25T00:00:00"}, {"description": "<em>Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music</em>. The Phillips Collection, Washington, DC (September 27, 2014-January 11, 2015).", "opening_date": "2014-09-27T00:00:00"}]}, "provenance": [{"description": "Louis Hayet, the artist", "citations": [], "footnotes": null, "date": "1888", "sortorder": 1}, {"description": "George Hayet, the artist's  son", "citations": [], "footnotes": null, "date": "1940", "sortorder": 2}, {"description": "Marie-Claude Fischer, Paris", "citations": [], "footnotes": null, "date": "c. 1960s-1976", "sortorder": 3}, {"description": "Samuel Josefowitz, Lausanne, Switzerland", "citations": [], "footnotes": null, "date": "1976", "sortorder": 4}, {"description": "Private Collector, Switzerland", "citations": [], "footnotes": null, "date": "c. 2015", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hayet received considerable critical praise for his original idea of developing a Neo-Impressionist color chart that incorporates gray tones.", "description": "Louis Hayet was an important, early practitioner of Neo-Impressionism, or Pointillism, the practice of applying small strokes or dots of paint so that from a distance the hues visually blend together and create an intense sensation of color and light. Notice the way in which Hayet painted the pale dawn sky\u2014and its reflection in the River Oise\u2014with strokes of pink, orange, blue, yellow, and green paint. When seen at a distance, the effect is of early morning, before the sun has fully risen.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875900"], "internet_archive": ["https://archive.org/details/clevelandart-2019.18-banks-of-the-oise-at"]}, "citations": [{"citation": "House, John, and Mary Anne Stevens. <em>Post-Impressionism: Cross-Currents in European Painting</em>. London: Royal Academy of Arts, 1979.<br>Published as: \"<em>River Landscape</em>\"", "page_number": "Mentioned: P. 86, no. 109; Reproduced: p. 112, no. 109", "url": null}, {"citation": "Dulon, Guy, Louis Hayet, and Christophe Duvivier. <em>Louis Hayet: 1864-1940 : peintre et the\u0301oricien du ne\u0301o-impressionnisme</em>. Pontoise: Muse\u0301e de Pontoise, 1991.", "page_number": "Reproduced: p. 118.", "url": null}, {"citation": "Bocquillon-Ferretti, Marina. <em>Georges Seurat, Paul Signac e i neoimpressionisti</em>. Milan: Skira, 2008.", "page_number": "Reproduced: p. 118", "url": null}, {"citation": "Homburg, Cornelia et al. <em>Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music</em>. New Haven: Yale University Press, 2014.", "page_number": "Reproduced: p. 46; Detail; p. 51", "url": null}, {"citation": "Robinson, William H. \"Acquisitions 2019: European Paintings and Sculpture, 1500-1800,\" <em>Cleveland Museum of Art Members Magazine </em>(March/April 2020): Cover, 17.", "page_number": "Reproduced: Cover, P. 17; Mentioned: P. 17.", "url": null}], "url": "https://clevelandart.org/art/2019.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.18/2019.18_web.jpg", "width": "900", "height": "643", "filesize": "535001", "filename": "2019.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.18/2019.18_print.jpg", "width": "3400", "height": "2430", "filesize": "6766890", "filename": "2019.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.18/2019.18_full.tif", "width": "8923", "height": "6378", "filesize": "170759852", "filename": "2019.18_full.tif"}}, "alternate_images": [{"date_created": "2019-04-16T20:32:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt0_web.jpg", "width": "900", "height": "649", "filesize": "268983"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt0_print.jpg", "width": "3400", "height": "2452", "filesize": "4462234"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt0_full.tif", "width": "9492", "height": "6845", "filesize": "194945140"}}, {"date_created": "2019-04-16T20:22:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt1_web.jpg", "width": "900", "height": "710", "filesize": "483041"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt1_print.jpg", "width": "3400", "height": "2681", "filesize": "5869042"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.18/2019.18_alt1_full.tif", "width": "12170", "height": "9597", "filesize": "350417072"}}], "creditline": "Sundry Art - Miscellaneous Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 320778, "creators": [{"id": 320781, "description": "Louis Hayet (French, 1864\u20131940)", "extent": null, "qualifier": null, "role": null, "biography": "French painter, 1864-1940", "name_in_original_language": null, "birth_year": "1864", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:43.044000"}, {"id": 141744, "accession_number": "1965.325", "share_license_status": "CC0", "tombstone": "Headdress (chi wara), early to mid-1900s. Africa, West Africa, Mali, Bamana-style blacksmith-carver. Wood, cowrie shells, glass beads, possibly aluminum, iron alloy, upholstery studs, and natural fibers; overall: 44.5 x 66 cm (17 1/2 x 26 in.). The Cleveland Museum of Art, Gift of Mrs. Ralph M. Coe in memory of Ralph M. Coe, 1965.325", "current_location": "108A African", "title": "Headdress (chi wara)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1970, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Bamana-style blacksmith-carver"], "technique": "Wood, cowrie shells, glass beads, possibly aluminum, iron alloy, upholstery studs, and natural fibers", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 44.5 x 66 cm (17 1/2 x 26 in.)", "dimensions": {"overall": {"height": 0.445, "width": 0.66}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 292699, "title": "Artlens Exhibition 2017", "description": "<i>Artlens Exhibition 2017</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24, 2017-May 29, 2019).", "opening_date": "2017-06-24T04:00:00"}], "legacy": [{"description": "Kansas City, MO, The Nelson-Atkins Museum of Art:  The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World (1962), cat. no. 3.", "opening_date": "1962-01-01T00:00:00"}, {"description": "CMA 1965:  \"Year in Review,\" Bulletin, LII (November 1965), p, 152, no. 22.", "opening_date": "1965-11-01T00:00:00"}]}, "provenance": [{"description": "(J.J. Klejman Gallery, New York, NY)", "citations": [], "footnotes": [], "date": "1954", "sortorder": 1}, {"description": "Mrs. Ralph M. Coe [Dorothy deWolf Tracey, 1890-1966] Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1954-1965", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1965-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Chi wara</em> headdresses look different depending on the region they were made in. The style of this example tells us it was likely made in the Djitoumou region of southern Mali.", "description": "<em>Chi wara</em>\u2014a mythical \u201cfarming beast\u201d\u2014was said to teach farming to the Bamana people. Carved patterns cover this female chi wara\u2019s body, highlighting its muscles and emphasizing that it is no earthly animal, but rather an agricultural spirit that combines human, antelope, and anteater elements. This example wears earrings and a nose ring of imported metals and beads. Its carver\u2014a blacksmith\u2014used a naturalistic style common south of the city of Bamako. Accompanied by women\u2019s songs, male performers danced paired male-and-female chi wara headdresses affixed to basketry caps at agricultural competitions and weddings.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1965.325-headdress-chi-wara"]}, "citations": [{"citation": "Cleveland Museum of Art, and Henry John Drewal. 1989. <em>African Art : A Brief Guide to the Collection : The Cleveland Museum of Art</em>. Cleveland: Museum, fig. 16.", "page_number": "", "url": ""}, {"citation": "May, Sally Ruth, Jane Takac, Barbara J Bradley, and Cleveland Museum of Art. 2001. <em>Knockouts : A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, no. 68, pp. 66-7, repr. color p. 66; listed p. 118.", "page_number": "", "url": ""}, {"citation": "CMA 1991: Handbook, p. 147.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 3, p. 36 - 37", "url": ""}, {"citation": "Petridis, Constantine., \"New Light on African Art\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 06, Summer 2003", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2003-06/page/n5"}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: pp. 119-120", "url": null}, {"citation": "William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, and Ralph T. Coe. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World.</em> Kansas City, Mo: The Museum, 1962.", "page_number": "Mentioned: p. 10, p. 12, cat. no. 3", "url": null}, {"citation": "Art Institute of Chicago, Constantijn Petridis, and Martha G. Anderson. Speaking of Objects: African Art at the Art Institute of Chicago. 2020, 26.", "page_number": "Mentioned and reproduced: pp. 25-26, fig. 4", "url": ""}], "url": "https://clevelandart.org/art/1965.325", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.325/1965.325_web.jpg", "width": "997", "height": "893", "filesize": "456708", "filename": "1965.325_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.325/1965.325_print.jpg", "width": "3400", "height": "3044", "filesize": "5213928", "filename": "1965.325_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.325/1965.325_full.tif", "width": "5325", "height": "4768", "filesize": "76202268", "filename": "1965.325_full.tif"}}, "alternate_images": [{"date_created": "2009-11-03T15:39:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt0_web.jpg", "width": "818", "height": "893", "filesize": "313466"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt0_print.jpg", "width": "3113", "height": "3400", "filesize": "5087380"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt0_full.tif", "width": "6100", "height": "6662", "filesize": "121947212"}}, {"date_created": "2009-11-03T15:39:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt1_web.jpg", "width": "818", "height": "893", "filesize": "313466"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt1_print.jpg", "width": "3113", "height": "3400", "filesize": "5087380"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt1_full.tif", "width": "6100", "height": "6662", "filesize": "121947212"}}, {"date_created": "2009-11-03T15:41:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt2_web.jpg", "width": "1263", "height": "842", "filesize": "467451"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt2_print.jpg", "width": "3400", "height": "2267", "filesize": "3731206"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt2_full.tif", "width": "6144", "height": "4096", "filesize": "75529372"}}, {"date_created": "2009-08-21T17:19:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt3_web.jpg", "width": "1014", "height": "893", "filesize": "471031"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt3_print.jpg", "width": "3400", "height": "2995", "filesize": "5281752"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt3_full.tif", "width": "5327", "height": "4692", "filesize": "75016244"}}, {"date_created": "2009-11-03T15:41:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt4_web.jpg", "width": "1263", "height": "842", "filesize": "467451"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt4_print.jpg", "width": "3400", "height": "2267", "filesize": "3731206"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt4_full.tif", "width": "6144", "height": "4096", "filesize": "75529372"}}, {"date_created": "2009-08-21T17:31:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt5_web.jpg", "width": "569", "height": "893", "filesize": "227789"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt5_print.jpg", "width": "2168", "height": "3400", "filesize": "3224401"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt5_full.tif", "width": "2962", "height": "4646", "filesize": "41315992"}}, {"date_created": "2009-08-21T18:00:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt6_web.jpg", "width": "551", "height": "893", "filesize": "234483"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt6_print.jpg", "width": "2098", "height": "3400", "filesize": "3309841"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.325/1965.325_alt6_full.tif", "width": "2801", "height": "4539", "filesize": "38172748"}}], "creditline": "Gift of Mrs. Ralph M. Coe in memory of Ralph M. Coe", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141744, "creators": [], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Antelope Headdress (N'gonzon Koun)", "Female Antelope Headdress (chi wara)", "Antelope Headdress"], "is_highlight": false, "updated_at": "2026-03-27 00:07:14.142000"}, {"id": 127561, "accession_number": "1950.239", "share_license_status": "CC0", "tombstone": "The Holy Family (Christ in the Lap of Truth), c. 1805. William Blake (British, 1757\u20131827). Black, gray, and brown ink applied with pen and point of brush; gray, pink, yellow, and green wash; sheet: 37.9 x 32.5 cm (14 15/16 x 12 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1950.239", "current_location": null, "title": "The Holy Family (Christ in the Lap of Truth)", "creation_date": "c. 1805", "creation_date_earliest": 1800, "creation_date_latest": 1810, "artists_tags": ["male"], "culture": ["England, London, 18th century"], "technique": "black, gray, and brown ink applied with pen and point of brush; gray, pink, yellow, and green wash", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 37.9 x 32.5 cm (14 15/16 x 12 13/16 in.)", "dimensions": {"sheet": {"height": 0.379, "width": 0.325}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black ink: [artist's monogram:8 inv / wb]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "verso, upper center, in graphite: G [collector's mark? (not in Lugt)]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "across bottom, in graphite: no. 9 [S?]ingle", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "across bottom, in graphite: The Holy Family / Jesus-Mary-Joseph-Elizabeth + St. John", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "lower center, in graphite: 50/ [7?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361393, "title": "77th Annual Exhibition of Water-Colour Drawings", "description": "<i>77th Annual Exhibition of Water-Colour Drawings</i>. Thomas Agnew & Sons, Ltd., London (organizer).", "opening_date": "1950-01-01T05:00:00"}, {"id": 361394, "title": "The Art of William Blake", "description": "<i>The Art of William Blake</i>. National Gallery of Art, Landover, MD (organizer) (October 19-December 1, 1957).", "opening_date": "1957-10-19T04:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 304705, "title": "Neo-classicism: Style and Motif", "description": "<i>Neo-classicism: Style and Motif</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 31, 1964).", "opening_date": "1964-09-23T04:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "<em>Exhibition of the Works of William Blake. </em>Burlington Fine Arts Club, London (1876).", "opening_date": null}, {"description": "<em>Exhibition of Works by William Blake. </em>Carfax and Co. Ltd., London (June 14 - July 31, 1906).", "opening_date": "1906-06-14T00:00:00"}, {"description": "<em>The Century of Art Exhibition of the International Society of Sculptors, Painters, and Gravers. </em>Grafton Galleries, London (June - July, 1911).", "opening_date": "1911-06-01T00:00:00"}, {"description": "<em>William Blake (1757 \u2013 1827). </em>Tate Gallery, London (1947).", "opening_date": "1947-01-01T00:00:00"}]}, "provenance": [{"description": "Thomas Butts [1757-1845], London", "citations": [], "footnotes": null, "date": "after 1805-by 1845", "sortorder": 1}, {"description": "Thomas Butts Jr.", "citations": [], "footnotes": null, "date": "probably after 1845-by 1853", "sortorder": 2}, {"description": "(his sale, Property of Thomas Butts, Esq., Messrs. Foster and Son, London, June 29, 1853, no. 127, sold to Henry George Bohn)", "citations": [], "footnotes": ["<div><!--block-->as <em>Holy Family</em>.</div>"], "date": "1853", "sortorder": 3}, {"description": "Henry George Bohn [1796-1884], London", "citations": [], "footnotes": null, "date": "1853-?", "sortorder": 4}, {"description": "Alexander Anderdon Weston [1822-1901; Lugt 65], by descent to his widow", "citations": [], "footnotes": null, "date": "?-1901", "sortorder": 5}, {"description": "Mrs. Alexander Anderdon Weston", "citations": [], "footnotes": null, "date": "1901-1904", "sortorder": 6}, {"description": "(her anonymous sale, Christie's, London, June 28, 1904, no. 5, sold to E. Parsons)", "citations": [], "footnotes": null, "date": "1904", "sortorder": 7}, {"description": "E. Parsons, sold to W. Graham Robertson", "citations": [], "footnotes": null, "date": "1904", "sortorder": 8}, {"description": "W. Graham Robertson [1866-1948], London", "citations": [], "footnotes": null, "date": "1904-1949", "sortorder": 9}, {"description": "(his sale, Christie, Manson & Woods, Ltd., London, July 22, 1949, no. 24, probably sold to Thomas Agnew and Sons, London)", "citations": [], "footnotes": null, "date": "1949", "sortorder": 10}, {"description": "(Thomas Agnew and Sons, London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1949-1950", "sortorder": 11}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1950-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was first owned by Thomas Butts, an English civil servant who became William Blake's most important patron and supporter for about two decades.", "description": "Although he rejected institutionalized religion, Blake was intensely spiritual, and much of his art was inspired by a highly personal reading of the Bible or by literature based upon it, such as John Milton\u2019s <em>Paradise Lost </em>(1667). The Virgin Mary is centered in this highly stylized composition. Upon her lap she clasps the infant Christ whose outstretched arms foreshadow the Crucifixion. The Mother and Child are flanked by Saint Joseph on the left, and Saint Anne (the Virgin\u2019s mother), on the right. Below, Saint John the Baptist, who foretold Christ\u2019s death and resurrection, plays with a lamb.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79907658"], "internet_archive": ["https://archive.org/details/clevelandart-1950.239-the-holy-family-chri"]}, "citations": [{"citation": "Gilchrist, Alexander and William Michael Rossetti. <em>Life of William Blake: \"Pictor Ignotus,\" with Selections from His Poems and Other Writings</em>. London: R. Clay, Son, and Taylor, 1863.", "page_number": "Mentioned: vol. 2, p. 230, no. 182", "url": null}, {"citation": "<em>Exhibition of the Works of William Blake</em>. Exh. Cat. London: Burlington Fine Arts Club, 1876.", "page_number": "Mentioned: no. 144", "url": null}, {"citation": "Gilchrist, Alexander and William Michael Rossetti. <em>Life of William Blake with Seleions from His Poems and Other Writings</em>. London: Macmillan, 1880.", "page_number": "Mentioned: vol. 2, p. 243, no. 207 or 209", "url": null}, {"citation": "Richter, Helene. <em>William Blake</em>. Strassburg: J.H. Ed. Heitz, 1906.", "page_number": "Mentioned: p. 173; Reproduced: pl. V", "url": null}, {"citation": "<em>Exhibition of Works by William Blake</em>. Exh. Cat. London: Carfax and Co., Ltd., 1906.", "page_number": "Mentioned: p. 19, no. 69", "url": null}, {"citation": "de Selincourt, Basil. <em>William Blake</em>. London: Duckworth, 1909.", "page_number": "Mentioned: pp. 200-202; Reproduced: between pp. 200 and 201", "url": "https://archive.org/details/williamblake007928mbp/"}, {"citation": "<em>The Century of Art Exhibition of the International Society of Sculptors, Painters, and Gravers</em>. Exh. Cat. London: Grafton Galleries, 1911.", "page_number": "Mentioned: p. 35, no. 125", "url": null}, {"citation": "Russell, Archibald. \"The Graham Robertson Collection.\" <em>Burlington Magazine</em> 37, no. 208 (July 1920): 27-29, 32-35, 39.", "page_number": "Mentioned: p. 34", "url": "https://www.jstor.org/stable/861049"}, {"citation": "Russell, Archibald. <em>William Blake (1757-1827)</em>. Exh. Cat. London: Tate Gallery, 1947.", "page_number": "Mentioned: p. 37, no. 76", "url": null}, {"citation": "<em>77th Annual Exhibition of Water-Colour Drawings</em>. Exh. Cat. London: Thomas Agnew &amp; Sons, Ltd., 1950.", "page_number": "Mentioned: no. 74", "url": null}, {"citation": "Preston, Kerrison. <em>The Blake Collection of W. Graham Robertson</em>. London: Faber and Faber, 1952.", "page_number": "Mentioned: pp. 144-45", "url": null}, {"citation": "Keynes, Sir Geoffrey. <em>William Blake's Illustrations to the Bible. </em>London: Trianon, 1957.", "page_number": "Mentioned: pp. 30-31, no. 104; Reproduced: pl. 104", "url": null}, {"citation": "<em>The Art of William Blake</em>. Exh. Cat. Washington, DC: National Gallery of Art, 1957.", "page_number": "Mentioned: p. 19, no. 26", "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. 608", "url": "https://archive.org/details/CMAHandbook1958/page/n113"}, {"citation": "Hawley, Henry. <em>Neo-Classicism: Style and Motif</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1964.", "page_number": "Mentioned and reproduced: p. 117, no. 122", "url": null}, {"citation": "Hoover, Suzanne. \"Pictures at the Exhibition.\" <em>Blake Newsletter</em> 21 (1973): 6-13.", "page_number": "Mentioned: pp. 8-9; Reproduced: fig. 3", "url": null}, {"citation": "Mellor, Anne Kostelanetz. <em>Blake's Human Form Divine</em>. Berkeley: University of California Press, 1974.", "page_number": "Mentioned: pp. 332-35; Reproduced: pl. 87", "url": null}, {"citation": "Butlin, Martin. <em>The Paintings and Drawings of William Blake</em>. New Haven: Yale University Press, 1981.", "page_number": "Mentioned: p. 351, no. 471, 484, under no. 671; Reproduced: pl. 556", "url": null}, {"citation": "Heppner, Christopher. <em>Reading Blake's Designs</em>. New York: Cambridge University Press, 1995.", "page_number": "Mentioned: p. 194", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 7, 188-89, no. 77; Reproduced: p. 189", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: p. 11, 54-55, 143, no. 16; Reproduced: p. 17 (detail), 55", "url": null}], "catalogue_raisonne": "Butlin 471", "url": "https://clevelandart.org/art/1950.239", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.239/1950.239_web.jpg", "width": "773", "height": "893", "filesize": "141470", "filename": "1950.239_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.239/1950.239_print.jpg", "width": "2942", "height": "3400", "filesize": "1842917", "filename": "1950.239_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.239/1950.239_full.tif", "width": "4585", "height": "5297", "filesize": "72916440", "filename": "1950.239_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.239/1950.239_alt0_web.jpg", "width": "765", "height": "893", "filesize": "586813"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.239/1950.239_alt0_print.jpg", "width": "1536", "height": "1793", "filesize": "2324530"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.239/1950.239_alt0_full.tif", "width": "1536", "height": "1793", "filesize": "8265196"}}, {"date_created": "2012-06-13T15:11:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.239/1950.239_alt1_web.jpg", "width": "770", "height": "893", "filesize": "147061"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.239/1950.239_alt1_print.jpg", "width": "2931", "height": "3400", "filesize": "1898452"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.239/1950.239_alt1_full.tif", "width": "4491", "height": "5209", "filesize": "70234104"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127561, "creators": [{"id": 1257, "description": "William Blake (British, 1757\u20131827)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1757", "death_year": "1827", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-06-29T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c. 1805", "collapse_artists": false, "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": ["Christ in the Lap of Truth"], "is_highlight": false, "updated_at": "2026-03-27 00:06:52.333000"}, {"id": 155626, "accession_number": "1990.7", "share_license_status": "CC0", "tombstone": "The Lock at Pontoise, 1872. Camille Pissarro (French, 1830\u20131903). Oil on fabric; framed: 76.8 x 105.7 x 11.4 cm (30 1/4 x 41 5/8 x 4 1/2 in.); unframed: 53 x 83 cm (20 7/8 x 32 11/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1990.7", "current_location": null, "title": "The Lock at Pontoise", "creation_date": "1872", "creation_date_earliest": 1872, "creation_date_latest": 1872, "artists_tags": ["male", "Jewish artists"], "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: 76.8 x 105.7 x 11.4 cm (30 1/4 x 41 5/8 x 4 1/2 in.); Unframed: 53 x 83 cm (20 7/8 x 32 11/16 in.)", "dimensions": {"framed": {"height": 0.768, "width": 1.057, "depth": 0.114, "length": 0.065}, "unframed": {"height": 0.53, "width": 0.83}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: C. Pissarro 1872\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 221052, "title": "Masters of Impressionism", "description": "<i>Masters of Impressionism</i>. Museo del Palacio de Bellas Artes, Mexico (November 17, 1998-February 28, 1999).", "opening_date": "1998-11-17T00:00:00"}, {"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": 232433, "title": "Paul Durand-Ruel and Impressionism", "description": "<i>Paul Durand-Ruel and Impressionism</i>. Mus\u00e9e du Luxembourg, Paris, France (October 15, 2014-February 8, 2015); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (March 4-May 31, 2015); Philadelphia Museum of Art, Philadelphia, PA (June 18-September 13, 2015).", "opening_date": "2014-10-15T00:00:00"}, {"id": 222011, "title": "Camille Pissarro - The First Among the Impressionists", "description": "<i>Camille Pissarro - The First Among the Impressionists</i>. Mus\u00e9e Marmottan Monet, 75016,  Paris, France (organizer) (February 23-July 16, 2017).", "opening_date": "2017-02-23T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 665818, "title": "The Honest Eye: Camille Pissarro's Impressionism", "description": "<i>The Honest Eye: Camille Pissarro's Impressionism</i>. Museum Barberini, Potsdam, Germany (organizer) (June 14-September 28, 2025); Denver Art Museum, Denver, CO (October 26, 2025-February 8, 2026).", "opening_date": "2025-06-14T04:00:00"}], "legacy": [{"description": "<em>Tableaux par Camille Pissarro.</em> Galeries Durand-Ruel, Paris, France (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em> Exposition d'oeuvres importantes de grands ma\u00eetres du dix-neuvi\u00e8me si\u00e8cle.</em> Paul Rosenberg, Paris, France (1931).", "opening_date": "1931-01-01T00:00:00"}, {"description": "<em>Connecticut Collects-An Exhibition of Privately Owned Works of Art in Connecticut.</em> Wadsworth Atheneum, Hartford,CT (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>Pissarro</em>. Hayward Gallery, London, United Kingdom; Grand Palais, Paris, France; Museum of Fine Arts, Boston (1980-81).", "opening_date": "1980-01-01T00:00:00"}]}, "provenance": [{"description": "Charles Guasco", "citations": [], "footnotes": ["<div><!--block-->Prior to Guasco, the Wildenstein catalogue raisonn\u00e9 says that Durand-Ruel, London purchased the painting from Pissarro on May 25, 1872 and then sold it to Tissot on November 17, 1873.&nbsp; In spite of the specificity of these dates, the catalogue raisonn\u00e9 precedes each transaction with a question mark, suggesting some degree of uncertainty.&nbsp; Additionally, several handwritten notations found throughout CMA\u2019s file on the painting indicate that the Durand-Ruel reference is erroneous.&nbsp; Unfortunately, Durand-Ruel\u2019s archives do not provide an answer: Caroline Durand-Ruel Godfroy wrote in 1996 that they cannot say with certainty that the CMA painting was handled by the gallery prior to its ownership by Charles Guasco.&nbsp; Durand-Ruel could confirm, however, that Guasco does not seem to have been a client of the gallery, indicating that it was not from Durand-Ruel that Guasco purchased the painting.&nbsp;</div>"], "date": "Until 1900", "sortorder": 1}, {"description": "(Guasco sale, Galerie Georges Petit, Paris, June 11, 1900 (no. 60), sold to Louis Schoengr\u00fcn, Paris", "citations": [], "footnotes": [], "date": "1900", "sortorder": 2}, {"description": "Louis Schoengr\u00fcn, Paris", "citations": [], "footnotes": [], "date": "1900-1901", "sortorder": 3}, {"description": "(Schoengr\u00fcn sale, Paris, H\u00f4tel Drouot, Feb. 7, 1901 (no. 27), sold to Max Behrendt)", "citations": [], "footnotes": [], "date": "1901", "sortorder": 4}, {"description": "Max Behrendt, Paris", "citations": [], "footnotes": ["<div><!--block-->Behrendt is listed as the owner of the painting in the 1939 Pissarro catalogue raisonn\u00e9, and he lent it to exhibitions in 1928 (Durand-Ruel) and 1931 (Paul Rosenberg).&nbsp; Durand-Ruel\u2019s records show that Behrendt, who lived at 11 rue de Mar\u00e9chal Maunoury, Paris, deposited the painting with the gallery on January 31, 1928 for the exhibition, <em>Tableaux de Camille Pissarro, </em>and retrieved it on March 19 of that year.&nbsp; Beyond his address, few details are known about Behrendt\u2019s identity.&nbsp; A Max Behrendt \u2013 or possibly two, a father and son - and his art collection is mentioned frequently in the diary of Paul Landowski.&nbsp; In the list of \u201cNoms des personnes\u201d in the diary, there is a Max Behrendt listed with the life dates 1894-1962 and described as \u201ca Swiss actor, dancer, scriptwriter and producer.\u201d However, Landowksi\u2019s entry for August 15, 1928 refers to Behrendt\u2019s 70th birthday, suggesting a birth year of 1858.&nbsp; Other diary entries discuss Behrendt in connection with banking and finance, suggesting that perhaps he \u2013 or at least one of the Behrendts \u2013 was involved in banking/finance rather than theatre. &nbsp;</div>"], "date": "1901-at least 1939", "sortorder": 5}, {"description": "Possibly Gouin collection, Paris", "citations": [], "footnotes": ["<div><!--block-->The information provided to CMA by David Carritt, Ltd. includes the Gouin collection in the provenance with a question mark; a 1980/1981 Hayward exhibition lists \u201cParis(?), Gouin Collection,\u201d suggesting that while Gouin certainly owned the painting, the location of the collection was uncertain; and in 1991, Burlington Magazine listed \u201cGowin collection\u201d in the provenance.&nbsp; A painting by Monet offered at Christie\u2019s, New York on November 5, 2013 has a Madame Gouin (c. 1952) in its provenance, while a \u201cMadame Gouin\u201d is connected to one F\u00e9lix Gouin in the provenance of a drawing by Renan in the Louvre (RF 29476).&nbsp; The Wildenstein Pissarro catalogue raisonn\u00e9 does not include Gouin in the painting's provenance.</div>"], "date": "?", "sortorder": 6}, {"description": "Mrs. Carmona, sold to Wildenstein", "citations": [], "footnotes": ["<div><!--block-->Details about the identity of \u201cMrs. Carmona\u201d are unknown.&nbsp; It is possible she was related to one \u201cJacques Carmona\u201d of Paris who is listed in the 2005 Pissarro catalogue raisonn\u00e9 as having owned two other Pissarro paintings. &nbsp;</div>"], "date": "Until 1951", "sortorder": 7}, {"description": "(Wildenstein & Co., New York, sold to Eleanor Allen Cunningham)", "citations": [], "footnotes": [], "date": "1951-1955", "sortorder": 8}, {"description": "Eleanor Allen (Lamont) Cunningham [1910-1961], Hartford, CT, by descent to her son, Charles Cunningham, Jr", "citations": [], "footnotes": ["<div><!--block-->Eleanor Cunningham\u2019s husband, Charles C. Cunningham (d. 1979) was the director of the Wadsworth Athenaeum from 1946-1966.&nbsp;</div>"], "date": "1955-1961", "sortorder": 9}, {"description": "Charles Cunningham, Jr.", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 10}, {"description": "(Artemis Fine Arts/David Carritt, Ltd., London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "Until 1990", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1990-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The river portrayed here is 212 miles (341 km) long.", "description": "Pissarro was instrumental in developing the radically new Impressionist technique of painting quickly outdoors to capture fleeting effects of light and atmosphere. The rushing water and overcast sky in this view of a river lock near the artist\u2019s home at Pontoise, a rural commune about 17 miles northwest of Paris, are rendered with rapid, broken brushstrokes of pure color. Painting directly on canvas without preliminary drawing, Pissarro may have executed this work in a single session. The shimmering surface of broken color conveys the sensation of natural, outdoor light.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q21479251"], "internet_archive": ["https://archive.org/details/clevelandart-1990.7-the-lock-at-pontoise"]}, "citations": [{"citation": "Durand-Ruel Snollaerts, Claire. <em>Camille Pissarro, le premier des impressionnistes</em>. Paris: Hazan Editions, 2017.", "page_number": "Referenced: cat. no. 15, p. 44-45", "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux modernes, pastels, aquarelles, dessins</em>.  June 11, 1900.", "page_number": null, "url": null}, {"citation": "Caroline Durand-Ruel Godfroy, letter to Louise d\u2019Argencourt, May 22, 1996, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux modernes, pastels, aquarelles, dessins</em>.  June 11, 1900.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux par Boudin, Forain, Guillaumin, Isabey, Jongkind, Lebourg, Le\u0301pine, Lhermitte, Pissarro, Sisley, Stevens, Thaulow, Thornley, Troyon, Ziem</em>. Feb. 7, 1901.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux par Boudin, Forain, Guillaumin, Isabey, Jongkind, Lebourg, Le\u0301pine, Lhermitte, Pissarro, Sisley, Stevens, Thaulow, Thornley, Troyon, Ziem</em>. Feb. 7, 1901.", "page_number": null, "url": null}, {"citation": "Paul Rosenberg (Firm : Paris, France). <em>Exposition d'\u0153uvres importantes de grands maitres du dix-neuvie\u0300me sie\u0300cle: pre\u0302te\u0301es au profit de la Cite\u0301 Universitaire de l'Universite\u0301 de Paris, 18 mai-27 juin 1931</em>. Paris: Chez Paul Rosenberg, 1931.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Ludovico Rodo. <em>Camille Pissarro. Son Art-Son \u0152uvre. 1632 Illustrations. [A Catalogue-Raisonne\u0301. With an Introductory Essay by Lionello Venturi.]</em>. 1939.", "page_number": null, "url": null}, {"citation": "David Carritt, Ltd., painting information sheet, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "David Carritt, Ltd., painting information sheet, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "<em>Camille Pissarro, 1830-1903 : Hayward Gallery, London, 30 October 1980-11 January 1981, Grand Palais, Paris, 30 January-27 April 1981, Museum of Fine Arts, Boston, 19 May-9 August 1981</em>. London: Arts Council of Great Britain, 1980.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "Pissarro, Joachim, and Claire Durand-Ruel Snollaerts. <em>Pissarro: critical catalogue of paintings</em>. Paris: Wildenstein Institute Publications, 2005.", "page_number": null, "url": null}, {"citation": "<br>David Carritt, Ltd., painting information sheet, in CMA curatorial file.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Snollaerts, Claire Durand-Ruel. Camille Pissarro: Le premier des impressionnistes = the First among the Impressionists. 2017. Cat. no. 15", "page_number": "p, 44-45", "url": null}, {"citation": "Rodo,Ludovico, and Lionello Venturi. <em>Camille Pissarro; son art--son \u0153uvre</em>. Paris, France: P. Rosenberg, 1939.", "page_number": "Reproduced: no. 156, vol. I; vol. II, pl. 32", "url": null}, {"citation": "<em>Pissarro: Camille Pissarro, 1830-1903 : Hayward Gallery, London, 30 October 1980-11 January 1981, Grand Palais, Paris, 30 January-27 April 1981, Museum of Fine Arts, Boston, 19 May-9 August 1981</em>. London: Arts Council of Great Britain, 1980.", "page_number": null, "url": null}, {"citation": "Brettell, Richard R. <em>Pissarro and Pontoise: The Painter in a Landscape</em>. New Haven, CT: Yale University Press, 1990.", "page_number": "Reproduced: p. 19, fig. 13", "url": null}, {"citation": "\"Consolidated Audited Annual Report.\" <em>Artemis </em>89-90 (1991).", "page_number": "Mentioned and reproduced: p. 32-33", "url": null}, {"citation": "Hinson, Tom E. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Ar</em>t 78, no. 3 (June 1991): 63-147.", "page_number": "Mentioned and reproduced: p. 86", "url": "https://www.jstor.org/stable/25161319"}, {"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. 183", "url": null}, {"citation": "Museo del Palacio de Bellas Artes (Mexico). <em>Maestros del impresionismo</em>. Me\u0301xico, D.F.: Istituto Nacional de Bellas Artes, 1998.", "page_number": "Reproduced: p. 136-137", "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: v. 2, p. 491-495, no. 171", "url": null}, {"citation": "Patry, Sylvie. <em>Paul Durand-Ruel: le pari de l'impressionnisme</em>. Paris, France: R\u00e9union des mus\u00e9es nationaux,2014.", "page_number": "Reproduced: p. 96, fig. 65; Mentioned: p. 261", "url": null}, {"citation": "Patry, Sylvie, Anne Robbins, Christopher Riopelle, Joseph J. Rishel, and Jennifer A. Thompson. <em>Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market</em>. London, United Kingdom: National Gallery Company, 2015.", "page_number": "Mentioned and reproduced: P. 261, no. 64", "url": null}, {"citation": "<em>Pissarro a\u0300 Pontoise</em>. Cergy-Pontoise Val d'Oise, le de\u0301partement, 2017.", "page_number": "Reproduced: P. 9", "url": ""}, {"citation": "Snollaerts, Claire Durand-Ruel and Christophe Duvivier. <em>Camille Pissarro: le premier des impressionnistes = the first among the impressionists.</em> Vanves: \u00c9ditions Hazan, [2017]; Paris: Mus\u00e9e Marmottan Monet, 2017.", "page_number": "Reproduced: P. 14-15, cat. 15", "url": null}, {"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 87-89, fig. 44", "url": ""}, {"citation": "Fava-Piz, Clarisse. \"The Path to Impressionism: Modern Landscapes.\" In <em>The Honest Eye: Camille Pissarro\u2019s Impressionism, </em>edited by Angelica Daneo, Clarisse Fava-Piz, Christoph Heinrich, Michael Philipp, Nerina Santorius, and Ortrud Westheider, 58-79. Exh. cat. Munich: Prestel, 2025.", "page_number": "Mentioned: p. 61; Reproduced: p. 72-73, no. 20", "url": ""}], "url": "https://clevelandart.org/art/1990.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_web.jpg", "width": "900", "height": "572", "filesize": "235234", "filename": "1990.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_print.jpg", "width": "3400", "height": "2159", "filesize": "3200479", "filename": "1990.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.7/1990.7_full.tif", "width": "15083", "height": "9577", "filesize": "433381640", "filename": "1990.7_full.tif"}}, "alternate_images": [{"date_created": "2007-10-15T18:49:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt0_web.jpg", "width": "1263", "height": "802", "filesize": "739058"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt0_print.jpg", "width": "3400", "height": "2159", "filesize": "5289272"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt0_full.tif", "width": "5966", "height": "3789", "filesize": "67869228"}}, {"date_created": "2017-07-27T10:53:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt1_web.jpg", "width": "900", "height": "675", "filesize": "277197"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "4208277"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt1_full.tif", "width": "15246", "height": "11433", "filesize": "522955100"}}, {"date_created": "2017-07-27T09:27:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt2_web.jpg", "width": "900", "height": "573", "filesize": "210037"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt2_print.jpg", "width": "3400", "height": "2163", "filesize": "3480454"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.7/1990.7_alt2_full.tif", "width": "7844", "height": "4990", "filesize": "117454492"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155626, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "1872", "collapse_artists": false, "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": "2026-03-26 23:59:34.764000"}, {"id": 142731, "accession_number": "1966.440", "share_license_status": "CC0", "tombstone": "Flower Study of a Wild Rose, c. 1885\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). 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The Cleveland Museum of Art, The India Early Minshall Collection, 1966.440", "current_location": "211 Faberg\u00e9", "title": "Flower Study of a Wild Rose", "creation_date": "c. 1885\u20131915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, silver, enamel, diamond, jade, rock crystal", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 10.2 x 4.5 cm (4 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.102, "width": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. 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The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Faberg\u00e9\u2019s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "This delicate flower study resembles a stem of wild rose. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Small and delicate, Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60751642"], "internet_archive": ["https://archive.org/details/clevelandart-1966.440-flower-study-of-a-wi"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Reproduced: p. 77; Mentioned: p. 79, cat. 38.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced:  pp. 110-111, cat. 93.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Swezey, Marilyn Pfeifer, Caroline de Guitaut, and Joyce Lasky Reed. <em>Faberge\u0301 Flowers</em>. New York: Harry N. Abrams, Publishers, 2004.", "page_number": "Mentioned and reproduced: pp. 8-9, 74-75.", "url": "https://ingallslibrary.on.worldcat.org/oclc/54046274"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: pp. 180-181, cat. 43.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.440", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.440/1966.440_web.jpg", "width": "830", "height": "900", "filesize": "159425", "filename": "1966.440_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.440/1966.440_print.jpg", "width": "3134", "height": "3400", "filesize": "1287079", "filename": "1966.440_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.440/1966.440_full.tif", "width": "4932", "height": "5350", "filesize": "79183192", "filename": "1966.440_full.tif"}}, "alternate_images": [{"date_created": "2008-05-23T15:36:34", "annotation": "", "web": 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(Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\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": "2026-03-27 00:09:37.740000"}, {"id": 142737, "accession_number": "1966.446", "share_license_status": "CC0", "tombstone": "Flower Study of a Lowbush Cranberry or Lingonberry, c. 1885\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Chalcedony, jade, rock crystal, gold; overall: 11.5 x 4.8 cm (4 1/2 x 1 7/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.446", "current_location": "211 Faberg\u00e9", "title": "Flower Study of a Lowbush Cranberry or Lingonberry", "creation_date": "c. 1885\u20131915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "chalcedony, jade, rock crystal, gold", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 11.5 x 4.8 cm (4 1/2 x 1 7/8 in.)", "dimensions": {"overall": {"height": 0.115, "width": 0.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. 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The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Faberg\u00e9\u2019s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "This flower study depicts a lowbush cranberry or lingonberry. To achieve a naturalistic effect of ripening fruit, Faberg\u00e9 varied the coloring of the berries. Some are made of chalcedony in hues of milky white to represent unripe berries, while others appear in deep reddish agate to represent ripe ones. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60753869"], "internet_archive": ["https://archive.org/details/clevelandart-1966.446-flower-study-of-a-lo"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Reproduce: p. 76; Mentioned: p. 78, cat. 34", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. 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Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced:  pp. 180-1, cat. 44.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.446", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.446/1966.446_web.jpg", "width": "809", "height": "900", "filesize": "159631", "filename": "1966.446_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.446/1966.446_print.jpg", "width": "3057", "height": "3400", "filesize": "1206761", "filename": "1966.446_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.446/1966.446_full.tif", "width": "5902", "height": "6565", "filesize": "116264400", "filename": "1966.446_full.tif"}}, "alternate_images": [{"date_created": "2008-05-23T18:35:14", "annotation": "", "web": 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His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1895\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": "2026-03-26 23:59:02.631000"}, {"id": 142785, "accession_number": "1966.484", "share_license_status": "CC0", "tombstone": "Imperial Barometer, 1900\u20131901. Johan Viktor Aarne (Finnish, 1863\u20131934), House of Faberg\u00e9 (Russian, 1842\u20131918). Palisander, silver gilt, ruby; overall: 14 x 12.5 cm (5 1/2 x 4 15/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.484", "current_location": "211 Faberg\u00e9", "title": "Imperial Barometer", "creation_date": "1900\u20131901", "creation_date_earliest": 1900, "creation_date_latest": 1901, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "palisander, silver gilt, ruby", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 14 x 12.5 cm (5 1/2 x 4 15/16 in.)", "dimensions": {"overall": {"height": 0.14, "width": 0.125}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}], "legacy": [{"description": "The Metropolitan Museum of Art (2/12/96-4/28/96); The Fine Arts Museums of San Francisco (5/25/96-7/28/96); Virginia Museum of Fine Arts (8/24/96-11/2/96); New Orleans Museum of Art (12/7/96-2/8/97); The Cleveland Museum of Art (3/9/97-5/11/97). \"Faberg\u00e9 in America,\" exh. cat. no. 74, p. 102; color repr. p. 102.", "opening_date": "1996-02-12T00:00:00"}, {"description": "The Cleveland Museum of Art (10/19/2008 - 1/18/2009) and the California Palace of the Legion of Honor, Fine Arts Museums of San Francisco (2/7/2009 - 5/31/2009): \"Artistic Luxury: Faberg\u00e9 Tiffany Lalique\"", "opening_date": "2008-10-19T00:00:00"}]}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1966", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This barometer was likely sold by the Soviet Union between 1934 and 1939 as part of a general selling off of former imperial possessions to raise money for the state treasury.", "description": "After obtaining the official warrant to supply objects for the imperial household and the Russian state in 1885, the House of Faberg\u00e9 became the shop of choice for members of the royal family when purchasing appropriate gifts for the tsar who had everything. Records of these purchases reveal that in 1901 the tsar's brother, Grand Duke Michael Alexandrovich (1878-1918), bought a barometer in the neoclassical style made from palisander wood just a few days before his brother's 33rd birthday. The description of that barometer matches the one now in this collection and is likely the same object.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60754519"], "internet_archive": ["https://archive.org/details/clevelandart-1966.484-imperial-barometer"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1967.", "page_number": "Mentioned & reproduced: pp. 48-9, cat. 20", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=836254532"}, {"citation": "Habsburg, Ge\u0301za von and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned & reproduced: p. 102, cat. 74", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned: p. 202, cat. 25", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"citation": "Hurtt, James and Christel Ludewig McCanless. \"Faberg\u00e9 Barometer Imperial Provenance Discovered.\" <em>Faberge Research Newsletter </em>(Summer 2018). Accessed May 7, 2021.", "page_number": "", "url": "https://fabergeresearch.com/newsletter-2018-summer/"}], "url": "https://clevelandart.org/art/1966.484", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.484/1966.484_web.jpg", "width": "669", "height": "893", "filesize": "301848", "filename": "1966.484_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.484/1966.484_print.jpg", "width": "2546", "height": "3400", "filesize": "4628907", "filename": "1966.484_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.484/1966.484_full.tif", "width": "4118", "height": "5500", "filesize": "67977884", "filename": "1966.484_full.tif"}}, "alternate_images": [], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142785, "creators": [{"id": 8911, "description": "Johan Viktor Aarne (Finnish, 1863\u20131934)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "Aarne received his training in St. Petersburg and returned to Finland, where he became a workmaster in 1891. In the same year he returned to St. Petersburg and became associated with Faberg\u00e9.", "name_in_original_language": null, "birth_year": "1865", "death_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131901", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:15.536000"}, {"id": 83373, "accession_number": "2020.119", "share_license_status": "CC0", "tombstone": "Woman Ironing, 1892. \u00c9douard Vuillard (French, 1868\u20131940). Oil on board; unframed: 21.4 x 25.4 cm (8 7/16 x 10 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.119", "current_location": "223 20th Century Avant-Garde", "title": "Woman Ironing", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 21.4 x 25.4 cm (8 7/16 x 10 in.)", "dimensions": {"unframed": {"height": 0.214, "width": 0.254}, "framed": {"height": 0.314, "width": 0.335, "depth": 0.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left: e v", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}, {"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": [{"description": "<em>\u00c9douard Vuillard</em>. Mus\u00e9e National d'Art Moderne, Paris, France (1960-1961).", "opening_date": "1960-01-01T00:00:00"}, {"description": "<em>\u00c9douard Vuillard</em>. Mus\u00e9e de l'Orangerie, Paris, France (1966).", "opening_date": "1966-01-01T00:00:00"}, {"description": "<em>Edouard Vuillard, K-X Roussel</em>. Haus der Kunst, Munich, Germany (March 16-May 12, 1968); Musee de l'Orangerie, Paris, France (May 28-September 16, 1968).", "opening_date": "1968-03-16T00:00:00"}]}, "provenance": [{"description": "Alfred Athis Natanson [1873-1932], Paris France", "citations": [], "footnotes": ["<div><!--block-->According to Pierre Georgel, <em>E\u0301douard Vuillard, K.-X. Roussel</em> (Paris: Re\u0301union des Muse\u0301es nationaux, 1968), pp. 69, 145, cat. no. 14. Alfred Natanson used the pseudonym Alfred Athis for his playwright career.&nbsp;</div>"], "date": null, "sortorder": 1}, {"description": "passed to his daughter, Annette Charbonnier [1901\u20132002], Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "passed to her son, Jean Philippe Charbonnier [1921\u20132004], Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to a bill of sale in the curatorial file.</div>"], "date": null, "sortorder": 3}, {"description": "(Galerie Hopkins, Paris, France, April 26, 2013, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "2013", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2013\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1888, Vuillard wrote in his journal: \"A form or a color exists only in relation to another. Form does not exist on its own. We can only conceive of the relations.\"", "description": "This spare painting depicts a woman ironing a garment, while a sliver of light illuminates the side of her face and the cup held in her left hand. The subject belongs to a series of paintings of women ironing or sewing inspired by \u00c9douard Vuillard\u2019s close observation of his mother and sister making corsets and dresses in their crowded Parisian apartment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480845"], "internet_archive": ["https://archive.org/details/clevelandart-2020.119-laundress", "https://archive.org/details/clevelandart-2020.119-woman-ironing"]}, "citations": [{"citation": "Georgel, Pierre. <em>E\u0301douard Vuillard, K.-X. Roussel. Haus der Kunst, Munich, 16 mars-12 mai 1968. Orangerie des Tuileries, 28 mai-16 septembre 1968</em>. Paris, France: Re\u0301union des Muse\u0301es nationaux, 1968.", "page_number": "Mentioned: P. 69; Reproduced: P. 145, no. 14", "url": null}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan, Italy: Skira, 2003.", "page_number": "Mentioned and Reproduced: Vol. I, P. 281, no. IV-98", "url": null}, {"citation": "Groom, Gloria. \"Edouard Vuillard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 76-101. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 76-77; Mentioned: p. 273-274", "url": ""}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 171", "url": ""}], "url": "https://clevelandart.org/art/2020.119", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.119/2020.119_web.jpg", "width": "900", "height": "748", "filesize": "321353", "filename": "2020.119_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.119/2020.119_print.jpg", "width": "3400", "height": "2827", "filesize": "3854914", "filename": "2020.119_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.119/2020.119_full.tif", "width": "8326", "height": "6923", "filesize": "172949040", "filename": "2020.119_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Michael J. Horvitz Family Gallery", "athena_id": 83373, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:39.648000"}, {"id": 152499, "accession_number": "1985.320", "share_license_status": "CC0", "tombstone": " (\u540d\u6240\u6c5f\u6238\u767e\u666f\u3000\u6708\u306e\u5cac): The Moon-Viewing Promontory, from One Hundred Views of Famous Places in Edo, 1857. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; 33.9 x 22.8 cm (13 3/8 x 9 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.320", "current_location": "235A Japanese", "title": "The Moon-Viewing Promontory, from One Hundred Views of Famous Places in Edo", "series_in_original_language": "\u540d\u6240\u6c5f\u6238\u767e\u666f\u3000\u6708\u306e\u5cac", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "33.9 x 22.8 cm (13 3/8 x 9 in.)", "dimensions": {"No Extent Specified": {"height": 0.339, "width": 0.228}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 306045, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (July 11, 2018-January 7, 2019).", "opening_date": "2018-07-11T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (August 25-December 2, 2003).", "opening_date": "2003-08-25T00:00:00"}, {"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (February 20-May 6, 2003).", "opening_date": "2003-02-20T00:00:00"}]}, "provenance": [{"description": "Henri Vever [1854\u20131942], France", "citations": [], "footnotes": [], "date": "?\u20131942", "sortorder": 1}, {"description": "(Sotheby & Co., London, UK, March 24, 1977, lot 372)", "citations": [], "footnotes": [], "date": "March 24, 1977", "sortorder": 2}, {"description": "(R. E. Lewis, Inc., California, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": [], "date": "1977-?", "sortorder": 3}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131985", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["539.1984"], "did_you_know": "Beginning in the 700s, the Japanese held moon-viewing parties in celebration of the full moon during the late summer and autumn months. A full moon is visible in this print.", "description": "Here, Utagawa Hiroshige\u2019s design places the viewer by pine trees, peering beyond a doorway at the end of a moon-viewing party. The silhouette of a figure with an elaborate hairstyle is visible through a translucent paper door; only the person\u2019s hem trails into view. Another individual remains seated on the floor in the upper right, near a musical instrument and a tray with blue-and-white ceramics, possibly still admiring the autumn moon over ships in Edo (now Tokyo) Bay.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780906"], "internet_archive": ["https://archive.org/details/clevelandart-1985.320-the-moon-viewing-pro"]}, "citations": [{"citation": "Sotheby's (Firm). <em>Highly Important Japanese Prints, Illustrated Books, Drawings and Paintings from the Henri Vever Collection: Part III</em>. <br>London: Sotheby Parke Bernet &amp; Co., 1977.", "page_number": "lot 372", "url": null}, {"citation": "\"Checklist of the Kelvin Smith Bequest.\" <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (1988): 292-95.", "page_number": "p. 292", "url": "http://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.320", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.320/1985.320_web.jpg", "width": "613", "height": "900", "filesize": "262242", "filename": "1985.320_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.320/1985.320_print.jpg", "width": "2317", "height": "3400", "filesize": "3620130", "filename": "1985.320_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.320/1985.320_full.tif", "width": "7216", "height": "10588", "filesize": "229240612", "filename": "1985.320_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt0_web.jpg", "width": "600", "height": "893", "filesize": "454125"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt0_print.jpg", "width": "1376", "height": "2048", "filesize": "2341265"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt0_full.tif", "width": "1376", "height": "2048", "filesize": "8457604"}}, {"date_created": "2009-12-22T15:06:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt1_web.jpg", "width": "600", "height": "893", "filesize": "468006"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt1_print.jpg", "width": "2285", "height": "3400", "filesize": "6763540"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt1_full.tif", "width": "4481", "height": "6668", "filesize": "89673168"}}, {"date_created": "2014-07-16T09:46:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt2_web.jpg", "width": "611", "height": "900", "filesize": "208532"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt2_print.jpg", "width": "2307", "height": "3400", "filesize": "2815642"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.320/1985.320_alt2_full.tif", "width": "4782", "height": "7048", "filesize": "101141076"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152499, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Moon-Viewing Promontory; from the series 100 Views of Famous Places in Edo", "The Moon-Viewing Promontory, from the series One Hundred Views of Famous Places in Edo"], "is_highlight": false, "updated_at": "2026-03-27 00:05:53.759000"}, {"id": 136822, "accession_number": "1961.318", "share_license_status": "CC0", "tombstone": "Study of a Nude Woman, Seated Looking to the Right (recto) Study of a Male Nude (verso), c. 1810. Pierre-Paul Prud'hon (French, 1758\u20131823). Black and white chalk (both stumped). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1961.318", "current_location": null, "title": "Study of a Nude Woman, Seated Looking to the Right (recto) Study of a Male Nude (verso)", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and white chalk (both stumped)", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on recto, lower left, in red ink: stamp of Charles-Boulanger de Boisfremont [Lugt 353]; on verso, lower left, in black ink: stamp of Cleveland Museum of Art [Lugt 605e]; watermark, at bottom: unidentified, large chaplet.\n\nON SEPERATELY APPLIED PIECES OF PAPER (now removed), printed in black ink: WALTER S. M. BURNS, ESQ. / To be Sold on giving up his Residence at 50, Grosvenor Street, W. / Sale - Sotheby [inscribed in black ink] / DAY OF SALE / Thursday, May 6th, 1926. ; printed in black ink: PIERRE PRUD'HON. / 134   Study of a Nude Woman seated looking to the Right / Black and white chalk on blue paper / 24 in. by 16 3/4 in. (610 mm. by 425 mm.) ; printed in black ink: 2.026", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 304705, "title": "Neo-classicism: Style and Motif", "description": "<i>Neo-classicism: Style and Motif</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 31, 1964).", "opening_date": "1964-09-23T04:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 351191, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 361355, "title": "French Master Drawings of the 17th and 18th Centuries in North American Collections", "description": "<i>French Master Drawings of the 17th and 18th Centuries in North American Collections</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (September 2-October 15, 1972); Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (September 2-October 15, 1972); National Gallery of Canada, Ottawa, Ont.,, Canada (November 3-December 17, 1972); The New York Cultural Center, New York, NY (April 4-May 13, 1973).", "opening_date": "1972-09-02T04:00:00"}, {"id": 304414, "title": "Idea to Image: Preparatory Studies from the Renaissance to Impressionism", "description": "<i>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</i>. The Cleveland Museum of Art (organizer) (February 19-March 23, 1980).", "opening_date": "1980-02-19T05:00:00"}, {"id": 309577, "title": "French Prints and Drawings in the Age of the Bourbons, 1589-1792", "description": "<i>French Prints and Drawings in the Age of the Bourbons, 1589-1792</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 2-May 16, 1982).", "opening_date": "1982-02-02T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>French Master Drawings of the 17th and 18th Centuries in North American Collections</em>. Art Gallery of Ontario (September 2\u2013October 15, 1972); National Gallery of Canada, Ottawa (November 3\u2013 December 17, 1972); California Palace of the Legion of Honor, San Francisco (January 12\u2013March 11, 1973); New York Cultural Center (April 4\u2013May 13, 1973).", "opening_date": "1972-10-15T00:00:00"}]}, "provenance": [{"description": "Studio of the artist, by descent to Charles Boulanger de Boisfremont", "citations": [], "footnotes": null, "date": "c. 1810-1823", "sortorder": 1}, {"description": "Charles Boulanger de Boisfremont [1773\u20131838], Paris, by descent to his son, M. de Boisfremont fils", "citations": [], "footnotes": null, "date": "1823-1838", "sortorder": 2}, {"description": "M. de Boisfremont fils", "citations": [], "footnotes": null, "date": "1838-1870", "sortorder": 3}, {"description": "(his sale, H\u00f4tel Drouot, Paris, April 9, 1870, no. 49, sold to Dr. Malherbe)", "citations": [], "footnotes": null, "date": "1870", "sortorder": 4}, {"description": "Dr. Malherbe", "citations": [], "footnotes": ["<div><!--block-->For 305 F, according to annotated sales catalogue.</div>"], "date": "1870-?", "sortorder": 5}, {"description": "Walter S. M. Burns [1872\u20131929], London,", "citations": [], "footnotes": null, "date": "after 1870-1926", "sortorder": 6}, {"description": "(his sale, Sotheby\u2019s, London, May 6, 1926, no. 134)", "citations": [], "footnotes": null, "date": "1926", "sortorder": 7}, {"description": "(Rosenberg & Stiebel, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "after 1926-1961", "sortorder": 8}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1961-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pierre-Paul Prud'hon was raised in the Cluny abbey by monks, who recognized and encouraged his artistic talent as a boy.", "description": "This sheet is notable in its presentation of a woman, specifically one of Pierre-Paul Prud\u2019hon\u2019s favorite models, Marguerite\u2014known for her curly hair and striking appearance. Following the artist\u2019s death, more than 100 drawings were discovered in his studio, each portraying a closely studied nude figure like those shown here. The context of these works remains unclear: artists typically sketched from a model early in their training, but Prud\u2019hon did so as a well-established painter. He saw drawing as a solitary practice, working consistently with white and black chalks on a paper described by one critic as \u201cmoonlit blue.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80031002"], "internet_archive": ["https://archive.org/details/clevelandart-1961.318-study-of-a-nude-woma"]}, "citations": [{"citation": "<em>Catalogue de la collection de M. de Boisfremont fils: Dessins, croquis, \u00e9tudes, tableaux et esquisses par Prud\u2019hon</em>. Paris: H\u00f4tel Druout, 1870.", "page_number": "Mentioned: p. 21, no, 49", "url": ""}, {"citation": "Guiffrey, Jean. <em>L\u2019\u0152uvre de P.-P. Prud\u2019hon</em>. Paris: Armand Colin, 1924.", "page_number": "Mentioned: p. 439, no. 1151", "url": ""}, {"citation": "<em>Catalogue of a Valuable Collection of </em>[. . .] <em>the Property of Walter S. M. Burns, Esq</em>. London: Sotheby\u2019s, 1926.", "page_number": "Mentioned: p. 21, no. 134", "url": ""}, {"citation": "Jaff\u00e9, Michael. \u201cThe Figurative Arts of the West.\u201d <em>Apollo</em> (December 1963): 457-67.", "page_number": "Mentioned and reproduced: p. 467", "url": ""}, {"citation": "Richards, Louise S. \"Pierre Paul Prud'hon, Study of a Nude Woman.\" <em>Bulletin of the Cleveland Museum of Art </em>50, no. 2 (February 1963): 26-28.", "page_number": "Mentioned: pp. 26-28; Reproduced: p. 27, cover", "url": ""}, {"citation": "Hawley, Henry. <em>Neo-Classicism: Style and Motif</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1964.", "page_number": "Mentioned and reproduced: no. 110", "url": ""}, {"citation": "Richards, Louise S. \"Pierre Paul Prud'hon's 'Study of a Nude Woman.'\" <em>The Connoisseur</em> 158, no. 637 (March 1965): 193-94.", "page_number": "Mentioned: pp. 193-94; Reproduced: p. 193", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 164", "url": "https://archive.org/details/CMAHandbook1966/page/n188"}, {"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. 164", "url": "https://archive.org/details/CMAHandbook1969/page/n188"}, {"citation": "Slayman, James Hugus. \u201cThe Drawings of Pierre-Paul Prud\u2019hon: A Critical Study.\u201d PhD diss., University of Wisconsin, 1970.", "page_number": "Mentioned: pp. 137-39; Reproduced: p. 315", "url": ""}, {"citation": "Rosenberg, Pierre. <em>French Master Drawings of the 17th and 18th Centuries in North American Collections</em>. Exh. cat. Toronto: Art Gallery of Ontario, 1972.", "page_number": "Mentioned: pp. 199-200, no. 118; Reproduced: pl. 138", "url": ""}, {"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. 203", "url": "https://archive.org/details/CMAHandbook1978/page/n223"}, {"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1980.", "page_number": "Mentioned: pp. 20-21; Reproduced: p. 19", "url": ""}, {"citation": "Elderfield, John. <em>The Language of the Body: Drawings by Pierre-Paul Prud\u2019hon</em>. New York: Harry N. Abrams, 1996.", "page_number": "Mentioned: pp. 75, 79, 104; Reproduced: p. 105, pl. 6", "url": ""}, {"citation": "Laveissi\u00e8re, Sylvain. <em>Le Cabinet des dessins: Prud\u2019hon</em>. Paris: Flammarion, 1997.", "page_number": "Mentioned: pp. 82-83", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 76-79, no. 4", "url": ""}], "catalogue_raisonne": "Guiffrey 1151", "url": "https://clevelandart.org/art/1961.318", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.318/1961.318_web.jpg", "width": "900", "height": "627", "filesize": "240037", "filename": "1961.318_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.318/1961.318_print.jpg", "width": "3400", "height": "2370", "filesize": "3615304", "filename": "1961.318_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.318/1961.318_full.tif", "width": "19274", "height": "13437", "filesize": "776982881", "filename": "1961.318_full.tif"}}, "alternate_images": [{"date_created": "2015-02-27T19:43:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt0_web.jpg", "width": "659", "height": "900", "filesize": "175625"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt0_print.jpg", "width": "2489", "height": "3400", "filesize": "3307543"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt0_full.tif", "width": "3446", "height": "4708", "filesize": "48695416"}}, {"date_created": "2019-09-18T13:59:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt1_web.jpg", "width": "900", "height": "614", "filesize": "232392"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt1_print.jpg", "width": "3400", "height": "2321", "filesize": "3500016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt1_full.tif", "width": "6589", "height": "4498", "filesize": "88936792"}}, {"date_created": "2022-01-10T14:55:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt2_web.jpg", "width": "900", "height": "654", "filesize": "255737"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt2_print.jpg", "width": "3400", "height": "2472", "filesize": "3857491"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318/1961.318_alt2_full.tif", "width": "16866", "height": "12261", "filesize": "620407937"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136822, "creators": [{"id": 1646, "description": "Pierre-Paul Prud'hon (French, 1758\u20131823)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre-Paul Prud'hon studied at the Dijon School of Art under Fran\u00e7ois Devosge (1732-1811), founder and director of one of the most prominent art schools in France. In 1776 Prud'hon met the Baron de Joursanvault, a follower of Jean-Jacques Rousseau and an art lover, who became his first patron. At the age of twenty-two Prud'hon left for Paris, where he attended the Acad\u00e9mie Royale and was introduced to Jean-Baptiste Greuze (1725-1805) and Jean-Georges Wille (1715-1808), an important engraver and collector. Soon after he returned to Dijon in 1784, he won the Prix de Rome and left for Italy, where he would spend four decisive years. He studied the works of Raphael (1483-1520), Leonardo da Vinci (1452--1519), and Correggio (ca. 1489/94-1534) as well as antique sculptures. He was influenced by the artists Anton Raphael Mengs (1728-1779), Antonio Canova (1757-1822), and Angelica Kauffmann (1741-1807) rather than his own countrymen, the pupils of David (q.v.). When he returned to Paris in 1788, Prud'hon endorsed the revolutionary ideals. He attended the meetings of David's Club des Arts and made drawings with political overtones that were to be engraved. After Robespierre's execution, Prud'hon was forced to live in exile in the Franche-Comt\u00e9 (1794-96), where he painted several portraits and made book illustrations. Upon his return to Paris he was elected to the Institut de France and received private and public commissions for decorative projects, including, for example, the ceilings in the Greek sculpture rooms of the Louvre and designs for the celebrations of the emperor's coronation and his marriage to Marie-Louise of Austria. During the First Empire (1805-15) he became equally respected for his imperial portraits and was appointed drawing instructor of the new empress. During the Bourbon restoration (1815-23) he still received several public commissions, even though he did not sympathize with the regime. In 1802 Prud'hon's wife had to be institutionalized, leaving him to care for their five children. He would be supported in this task by his pupil, Constance Mayer (1774-1821), who not only became his mistress but also his first artistic collaborator. (Prud'hon often made the preparatory drawings for her paintings.) His last years were plagued with many problems, and Mayer's suicide in 1821 affected him tremendously. He would survive her only briefly, dying two years later in 1823.", "name_in_original_language": null, "birth_year": "1758", "death_year": "1823", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Acad\u00e9mie of a Nude Woman, Seated Looking to the Right (Acad\u00e9mie de femme)", "Study of a Female Nude Looking to the Right"], "is_highlight": false, "updated_at": "2026-03-27 00:08:29.030000"}, {"id": 97797, "accession_number": "1917.42", "share_license_status": "CC0", "tombstone": "The Thinker, 1880\u201381. Auguste Rodin (French, 1840\u20131917). Bronze; overall: 182.9 x 98.4 x 142.2 cm (72 x 38 3/4 x 56 in.). The Cleveland Museum of Art, Gift of Ralph King, 1917.42", "current_location": "SE South Entrance", "title": "The Thinker", "creation_date": "1880\u201381", "creation_date_earliest": 1880, "creation_date_latest": 1881, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 182.9 x 98.4 x 142.2 cm (72 x 38 3/4 x 56 in.)", "dimensions": {"overall": {"height": 1.829, "width": 0.984, "depth": 1.422}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on base near sinister foot: \"A. Rodin.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "purchased from the artist in 1916.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This enlarged version of <em>The Thinker </em>is one of less than 10 cast during Rodin's lifetime.", "description": "<em>The Thinker </em>was first developed as part of Rodin's <em>The Gates of Hell</em>, a sculptured doorway for a proposed museum of decorative arts in Paris. Intended to be part of a relief directly above the doors, the rugged figure was originally conceived as a generalized image of the Italian poet Dante Alighieri (1265\u20131321), who wrote the <em>Divine Comedy</em>.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759083"], "internet_archive": ["https://archive.org/details/clevelandart-1917.42-the-thinker"]}, "citations": [{"citation": "Rodin, Auguste, Antoinette Le Normand-Romain, Christina Buley-Uribe, Patrick R. Crowley, C. D. Dickerson, Laure de Margerie, Ve\u0301ronique Mattiussi, Elyse Nelson, Jennifer A. Thompson, and Nora M. Rosengarten. Rodin in the United States: Confronting the Modern. Williamstown, Massachusetts : Clark Art Institute, 2022.", "page_number": "Mentioned: p. 28, 129, 235, 238; reproduced: p. 238, fig. 9.18", "url": ""}, {"citation": "Margerie, Laure de, Antoinette Le Normand-Romain, Elisabeth Lyman, Miriam Rosen, Cole Swensen, and Susan Wise. French Sculpture: An American Passion. [Ghent] : Snoeck, 2023.", "page_number": "Mentioned: p. 408 and 441; Reproduced: p. 407, fig. 4 and 441, fig. 5", "url": ""}, {"citation": "\"Rodin Memorial Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 9 (1917): 162-63.", "page_number": "Mentioned: pp. 162-163", "url": "http://www.jstor.org/stable/25136150"}, {"citation": "\"Modern Sculpture at the Museum.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 6 (1917): 108-09.", "page_number": "Reproduced: Front Matter; Mentioned: p. 108", "url": "http://www.jstor.org/stable/25136110"}, {"citation": "\"Report of the Museum's Second Year.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 6/7 (1918): 69-79.", "page_number": "Mentioned: p. 70", "url": "www.jstor.org/stable/25136208"}, {"citation": "Milliken, William. \"Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 2 (February 1942): 25-26", "page_number": "Mentioned: p. 25", "url": "https://www.jstor.org/stable/25141340"}, {"citation": "Tacha, Athena. <em>Rodin Sculpture in the Cleveland Museum of Art.</em> Cleveland: The Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 96-97, cat. no. X; Reproduced: p. [53], Plate 68", "url": "https://archive.org/details/RodinSculpture/page/n110"}, {"citation": "Tacha, Athena. <em>A Supplement to Rodin Sculpture in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned: p. 130S, cat. no. X", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Mentioned: p. 60", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art.</em> London: Scala Arts &amp; Heritage Publishers Ltd., 2012.", "page_number": "Reproduced: p. 60 - 61", "url": ""}, {"citation": "Valencia, Natalia. \"When I Do Count the Clock That Tells the Time.\" In <em>Number Eleven: Cyprien Gaillard</em>. Julia Stoschek Foundation, ed., 14-36. Dusseldorf: Julia Stoschek Collection, 2015.", "page_number": "Mentioned: P. 30", "url": ""}, {"citation": "\"Westfalen.\" In <em>Number Eleven: Cyprien Gaillard</em>. Julia Stoschek Foundation, ed., 68-73. Dusseldorf: Julia Stoschek Collection, 2015.", "page_number": "Mentioned: P. 69-70", "url": ""}, {"citation": "Hudak, Brittany Mariel. \"Masked Men, Hatchets, and Bombs: Frank Oriti's Clarity, Rodin's The Thinker, and the Silencing of Art Vandalism.\" <em>Collective Arts Network. CAN Journal,</em> Winter 2015-2016.", "page_number": "Mentioned: p. 65-67; Reproduced: p. 66", "url": null}, {"citation": "Tableau. [Utrecht]: [Tableau], 1978.", "page_number": "Reproduced and mentioned; p. 130", "url": ""}, {"citation": "Anonymous. \"Leftovers/I was Opened.\" <em>Cabinet </em>65(Autumn/Winter 2017/2018).", "page_number": "Reproduced: p. 18-21", "url": null}, {"citation": "Robinson, William H. and Dansereau-Tackett, Julie. \"Rodin--100 Years: Commemorating the centennial of the French master's death.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 5 (September/October 2017): 8-9.", "page_number": "Reproduced and Mentioned: P. 8", "url": "https://archive.org/details/CMAMM2017-05/page/n3/mode/2up"}, {"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; Reproduced: p. 86", "url": null}, {"citation": "Demes, Francis, Jaime Juarez, and James Clark. \"Challenges Requiring New Thinking in Museum Security.\" <em>Collections </em>20, no. 2 (June 2024): 290-297.", "page_number": "Mentioned and reproduced: p. 294-295, fig. 4", "url": ""}], "url": "https://clevelandart.org/art/1917.42", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.42/1917.42_web.jpg", "width": "754", "height": "893", "filesize": "385493", "filename": "1917.42_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.42/1917.42_print.jpg", "width": "2869", "height": "3400", "filesize": "6560224", "filename": "1917.42_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.42/1917.42_full.tif", "width": "5888", "height": "6977", "filesize": "123323264", "filename": "1917.42_full.tif"}}, "alternate_images": [{"date_created": "2006-10-25T15:17:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt0_web.jpg", "width": "728", "height": "893", "filesize": "422371"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt0_print.jpg", "width": "2771", "height": "3400", "filesize": "5628420"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt0_full.tif", "width": "5972", "height": "7328", "filesize": "131328440"}}, {"date_created": "2006-10-25T14:46:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt1_web.jpg", "width": "726", "height": "893", "filesize": "338548"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt1_print.jpg", "width": "2766", "height": "3400", "filesize": "4084729"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt1_full.tif", "width": "5968", "height": "7334", "filesize": "131354628"}}, {"date_created": "2006-10-25T14:56:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt2_web.jpg", "width": "718", "height": "893", "filesize": "296548"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt2_print.jpg", "width": "2732", "height": "3400", "filesize": "4830886"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt2_full.tif", "width": "5915", "height": "7359", "filesize": "130673208"}}, {"date_created": "2006-10-25T15:34:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt3_web.jpg", "width": "719", "height": "893", "filesize": "217411"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt3_print.jpg", "width": "2737", "height": "3400", "filesize": "2983202"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.42/1917.42_alt3_full.tif", "width": "5888", "height": "7312", "filesize": "129277628"}}], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97797, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1917-01-11T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880\u201381", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:35.499000"}, {"id": 142724, "accession_number": "1966.436.a", "share_license_status": "CC0", "tombstone": "Lapis Lazuli Easter Egg, c. 1885\u201390. Attributed to Peter Carl Faberg\u00e9 (Russian, 1846\u20131920), attributed to House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, enamel, lapis lazuli, pearls, diamonds, rubies; overall: 5.9 x 4.5 cm (2 5/16 x 1 3/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.436.a", "current_location": "211 Faberg\u00e9", "title": "Lapis Lazuli Easter Egg", "creation_date": "c. 1885\u201390", "creation_date_earliest": 1885, "creation_date_latest": 1890, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, enamel, lapis lazuli, pearls, diamonds, rubies", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 5.9 x 4.5 cm (2 5/16 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.059, "width": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 174850, "title": "Faberg\u00e9: Designing Luxury, from the Virginia Museum of Fine Arts", "description": "<i>Faberg\u00e9: Designing Luxury, from the Virginia Museum of Fine Arts</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (October 14, 2012-January 13, 2013).", "opening_date": "2012-10-14T00:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This egg may have been made for one of the tsar's relatives very early in the run of Faberg\u00e9's production of Easter eggs.", "description": "Peter Carl Faberg\u00e9 became the crown jeweler to the imperial court of Russia after he produced the very first Easter egg for Tsar Alexander III to give to his wife, Empress Marie Feodorovna. Faberg\u00e9 created his celebrated Easter eggs, symbols of rebirth and renewal, as gifts for the Russian imperial family every year until he had to leave the country in 1919 after the Russian Revolution. Made of gold and lapis lazui from the Ural Mountains, this egg conceals a delightful surprise within of an imperial crown and a tiny ruby or pink sapphire on a chain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q18245358"], "internet_archive": ["https://archive.org/details/clevelandart-1966.436.a-lapis-lazuli-easter"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 72-73, cat. 32.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"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. 171", "url": "https://archive.org/details/CMAHandbook1969/page/n195"}, {"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. 227", "url": "https://archive.org/details/CMAHandbook1978/page/n247"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 114, cat. 98.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 175, cat. 51", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"citation": "Solon, Chad. \"The Lapis Lazuli Egg in the Cleveland Museum of Art.\" The Burlington Magazine. 163, no.1422 (September 2021): 828-831", "page_number": "reproduced p. 829; mentioned p. 828-831", "url": ""}], "url": "https://clevelandart.org/art/1966.436.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.436.a/1966.436.a_web.jpg", "width": "900", "height": "653", "filesize": "86843", "filename": "1966.436.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.436.a/1966.436.a_print.jpg", "width": "3400", "height": "2468", "filesize": "729161", "filename": "1966.436.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.436.a/1966.436.a_full.tif", "width": "8000", "height": "5806", "filesize": "139371072", "filename": "1966.436.a_full.tif"}}, "alternate_images": [{"date_created": "2018-03-27T10:20:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436.a/1966.436.a_alt0_web.jpg", "width": "900", "height": "653", "filesize": "82771"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436.a/1966.436.a_alt0_print.jpg", "width": "3400", "height": "2466", "filesize": "691227"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.436.a/1966.436.a_alt0_full.tif", "width": "8000", "height": "5802", "filesize": "139274916"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142724, "creators": [{"id": 5366, "description": "Peter Carl Faberg\u00e9 (Russian, 1846\u20131920)", "extent": null, "qualifier": "attributed to", "role": "designer", "biography": "Supplied most of the gifts exchanged by relatives of the imperial family in Russia, Denmark, Germany, and England for christenings, name days, birthdays, Christmas, and Easter.", "name_in_original_language": null, "birth_year": "1846", "death_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": "attributed to", "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\u201390", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.436", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:36.253000"}, {"id": 142725, "accession_number": "1966.436.b", "share_license_status": "CC0", "tombstone": "Miniature Crown Surprise from the Lapis Lazuli Easter Egg, c. 1885\u201390. Attributed to Peter Carl Faberg\u00e9 (Russian, 1846\u20131920), attributed to House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, enamel, lapis lazuli, pearls, diamonds, rubies. The Cleveland Museum of Art, The India Early Minshall Collection, 1966.436.b", "current_location": "211 Faberg\u00e9", "title": "Miniature Crown Surprise from the Lapis Lazuli Easter Egg", "creation_date": "c. 1885\u201390", "creation_date_earliest": 1885, "creation_date_latest": 1890, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, enamel, lapis lazuli, pearls, diamonds, rubies", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 174850, "title": "Faberg\u00e9: Designing Luxury, from the Virginia Museum of Fine Arts", "description": "<i>Faberg\u00e9: Designing Luxury, from the Virginia Museum of Fine Arts</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (October 14, 2012-January 13, 2013).", "opening_date": "2012-10-14T00:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The tiny diamond encrusted crown surprise is a replica of the Russian imperial crown made for Empress Catherine the Great in the 1700s.", "description": "This Easter egg, like the subsequent ones produced by Faberg\u00e9 for the imperial family, contains a surprise when opened. In this case, the egg opens to display a yellow enameled cover, resembling an egg yolk, which then opens to reveal a tiny replica of the Russian imperial crown, containing either a ruby or a pink sapphire suspended on a chain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q18245358"], "internet_archive": ["https://archive.org/details/clevelandart-1966.436.b-miniature-crown-surp"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 72-73, cat. 32.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. 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Severance Fund, 1972.17.2", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Egyptian Family (Sketch for \"The Battle of the Pyramids\")", "creation_date": "c. 1835", "creation_date_earliest": 1830, "creation_date_latest": 1840, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on linen", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 377.2 x 154.9 x 12.7 cm (148 1/2 x 61 x 5 in.); Unframed: 353.1 x 132.1 cm (139 x 52 in.); Former: 306.8 x 131.5 cm (120 13/16 x 51 3/4 in.)", "dimensions": {"framed": {"height": 3.772, "width": 1.549, "depth": 0.127}, "unframed": {"height": 3.531, "width": 1.321}, "former": {"height": 3.068, "width": 1.315}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Gros's studio, Paris, 14, rue de l'Ancienne-Com\u00e9die. (mid-July 1835, according to Tripier le Franc 1880, 632).", "opening_date": null}, {"description": "Colmar, Mus\u00e9e d'Unterlinden. (1920-55). Long-term loan.", "opening_date": "1920-01-01T00:00:00"}, {"description": "Paris, Petit Palais. Gros, ses amis, ses \u00e9l\u00e8ves (1936), no. 57.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Jacques Seligmann &amp; Co.; Minneapolis Institute of Arts; cma. Baron Antoine-Jean Gros (1771-1835), Painter of Battles, the First Romantic Painter (1955-56), no. 2, pls. 2a-b, private collection, Paris.", "opening_date": "1955-01-01T00:00:00"}]}, "provenance": [{"description": "J.-B. Delestre, Paris. His sale, Drouot, 13-14 October 1871 (lot 1), Les deux esquisses pour les pendentifs de droite et de gauche, surajout\u00e9s au tableau de la Bataille des Pyramides, ff 500 to M. Couvreur (perhaps sold to J. Arnous de Rivi\u00e8re, directeur de Revue illustr\u00e9e, bought for ff 700 at Delestre sale, through 1880; Tripier le Franc 1880, 500). Gustave Rothan, Ch\u00e2teau de Luttenbach, (near Munster, Alsace). By descent after his death in 1890 to his daughter, Christa Anna Maria Rothan (in 1895, Baronne Pierre de Coubertin) until after 1917, Lausanne. By 1955, Jacques Seligmann & Co, New York, 1955. Purchased by the CMA in 1972.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["111.71", "1972.18"], "did_you_know": null, "description": "In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kl\u00e9ber, a famously successful military leader who had been excluded from the original painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472199"], "internet_archive": ["https://archive.org/details/clevelandart-1972.17.2-egyptian-family-sket"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1978/page/n222"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 329-335, Vol. I, no. 115", "url": ""}], "url": "https://clevelandart.org/art/1972.17.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_web.jpg", "width": "326", "height": "893", "filesize": "208712", "filename": "1972.17.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_print.jpg", "width": "1242", "height": "3400", "filesize": "3032637", "filename": "1972.17.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.2/1972.17.2_full.tif", "width": "2155", "height": "5897", "filesize": "38156924", "filename": "1972.17.2_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt0_web.jpg", "width": "335", "height": "893", "filesize": "249859"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt0_print.jpg", "width": "768", "height": "2048", "filesize": "1302098"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt0_full.tif", "width": "768", "height": "2048", "filesize": "4720412"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt1_web.jpg", "width": "675", "height": "893", "filesize": "511273"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt1_print.jpg", "width": "1536", "height": "2033", "filesize": "2767972"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt1_full.tif", "width": "1536", "height": "2033", "filesize": "9371500"}}, {"date_created": "2009-05-18T18:19:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt2_web.jpg", "width": "390", "height": "893", "filesize": "248989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt2_print.jpg", "width": "1484", "height": "3400", "filesize": "3586311"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.2/1972.17.2_alt2_full.tif", "width": "2865", "height": "6565", "filesize": "56458596"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 146727, "creators": [{"id": 1706, "description": "Antoine-Jean Gros (French, 1771\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": "Antoine-Jean Gros's parents, who were both miniaturists, taught their son painting at an early age. He also pursued his education with Elisabeth-Louise Vig\u00e9e Le Brun (1755-1842), David (q.v.), whose studio he entered in 1785, and at the Acad\u00e9mie Royale de Peinture et de Sculpture two years later. Discouraged by his unsuccessful attempt for the Prix de Rome in 1792 and following his father's death, he ended his studies and supported himself by portrait painting. David helped him secure a passport and Gros left for Italy in 1793. In Genoa he met Jos\u00e9phine de Beauharnais, who later introduced him to Napoleon Bonaparte in Milan. There Gros made a study of him for his painting Bonaparte on the Bridge at Arcole, 17 November 1796 (1796, Mus\u00e9e du Ch\u00e2teau de Versailles; Salon 1801). This work established his reputation, and he was given a position on the committee responsible for removing artwork from Italy for the Louvre. When Napoleon left for Egypt, Genoa came under Austrian control and Gros was forced to stay for two months during the siege. After the city was evacuated, Gros returned to Paris in 1800 and continued to receive commissions from Bonaparte to paint contemporary military victories. He also painted portraits of members of the military and high society. After the defeat of Napoleon in 1814, he was made portrait painter to Louis XVIII. Within two years he was appointed professor at the \u00c9cole des Beaux-Arts, replacing the exiled David. In almost two decades as a teacher, Gros had hundreds of pupils, and thus was, besides David, one of the most influential artists of his time. While continuing to paint scenes from contemporary history, he also attempted to make mythological and allegorical compositions, but these works received little critical acclaim. Gros was awarded the title of baron by Charles X and asked to paint several ceilings in the galleries at the Louvre. His work, however, began to be perceived as outmoded, and his criticism of Ingres's influence within the \u00c9cole des Beaux-Arts added to his unpopularity. When his final effort for a classical comeback at the Salon of 1835 was heavily criticized, Gros drowned himself in the Seine.", "name_in_original_language": null, "birth_year": "1771", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-05-03T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.17", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Lateral panel for the \"Bataille des Pyramides\": Native Family"], "is_highlight": false, "updated_at": "2026-03-27 00:00:11.102000"}, {"id": 150693, "accession_number": "1982.124", "share_license_status": "CC0", "tombstone": "Pine Tree, c. 1897. Giovanni Segantini (Italian, 1858\u20131899). Oil on fabric; framed: 149.5 x 84.8 x 4.1 cm (58 7/8 x 33 3/8 x 1 5/8 in.); unframed: 135.2 x 72 cm (53 1/4 x 28 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1982.124", "current_location": null, "title": "Pine Tree", "creation_date": "c. 1897", "creation_date_earliest": 1892, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["Italy, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 149.5 x 84.8 x 4.1 cm (58 7/8 x 33 3/8 x 1 5/8 in.); Unframed: 135.2 x 72 cm (53 1/4 x 28 3/8 in.)", "dimensions": {"framed": {"height": 1.495, "width": 0.848, "depth": 0.041}, "unframed": {"height": 1.352, "width": 0.72}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 441742, "title": "Giovanni Segantini", "description": "<i>Giovanni Segantini</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (November 8, 1990-February 17, 1991).", "opening_date": "1990-11-08T05:00:00"}, {"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": 224348, "title": "Giovanni Segantini", "description": "<i>Giovanni Segantini</i>. Fondation Beyeler, CH-4125 Riehen/Basel, Switzerland (organizer) (January 16-April 25, 2011).", "opening_date": "2011-01-16T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "<em>Esposizione di alcune opere di G. Segantini.</em> Milan, Italy (1899).", "opening_date": null}, {"description": "<em>Previati mon.to a Segantini di Leo Bistolfi.</em> Galleria Alberto Grubicy, Milan, Italy (1906).", "opening_date": "1906-01-01T00:00:00"}, {"description": "<em>Exposition des peintres divisionnistes italiens.</em> Serre de l'Alma, Paris,France; Gallerie Grubicy, Milan, Italy (organizer) (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "<em>Giovanni Segantini Ged\u00e4chtnis-Ausstellung</em>. Saint Moritz., Switzerland (1949).", "opening_date": "1949-01-01T00:00:00"}, {"description": "<em>Graub\u00fcnden in der Malerei des 20 Jahrhunderts.</em> Kunsthaus, Chur, Switzerland (1954).", "opening_date": "1954-01-01T00:00:00"}, {"description": "<em>Mostra Commemorativa di Giovanni Segantini.</em> Palazzo Marchetti, Arco, Italy (1958).", "opening_date": "1958-01-01T00:00:00"}]}, "provenance": [{"description": "(Galleria Alberto Grubicy, Milan)", "citations": [], "footnotes": ["<div><!--block-->In 1880 Segantini achieved some financial security when art dealer, critic, and painter Vittore Grubicy began buying his work.&nbsp; Grubicy helped support Segantini, and within three years, the artist had signed an exclusive contract with Grubicy.&nbsp; Their relationship ended in 1891 after a conflict between Vittore and his brother, Alberto, over how to manage the gallery. Segantini sided with Alberto, who had been controlling the financial aspects of Segantini\u2019s contract with the gallery since 1886. &nbsp;</div>"], "date": "Until 1907", "sortorder": 1}, {"description": "Oscar Bernhard [1861-1939], Samaden/St. Moritz, probably by descent to his daughter, Annigna Petitpierre-Bernhard", "citations": [], "footnotes": ["<div><!--block-->Bernhard, a friend of Segantini\u2019s since 1894, was patron of the artist, as well as his physician when he came down with a fatal case of peritonitis in 1899. In 1908 Bernhard cofounded the Segantini museum in St. Moritz.&nbsp;</div><div><!--block--><br></div><ul><li><!--block--><br></li></ul>"], "date": "Probably until 1939", "sortorder": 2}, {"description": "Annigna Petitpierre-Bernhard [1899-1978], Zurich", "citations": [], "footnotes": ["<div><!--block-->Petitpierre-Bernhard\u2019s initials, \u201cP.B.,\u201d are inscribed in blue crayon on the back of the painting\u2019s stretcher.&nbsp;</div>"], "date": "Probably 1939-at least 1973", "sortorder": 3}, {"description": "(Galerie Nathan, Zurich, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1982", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1982-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The bottom right portion of this painting was left unfinished; the earth-red ground layer is still visible.", "description": "Segantini painted this view of a pine tree in the Swiss Alps with his distinctive combination of brilliant colors applied in small, broken strokes. Rather than a direct transcription of nature, the extreme close-up view and the flat, decorative space are designed to arouse an emotional response. Finding spiritual consolation in the lush forests and clear light around his home in the Alps, Segantini wrote: \u201cI am now working passionately to wrest the secret of Nature\u2019s spirit from her. Nature utters the eternal word to the artist: love, love; and the earth sings life in spring, and the soul of things reawakens.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474837"], "internet_archive": ["https://archive.org/details/clevelandart-1982.124-pine-tree"]}, "citations": [{"citation": "Quinsac, Annie-Paule. <em>Segantini: catalogo generale.</em> Milano: Electa, 1982.", "page_number": null, "url": null}, {"citation": "Grubicy, Alberto, and Mario Morasso. <em>Catalogo delle mostre coll. ve Segantini [e] Previati; mon. to a Segantini di Leo. Bistolfi</em>. [Milano]: [Tip. L.F. Cogliati], 1906.", "page_number": null, "url": null}, {"citation": "Arcangeli, Francesco, and Maria Cristina Gozzoli. <em>L'opera completa di Segantini</em>.  Milano: Rizzoli, 1973.", "page_number": null, "url": null}, {"citation": "Fiori, Teresa. <em>Archivi del divisionismo</em> 2. Rome: Officina Edizioni, 1968.", "page_number": null, "url": null}, {"citation": "Galerie Nathan, invoice to the Cleveland Museum of Art, Oct. 5, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<br>Arcangeli, Francesco, and Maria Cristina Gozzoli. <em>L'opera completa di Segantini</em>.  Milano: Rizzoli, 1973.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Quinsac, Annie-Paule. <em>Segantini: catalogo generale.</em> Milano: Electa, 1982.", "page_number": null, "url": null}, {"citation": "Fiori, Teresa. <em>Archivi del divisionismo</em> 2. Rome: Officina Edizioni, 1968.", "page_number": null, "url": null}, {"citation": "Fiori, Teresa. <em>Archivi del divisionismo</em> 2. Rome: Officina Edizioni, 1968.", "page_number": null, "url": null}, {"citation": "Arcangeli, Francesco, and Maria Cristina Gozzoli. <em>L'opera completa di Segantini</em>.  Milano: Rizzoli, 1973.", "page_number": null, "url": null}, {"citation": "Galerie Nathan, invoice to the Cleveland Museum of Art, Oct. 5, 1982, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Locatelli-Milesi, Achille. <em>L'Oeuvre de Giovanni Segantin</em>i. Paris: Soc. Dante Alighieri, 1907.", "page_number": "Reproduced: opp. p. 12", "url": null}, {"citation": "Montandon, Marcel. <em>Segantini</em>. Bielefeld, Germany: Velhagen &amp; Klasing, 1925.", "page_number": "Reproduced: p. 119, fig. 105", "url": null}, {"citation": "Nicodemi, Giorgio. <em>Giovanni Segantini</em>. Milano: L'Arte, 1956.", "page_number": "Mentioned: p. 225, no. 9", "url": null}, {"citation": "Fiori, Teresa. <em>Archivi del Divisionismo</em>. Roma, Italy: Officina Edizioni, 1968.", "page_number": "Reproduced: fig. 442", "url": null}, {"citation": "Gozzoli, Maria Cristina. <em>L'opera completa di Segantini</em>. Milano, Italy: Rizzoli, 1973.", "page_number": "Reproduced: no. 392", "url": null}, {"citation": "Lu\u0308thy, Hans A., and Corrado Maltese. <em>Giovanni Segantini</em>. Zu\u0308rich, Switzerland: Orell Fu\u0308ssli Verlag, 1981.", "page_number": "Reproduced: p. 129", "url": null}, {"citation": "Quinsac, Annie-Paule, and Giovanni Segantini. <em>Segantini: catalogo generale</em>. Milano, Italy: Electa, 1982.", "page_number": "Reproduced: no. 530, vol. II", "url": null}, {"citation": "Lee, Sherman E. \"Year in Review for 1982.\"<em>The Bulletin of The Cleveland Museum of Art LXX</em>, no. 1 (January, 1983):3-55.", "page_number": "Reproduced: p. 17, Mentioned: p. 51, no. 32", "url": null}, {"citation": "Sackerlotzky, Rotraud. \"Giovanni Segantini: Stone Pine and Alpine Roses.\" <em>The Bulletin of The Cleveland Museum of Art LXXIII</em>, no. 1 (January, 1986): 2-13.", "page_number": "Reproduced: cover, p.2", "url": "https://www.jstor.org/stable/25159926"}, {"citation": "Bauman, Felix, Guido Magnaguagno, and Daniela Tobler. <em>Giovanni Segantini, 1858-1899: Kunsthaus Zu\u0308rich, 9. November 1990-3. Februar 1991</em>. Zu\u0308rich, Switzerland: Das Kunsthaus, 1990.", "page_number": null, "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. 220", "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, 1999.", "page_number": "Mentioned and reproduced: vol. 2, p. 584-589, no. 206", "url": null}, {"citation": "Echte, Bernhard, and Petra Cordioli. <em>Kunstsalon Bruno &amp; Paul Cassirer: die Ausstellungen 1898-1901 ; [\"das Beste aus aller Welt zeigen\"]</em>. Wa\u0308denswil: Nimbus, Kunst und Bu\u0308cher, 2011.", "page_number": "Reproduced: p. 316", "url": null}, {"citation": "Segantini, Diana, Guido Magnaguagno, and Ulf Ku\u0308ster. <em>Segantini</em>. Ostfildern: Hatje Cantz, 2011.", "page_number": "Reproduced: p. 119", "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. 83", "url": null}], "url": "https://clevelandart.org/art/1982.124", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.124/1982.124_web.jpg", "width": "456", "height": "893", "filesize": "426319", "filename": "1982.124_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.124/1982.124_print.jpg", "width": "1736", "height": "3400", "filesize": "6373772", "filename": "1982.124_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.124/1982.124_full.tif", "width": "3024", "height": "5921", "filesize": "53748684", "filename": "1982.124_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150693, "creators": [{"id": 1813, "description": "Giovanni Segantini (Italian, 1858\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": "By the age of eight, Giovanni Battista Emanuele Maria Segatini (who changed his last name to Segantini in 1879), was orphaned and subsequently lived in institutions and with family members in Milan. The early death of his mother in particular preoccupied him throughout his life, and the subject of motherly care would become a recurrent theme in his oeuvre. In 1875 he became an apprentice to the photographer and decorative painter Luigi Tettamanzi and began attending the Academy of the Brera in the evenings. Two years later Segantini enrolled in day classes for landscape and decorative painting. He achieved some financial security in 1880 when art dealer, critic, and painter Vittore Grubicy (1851-1920) began buying his work. That same year the young artist met Luigia Bugatti (called Bice, sister of the designer Carlo Bugatti [1856-1940]), with whom he would have four children. Grubicy helped support Segantini and encouraged him to travel to the Brianza region near Lake Como in order to paint directly from nature. Segantini depicted the life of peasants and their animals, most likely influenced by the work of Millet (q.v.). Within three years Segantini had signed an exclusive contract with Grubicy. In 1883 he was awarded a gold medal at the Universal Exhibition in Amsterdam. Three years later he moved to the mountain village of Savognin at the foot of the Julier Pass in Switzerland and began painting the mountains and their inhabitants. Following the advice of Grubicy, he started experimenting with the division of colors in which he juxtaposed pure bands of pigment on the canvas, creating a luminous atmosphere. He was thus one of the leading developers of divisionism, the Italian variant of neo-impressionism. Segantini's relationship with Grubicy came to an end in 1891 after a conflict between Vittore and his brother, Alberto, on how to manage the gallery. Segantini chose the latter's side. Alberto had been controlling the financial aspects of his contract with the Grubicy gallery since 1886. From 1894 until his death in 1899, the artist lived in Majola, where he produced works of a more visionary and symbolic character that allocated a central role to nature as an overpowering force. He died on the Alpine peak Schafberg (Sheep Mountain) while working on one of the three canvasses that formed Il Trittico della Natura (The Triptych of Nature, 1896-99, Segantini Museum, St. Moritz). Since the 1888 London Universal Exhibition, the artist had earned an international reputation, particularly in Germany where he also exhibited frequently. His artistic persona has been compared with those of Edvard Munch (1863-1944) and van Gogh (q.v.). Wassily Kandinsky (1866-1944) called him one of the pioneers of the \"spiritual in art,\" and the Italian Futurists regarded him as one of the exemplar figures of modernism.", "name_in_original_language": null, "birth_year": "1858", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-08-20T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "c. 1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:18.528000"}, {"id": 142753, "accession_number": "1966.458.1", "share_license_status": "CC0", "tombstone": "Imperial Framed Miniature of Tsar Nicholas II, 1896. Johannes Zehngraf (Russian, 1857\u20131908), Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9, (Russian, 1842\u20131918). Jade, gold, rubies, gouache, ivory, glass; overall: 15.3 x 5 x 5 cm (6 x 1 15/16 x 1 15/16 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 402955, "title": "Faberg\u00e9: Romance to Revolution", "description": "<i>Faberg\u00e9: Romance to Revolution</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (November 20, 2021-May 8, 2022) https://www.vam.ac.uk/exhibitions/faberge.", "opening_date": "2021-11-20T05:00:00"}], "legacy": [{"description": "<em>Charity Exhibition of Faberg\u00e9 Artistic Objects, Old Miniatures, and Snuff Boxes (\u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0439 \u041a. \u0424\u0430\u0431\u0435\u0440\u0436\u0435 \u0432 \u043e\u0441\u043e\u0431\u043d\u044f\u043a\u0435 \u041f.\u041f. \u0444\u043e\u043d \u0414\u0435\u0440\u0432\u0438\u0437\u0430, \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433). </em>Baron von Dervis Mansion, Saint Petersburg, Russia (March 1902).", "opening_date": "1902-03-01T00:00:00"}]}, "provenance": [{"description": "Tsar Nicholas II [1868-1918] and Tsarina Alexandra Feodorovna [1872-1918], purchased from the maker, November 22, 1896 (by tsarina), Alexander Palace, Tsarskoye Selo, Russia", "citations": [], "footnotes": ["<div><!--block-->Imperial provenance discovered in Russian state ledgers by Kieran McCarthy, Wartski, London, 2019.</div>"], "date": "1896-1918", "sortorder": null}, {"description": "Provisional Russian Government, Kremlin, Moscow", "citations": [], "footnotes": null, "date": "1917-1922", "sortorder": 2}, {"description": "(The Schaffer Collection of Russian Imperial Art Treasures [A La Vielle Russie], New York, NY)", "citations": [], "footnotes": null, "date": "?-1948", "sortorder": 3}, {"description": "India Early Minshall [1885-1965], Cleveland, OH; bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1948-1966", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.458", "1966.458.2"], "did_you_know": "This painted miniature is one of two miniatures that were personal gifts from the tsar and tsarina to one another in 1896, a year after the birth of their firstborn child, Grand Duchess Olga Nicolaievna. The tsar gave this miniature of himself to his wife, and she gave the one of the baby to him.", "description": "The giving of miniatures had long been a common practice among wealthy and aristocratic families by the time Faberge began combining portraits with his richly decorated frames. The Russian imperial family delighted in having these personal mementos and commissioned many different miniatures to place around their private apartments, providing a warm family atmosphere in an otherwise highly formal existence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60747010"], "internet_archive": ["https://archive.org/details/clevelandart-1966.458.1-imperial-framed-mini"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 24-5, cat 8", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced:  p. 107, cat. 83.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 178, cat 59, fig. 64", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.458.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.458.1/1966.458.1_web.jpg", "width": "556", "height": "900", "filesize": "149084", "filename": "1966.458.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.458.1/1966.458.1_print.jpg", "width": "2102", "height": "3400", "filesize": "862757", "filename": "1966.458.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.458.1/1966.458.1_full.tif", "width": "4658", "height": "7535", "filesize": "105318328", "filename": "1966.458.1_full.tif"}}, "alternate_images": [{"date_created": "2008-06-04T18:51:34", 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{"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt3_full.tif", "width": "4680", "height": "7678", "filesize": "107822668"}}, {"date_created": "2021-02-22T22:52:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt4_web.jpg", "width": "542", "height": "900", "filesize": "132544"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt4_print.jpg", "width": "2049", "height": "3400", "filesize": "627271"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt4_full.tif", "width": "6116", "height": "10149", "filesize": "186237640"}}, {"date_created": "2021-02-22T22:54:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt5_web.jpg", "width": "900", "height": "850", "filesize": "226734"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt5_print.jpg", "width": "3400", "height": "3211", "filesize": "1823572"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt5_full.tif", "width": "4548", "height": "4295", "filesize": "58626800"}}, {"date_created": "2021-02-23T14:27:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt6_web.jpg", "width": "900", "height": "789", "filesize": "288370"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt6_print.jpg", "width": "3400", "height": "2982", "filesize": "2759043"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.1/1966.458.1_alt6_full.tif", "width": "3596", "height": "3154", "filesize": "34050856"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142753, "creators": [{"id": 8917, "description": "Johannes Zehngraf (Russian, 1857\u20131908)", "extent": null, "qualifier": null, "role": "miniaturist", "biography": null, "name_in_original_language": null, "birth_year": "1857", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 313609, "description": "House of Faberg\u00e9, (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.458", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:00.130000"}, {"id": 130309, "accession_number": "1952.84", "share_license_status": "CC0", "tombstone": "Disk Pendant (akrafok\u0254nmu), 1800s. Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths\u2019 guild. Gold; diameter: 11 cm (4 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1952.84", "current_location": "108C African Jewelry and Metalwork", "title": "Disk Pendant (akrafok\u0254nmu)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante Empire/ Kingdom, member of the goldsmiths\u2019 guild"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Diameter: 11 cm (4 5/16 in.)", "dimensions": {"diameter": {"width": 0.11}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}], "legacy": [{"description": "The Brooklyn Museum (10/18/1954 - 1/2/1955): \"Masterpieces of African Art\"", "opening_date": "1954-10-18T00:00:00"}, {"description": "Nelson Atkins Museum of Art, Kansas City (1/18/1962 - 2/25/1962): \"The Imagination of Primitive Man\"", "opening_date": "1962-01-18T00:00:00"}, {"description": "The Cleveland Museum of Art at The Museum of Contemporary Art, Cleveland (6/9/2006 - 8/20/2006): \"The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art\"", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Sir Cecil Hamilton Armitage, Ghana", "citations": [], "footnotes": null, "date": "ca. 1900", "sortorder": null}, {"description": "(Heeramaneck Galleries, New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131952", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1952\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gold miners from the Akan region once mined gold to make local objects like this and to supply gold for trade across trans-Saharan routes and into places as far away as Europe.", "description": "Gold discs dangling on the chests of Akan state officials and elites showed their rank and duties. Worn by these <em>akrafo </em>(\u201csoul people\u201d) since the 1800s, they are often linked to <em>kradware, </em>officials who represent and purify (\u201cwash\u201d) the king\u2019s soul. To make them, goldsmiths cast or flattened gold. Muslim North African gold coins likely inspired their form and material, while concentric water rings influenced their composition. This small disc is typical of pre-colonial examples. Gold ornament making ceased until 1924; court officials now wear large discs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912055"], "internet_archive": ["https://archive.org/details/clevelandart-1952.84-disk-pendant-akrafok"]}, "citations": [{"citation": "Ratton, Charles. \u00ab Les bijoux en forme de disque etc. \u00bb Special Issue,<em> Pr\u00e9sence Africaine </em>: <em>L'Art N\u00e8gre</em> 10-11. Paris : Aux Editions du Seuil (1951)", "page_number": "Ill. opp. p. 129, no. 53; text p. 146.", "url": ""}, {"citation": "Jopling, Carol F., ed. <em>Art and Aesthetics in Primitive Societies</em>. NY: E.P. Dutton &amp; Co., Inc., 1971: 66.", "page_number": "", "url": ""}, {"citation": "Simms, Lowery Stokes. <em>The Persistence of Geometry: Form, Content, and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland: The Cleveland Museum of Art, 2006: 32.", "page_number": "", "url": ""}, {"citation": "Brooklyn Museum. <em>Masterpieces of African Art. Exhibition Dates: October 21, 1954-January 2, 1955.</em> [Brooklyn]: Brooklyn Museum, 1954.", "page_number": "Mentioned: p. 39", "url": null}, {"citation": "William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, and Ralph T. Coe. <em>The Imagination of Primitive Man: A Survey of the Arts of the Non-Literate Peoples of the World.</em> Kansas City, Mo: The Museum, 1962.", "page_number": "Mentioned: p. 25, cat. no. 34", "url": null}], "url": "https://clevelandart.org/art/1952.84", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.84/1952.84_web.jpg", "width": "869", "height": "900", "filesize": "240106", "filename": "1952.84_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.84/1952.84_print.jpg", "width": "3281", "height": "3400", "filesize": "2893468", "filename": "1952.84_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.84/1952.84_full.tif", "width": "9060", "height": "9388", "filesize": "255195536", "filename": "1952.84_full.tif"}}, "alternate_images": [{"date_created": "2009-06-12T15:19:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.84/1952.84_alt0_web.jpg", "width": "946", "height": "893", "filesize": "653385"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.84/1952.84_alt0_print.jpg", "width": "3400", "height": "3209", "filesize": "2197002"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.84/1952.84_alt0_full.tif", "width": "4226", "height": "3988", "filesize": "50580928"}}, {"date_created": "2025-10-02T22:15:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.84/1952.84_alt1_web.jpg", "width": "887", "height": "900", "filesize": "248711"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.84/1952.84_alt1_print.jpg", "width": "3349", "height": "3400", "filesize": "3179485"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.84/1952.84_alt1_full.tif", "width": "9246", "height": "9388", "filesize": "260434424"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130309, "creators": [], "legal_status": "accessioned", "accession_date": "1952-02-13T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Soul Disk Pendant (krakonmu)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:26.914000"}, {"id": 142781, "accession_number": "1966.480", "share_license_status": "CC0", "tombstone": "Miniature Table with Compass, c. 1890\u201395. House of Faberg\u00e9 (Russian, 1842\u20131918), Mikhail Evlampievich Perkhin (Russian, 1860\u20131903). Gold, enamel, glass, steel; overall: 5.6 x 4.2 cm (2 3/16 x 1 5/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.480", "current_location": "211 Faberg\u00e9", "title": "Miniature Table with Compass", "creation_date": "c. 1890\u201395", "creation_date_earliest": 1890, "creation_date_latest": 1895, "artists_tags": ["gender unknown", "male"], "culture": ["Russia, St. Petersburg"], "technique": "gold, enamel, glass, steel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 5.6 x 4.2 cm (2 3/16 x 1 5/8 in.)", "dimensions": {"overall": {"height": 0.056, "width": 0.042}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "56, crossed anchors [assay mark for St. Petersburg, 1882-99]; initials of workmaster Mikhail Perkhin (in Cyrillic); Faberg\u00e9 (in Cyrillic).", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A small compass is concealed in the top of this miniature table for use when looking at maps.", "description": "The giving of small precious objects as intimate gifts between family members within the imperial court was spurred by the House of Faberg\u00e9's seemingly endless supply of bejeweled utilitarian objects decorated as expensively as possible, such as this little desk compass disguising as a miniature table in the Louis XVI taste of the late 1700s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761930"], "internet_archive": ["https://archive.org/details/clevelandart-1966.480-miniature-table-with"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 16, cat. 4; reproduced: p. 17.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned: p. 112, cat. 95; reproduced in color: p. 112", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008", "page_number": "Mentioned: p. 199, cat. 77.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"citation": "Tillander-Godenhielm, Ulla, and Peter Carl Faberge\u0301. <em>Faberge\u0301: ja ha\u0308nen suomalaiset mestarinsa</em>. Helsinki: Kustannusosakeyhtio\u0308 Tammi, 2008.", "page_number": "Mentioned: p. 50", "url": "https://ingallslibrary.on.worldcat.org/oclc/317629230"}], "url": "https://clevelandart.org/art/1966.480", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.480/1966.480_web.jpg", "width": "891", "height": "893", "filesize": "385106", "filename": "1966.480_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.480/1966.480_print.jpg", "width": "3267", "height": "3273", "filesize": "5372798", "filename": "1966.480_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.480/1966.480_full.tif", "width": "3267", "height": "3273", "filesize": "32113964", "filename": "1966.480_full.tif"}}, "alternate_images": [{"date_created": "2007-12-28T18:33:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.480/1966.480_alt0_web.jpg", "width": "1156", "height": "893", "filesize": "410503"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.480/1966.480_alt0_print.jpg", "width": "3400", "height": "2627", "filesize": "3418463"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.480/1966.480_alt0_full.tif", "width": "4496", "height": "3474", "filesize": "46888400"}}, {"date_created": "2008-06-06T15:10:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.480/1966.480_alt1_web.jpg", "width": "1030", "height": "893", "filesize": "428929"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.480/1966.480_alt1_print.jpg", "width": "3400", "height": "2949", "filesize": "4700899"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.480/1966.480_alt1_full.tif", "width": "4012", "height": "3480", "filesize": "41919656"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142781, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1890\u201395", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Compass"], "is_highlight": false, "updated_at": "2026-03-27 00:10:00.874000"}, {"id": 148971, "accession_number": "1977.128", "share_license_status": "CC0", "tombstone": "Glaucus and Nydia, 1867. Lawrence Alma-Tadema (British, 1836\u20131912). Oil on wood panel; framed: 55.5 x 81 x 4.5 cm (21 7/8 x 31 7/8 x 1 3/4 in.); unframed: 39 x 64.3 cm (15 3/8 x 25 5/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.128", "current_location": "203B British Painting and Decorative Arts", "title": "Glaucus and Nydia", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 55.5 x 81 x 4.5 cm (21 7/8 x 31 7/8 x 1 3/4 in.); Unframed: 39 x 64.3 cm (15 3/8 x 25 5/16 in.)", "dimensions": {"framed": {"height": 0.555, "width": 0.81, "depth": 0.045}, "unframed": {"height": 0.39, "width": 0.643}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper left: L. Alma Tadema 67", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 198256, "title": "The Last Days of Pompeii: Decadence, Apocalypse, Resurrection", "description": "<i>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</i>. Getty Villa, Pacific Palisades, CA (September 12, 2012-January 7, 2013); The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-July 7, 2013).", "opening_date": "2012-09-03T00:00:00"}], "legacy": [{"description": "<em>The Works of Lawrence Alma Tadema (1882-83)</em>, Grosvenor Gallery, London, United Kingdom, lent by the Marquis de Santurce (1867).", "opening_date": null}, {"description": "<em>Victorians in Togas: Paintings by Sir Lawrence Alma Tadema from the Collection of Allen Funt.</em> Metropolitan Museum of Art, New York, NY (1973).", "opening_date": "1973-01-01T00:00:00"}]}, "provenance": [{"description": "Ernest Gambart, London, United Kingdom, by commission of the artist", "citations": [], "footnotes": null, "date": "1867", "sortorder": 1}, {"description": "Ernest Gambart [1814-1902], London, United Kingdom, after 1870 sold to Jos\u00e9 de Murrieta, alias Marquis de Santurce.", "citations": [], "footnotes": null, "date": "1867-1870", "sortorder": 2}, {"description": "(Christie's, London, United Kingdom, April 7, 1883, lot 164, Marquis de Santurce sale, bought in)", "citations": [], "footnotes": null, "date": "1883", "sortorder": 3}, {"description": "(Christie's, London, United Kingdom, March 30, 1895, lot 143, sold to Stephen Gooden & Fox)", "citations": [], "footnotes": null, "date": "1895", "sortorder": 6}, {"description": "( Stephen Gooden & Fox, London. United Kingdom, sold to Thomas Agnew & Sons)", "citations": [], "footnotes": null, "date": "1895", "sortorder": 7}, {"description": "(Thomas Agnew & Son, London, United Kingdom, January 15, 1917 sold to A.G. O'Neil)", "citations": [], "footnotes": [], "date": "1917", "sortorder": 10}, {"description": "(Sotheby's Belgravia, Funt Collection Sale, November 6, 1973, lot 8, sold to Jules Brassner, New York.", "citations": [], "footnotes": null, "date": "1973", "sortorder": 13}, {"description": "Jules Brasser [1916-1999], New York, NY, sold to Mr. Noah Butkin", "citations": [], "footnotes": null, "date": null, "sortorder": 14}, {"description": "Mr. Noah Butkin [1918-1980],Cleveland, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1977", "sortorder": 15}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1977-", "sortorder": 16}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Alma-Tadema, one of the most popular Victorian painters, became famous for his depictions of the luxury and decadence of the Roman Empire. His vision of the ancient world was constantly reproduced on film in Hollywood.", "description": "\"It was one of the few moments in her brief and troubled life that it was sweet to treasure.\" Weaving a rose garland as a present for her beloved master Glaucus, the blind servant Nydia resists speaking of her love for him. The scene is based on Sir Edward Bulwer-Lytton's enormously popular historical novel <em>The Last Days of Pompeii </em>(published in 1835), a melodramatic epic set in ancient Roman times, which culminates with the eruption of Mount Vesuvius. Responding to the 19th-century appetite for things antique, the artist filled his historical scenes with depictions of Roman frescoes and statuary. Dutch by birth, Alma-Tadema made this picture in Brussels for a London art dealer. But the demand for such paintings became so great that he moved to England, where he achieved great financial and social success.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473273"], "internet_archive": ["https://archive.org/details/clevelandart-1977.128-glaucus-and-nydia"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Forbes, Christopher. <em>Victorians in Togas</em>. New York, NY: Metropolitan Museum of Art, 1973.", "page_number": "Reproduced: no. 8", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 5-7, Vol. I, no. 2", "url": ""}, {"citation": "Gardner Coates, Victoria C., Kenneth D. S. Lapatin, and Jon L. Seydl. <em>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</em>. Los Angeles, CA: J. Paul Getty Museum, 2012.", "page_number": null, "url": null}, {"citation": "Alma-Tadema, Lawrence, Elizabeth Prettejohn, and Peter Trippi. <em>Lawrence Alma-Tadema: At Home in Antiquity.</em> Munich ; London ; New York : Prestel, 2016.", "page_number": "Reproduced and mentioned: p.21, fig. 5.", "url": null}], "url": "https://clevelandart.org/art/1977.128", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.128/1977.128_web.jpg", "width": "1263", "height": "769", "filesize": "691624", "filename": "1977.128_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.128/1977.128_print.jpg", "width": "3400", "height": "2070", "filesize": "4625126", "filename": "1977.128_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.128/1977.128_full.tif", "width": "5408", "height": "3293", "filesize": "53457660", "filename": "1977.128_full.tif"}}, "alternate_images": [{"date_created": "2008-10-27T19:00:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.128/1977.128_alt0_web.jpg", "width": "1263", "height": "763", "filesize": "751251"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.128/1977.128_alt0_print.jpg", "width": "3400", "height": "2054", "filesize": "5478841"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.128/1977.128_alt0_full.tif", "width": "6378", "height": "3854", "filesize": "73776392"}}], "creditline": "Gift of Mr. and Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 148971, "creators": [{"id": 2954, "description": "Lawrence Alma-Tadema (British, 1836\u20131912)", "extent": null, "qualifier": null, "role": "artist", "biography": "While the artist was christened Lourens Tadema, his name changed several times. His godfather's name, Alma, was prefixed to his family name, and when he moved to Antwerp in 1852 he changed Lourens to Laurens and then anglicized it to Lawrence after his move to London. In 1852 he entered the Antwerp Academy, where his taste for subjects concerning the early history of France and Belgium was cultivated. This interest was further developed during his study with the history painter Baron Henri Leys (1815-1869), whom he assisted on the frescoes in Antwerp's City Hall. He married Pauline Gressin (1837-1869) in 1863 and went on a honeymoon to Italy. Alma Tadema's visit to Pompeii refocused his attention from Northern Europe to the Mediterranean. After several paintings of Egyptian subject matter, one earning him a gold medal at his first Paris Salon (1864), he eventually concentrated on ancient Roman history. Meeting the influential London-based art dealer Ernest Gambart (1814-1902) turned out to be a crucial event in his career, and Alma Tadema provided Gambart with a group of sought-after paintings. Alma Tadema's often trivial genre subjects set in ancient times distinguished him from more traditional and idealizing neoclassicists such as Ingres (q.v.) or Leighton (q.v.). His formidable skills in depicting various materials, notably marble, formed the basis of his fame. Portraying the mysterious Romans as people of flesh and blood added to his work's popularity. His wife, who gave birth to twodaughters, Laurense (b. 1865) and Anna (b. 1867), died in 1869. He moved from Brussels to London in 1870, as his popularity there was steadily growing, and became a naturalized British citizen. Another reason for his move to London may have been that he had met there a young woman, Laura Epps (1852-1909), who would become his student and eventually his second wife in 1871. In his two successive London studio-houses, decorated in historicizing styles, he often entertained the social elite that formed his clientele. Around 1877 the Dutch art critic Carel Vosmaer started collecting information on his friend Alma Tadema's work in preparation for a catalogue raisonn\u00e9 that survives only in manuscript form. In 1879 Alma Tadema became a member of the Royal Academy, and in 1882 the Grosvenor Gallery organized a major retrospective of his work. Every critic agreed that his work displayed superior craftsmanship and archaeolog-ical correctness, although objections were raised as well, for example, against his surfeit attention to details, or his sole focus on a decadent Rome instead of addressing higher moral issues. Toward the end of his career, Alma Tadema also painted many portraits and designed stage decorations for plays. In addition to being knighted in England in 1899, he received many honorary titles through-out Europe. In 1913, one year after his death, the Royal Academy honored the artist by mounting a large exhibition of his work. Poorly visited, this homage paradoxically marked the beginning of a steep decline in the artist's reputation.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1912", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:43.867000"}, {"id": 161595, "accession_number": "2000.17", "share_license_status": "CC0", "tombstone": "Ren\u00e9-Charles Dassy and His Brother Jean-Baptiste-Claude-Am\u00e9d\u00e9 Dassy, 1850. Hippolyte Jean Flandrin (French, 1809\u20131864). Oil on canvas, original frame; framed: 173.5 x 134 x 14 cm (68 5/16 x 52 3/4 x 5 1/2 in.); unframed: 133.4 x 92.7 cm (52 1/2 x 36 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2000.17", "current_location": "219 19th Century European", "title": "Ren\u00e9-Charles Dassy and His Brother Jean-Baptiste-Claude-Am\u00e9d\u00e9 Dassy", "creation_date": "1850", "creation_date_earliest": 1850, "creation_date_latest": 1850, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas, original frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 173.5 x 134 x 14 cm (68 5/16 x 52 3/4 x 5 1/2 in.); Unframed: 133.4 x 92.7 cm (52 1/2 x 36 1/2 in.)", "dimensions": {"framed": {"height": 1.735, "width": 1.34, "depth": 0.14}, "unframed": {"height": 1.334, "width": 0.927}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated, lower right, Hip. Flandrin, 1850", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 351016, "title": "Hippolyte, Paul, Auguste. Les Flandrin, artistes et fr\u00e8res", "description": "<i>Hippolyte, Paul, Auguste. Les Flandrin, artistes et fr\u00e8res</i>. Mus\u00e9e des Beaux-Arts de Lyon, 69001 Lyon, France (organizer) (May 19-September 5, 2021).", "opening_date": "2021-05-19T04:00:00"}], "legacy": [{"description": "Paris, Salon of 1850, No. 1071", "opening_date": null}, {"description": "Paris, Exposition Universelle, 1855", "opening_date": null}, {"description": "Paris, Ecole Imp\u00e9riale des Beaux-Arts, Hippolyte Flandrin, 1865, No. 27", "opening_date": null}]}, "provenance": [{"description": "By descent through the sitter's family", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(W.M. Brady & Co. Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2000", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2000\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Thin walking sticks, like the one pictured here, were trendy accessories at the time.", "description": "This double portrait depicts two brothers dressed in the height of fashion for the 1850s, clearly asserting their social status. Jean-Baptiste (left, age 23) carries gloves and a walking stick. Ren\u00e9-Charles (right, age 25) wears an embroidered black velvet suit in the exotic \u00e0 la grecque mode (in the Greek style) inspired by the Greek war of independence (1821\u201332). Flandrin represents the figures in an academic style emphasizing line over color, reflecting his training as a pupil of J. A. D. Ingres.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477987"], "internet_archive": ["https://archive.org/details/clevelandart-2000.17-rene-charles-dassy-a"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cFrench 19th-Century Double Portrait Acquired; <em>Jazz Bowl</em> Purchased at Auction,\u201d June 19, 2000, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4343"}, {"citation": "\"A Selection of 2000 Museum Acquisitions.\" <em>Apollo: The International Magazine of Art &amp; Antiques</em> 152 (December 2000): 17\u201349.", "page_number": "Reproduced: P. 45", "url": ""}, {"citation": "Bellenger, Sylvain. \"Seeing Double.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 41, no. 1 (January 2001): 8-9.", "page_number": "Mentioned and reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2001-01/page/n7/mode/2up"}, {"citation": "Badea-Pa\u0306un, Gabriel. <em>The Society Portrait: From David to Warhol.</em> New York: Vendome Press, 2007.", "page_number": "Reproduced: P. 84; Mentioned: P. 86", "url": ""}, {"citation": "Marchetti, Elena, and Ste\u0301phane Paccoud. <em>Hippolyte, Paul, Auguste: lLs Flandrin, Artistes et Fre\u0300res.</em> [Lyon]: Muse\u0301e des Beaux-Arts de Lyon; [Paris]: In Fine, 2021.", "page_number": "Reproduced: P. 243, cat. no. 270", "url": ""}], "url": "https://clevelandart.org/art/2000.17", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2000.17/2000.17_web.jpg", "width": "617", "height": "893", "filesize": "279153", "filename": "2000.17_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2000.17/2000.17_print.jpg", "width": "2348", "height": "3400", "filesize": "4035120", "filename": "2000.17_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2000.17/2000.17_full.tif", "width": "2915", "height": "4221", "filesize": "36924796", "filename": "2000.17_full.tif"}}, "alternate_images": [{"date_created": "2007-07-24T13:35:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.17/2000.17_alt0_web.jpg", "width": "622", "height": "893", "filesize": "268586"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.17/2000.17_alt0_print.jpg", "width": "2370", "height": "3400", "filesize": "4626199"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.17/2000.17_alt0_full.tif", "width": "3974", "height": "5700", "filesize": "67985816"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 161595, "creators": [{"id": 13387, "description": "Hippolyte Jean Flandrin (French, 1809\u20131864)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1809", "death_year": "1864", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-06-05T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "1850", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:54.834000"}, {"id": 126086, "accession_number": "1948.306", "share_license_status": "CC0", "tombstone": "Driving Rain at Sh\u014dno, from Fifty-Three Stations of the Tokaid\u014d (\u6771\u6d77\u9053\u4e94\u5341\u4e09\u6b21\u4e4b\u5185\u3000\u5e84\u91ce\u3000\u767d\u96e8), 1833. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; 38 x 25.4 cm (14 15/16 x 10 in.). The Cleveland Museum of Art, Gift of Mrs. T. Wingate Todd from the Collection of Dr. T. Wingate Todd, 1948.306", "current_location": "235A Japanese", "title": "Driving Rain at Sh\u014dno, from Fifty-Three Stations of the Tokaid\u014d", "title_in_original_language": "\u6771\u6d77\u9053\u4e94\u5341\u4e09\u6b21\u4e4b\u5185\u3000\u5e84\u91ce\u3000\u767d\u96e8", "creation_date": "1833", "creation_date_earliest": 1833, "creation_date_latest": 1833, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "38 x 25.4 cm (14 15/16 x 10 in.)", "dimensions": {"No Extent Specified": {"height": 0.38, "width": 0.254}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga.\nPublisher: Takenouchi Magohachi (Hoeido han).\nSeal: kiwame.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 304431, "title": "Japanese Woodblock Prints: Themes and Techniques", "description": "<i>Japanese Woodblock Prints: Themes and Techniques</i>. The Cleveland Museum of Art (organizer) (September 3-October 19, 1980).", "opening_date": "1980-09-03T04:00:00"}, {"id": 304542, "title": "Promenades, Pageants, Processions, and Pilgrimages", "description": "<i>Promenades, Pageants, Processions, and Pilgrimages</i>. The Cleveland Museum of Art (organizer) (August 25, 1981-January 3, 1982).", "opening_date": "1981-08-25T04:00:00"}, {"id": 309857, "title": "Transformations in Japanese Printmaking", "description": "<i>Transformations in Japanese Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25-December 30, 1984).", "opening_date": "1984-09-25T04:00:00"}, {"id": 310122, "title": "The View from Afar: Whistler and the Japanese Print", "description": "<i>The View from Afar: Whistler and the Japanese Print</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 9-October 16, 1988).", "opening_date": "1988-08-09T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (February 20-May 6, 2003).", "opening_date": "2003-02-20T00:00:00"}]}, "provenance": [{"description": "Mrs. T. Wingate [Eleanor Pearson] Todd [1889\u20131965], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131948", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1948\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A large red seal with the publisher\u2019s name, Takenouchi, is stamped on the left side of the print.", "description": "Utagawa Hiroshige\u2019s design for this print captures the atmospheric qualities of rain and its effects on two groups of travelers. Three printing blocks were required to produce the three shades of gray used to suggest distance in the thickets of bamboo in the background. The publisher\u2019s name, \u201cTakenouchi,\u201d and part of the series title, <em>Fifty-Three Stations</em>, are written on one person\u2019s umbrella. Hiroshige created many different print series on the Tokaid\u014d, a road that ran from Kyoto to Edo (now Tokyo). Sh\u014dno was a minor way station along this largely coastal route.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780919"], "internet_archive": ["https://archive.org/details/clevelandart-1948.306-driving-rain-at-shon"]}, "citations": [], "url": "https://clevelandart.org/art/1948.306", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1948.306/1948.306_web.jpg", "width": "900", "height": "601", "filesize": "268702", "filename": "1948.306_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1948.306/1948.306_print.jpg", "width": "3400", "height": "2270", "filesize": "3611531", "filename": "1948.306_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1948.306/1948.306_full.tif", "width": "11966", "height": "7990", "filesize": "286856240", "filename": "1948.306_full.tif"}}, "alternate_images": [{"date_created": "2014-07-16T09:34:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.306/1948.306_alt0_web.jpg", "width": "900", "height": "601", "filesize": "215995"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.306/1948.306_alt0_print.jpg", "width": "3400", "height": "2270", "filesize": "2424888"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1948.306/1948.306_alt0_full.tif", "width": "7884", "height": "5263", "filesize": "124510584"}}], "creditline": "Gift of Mrs. T. Wingate Todd from the Collection of Dr. T. Wingate Todd", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126086, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "sortable_date": 1833, "date_added_to_oa": null, "date_text": "1833", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Driving Rain at Sh\u014dno from the series Fifty-Three Stations of the Tokaid\u014d"], "is_highlight": false, "updated_at": "2026-03-26 23:59:46.496000"}, {"id": 157104, "accession_number": "1993.236", "share_license_status": "CC0", "tombstone": "The Seine at Bas-Meudon, 1865. Johan Barthold Jongkind (Dutch, 1819\u20131891). Oil on fabric; framed: 55.6 x 69.5 x 11.1 cm (21 7/8 x 27 3/8 x 4 3/8 in.); unframed: 34.1 x 48.1 cm (13 7/16 x 18 15/16 in.). The Cleveland Museum of Art, Gift of the family of Constance Mather Bishop, 1993.236", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Seine at Bas-Meudon", "creation_date": "1865", "creation_date_earliest": 1865, "creation_date_latest": 1865, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 55.6 x 69.5 x 11.1 cm (21 7/8 x 27 3/8 x 4 3/8 in.); Unframed: 34.1 x 48.1 cm (13 7/16 x 18 15/16 in.)", "dimensions": {"framed": {"height": 0.556, "width": 0.695, "depth": 0.111}, "unframed": {"height": 0.341, "width": 0.481}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Jongkind 1865 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Tableaux et Aquarelles de Jongkind.</em> Galeries Durand-Ruel, Paris,France (1899).", "opening_date": null}, {"description": "<em>French Paintings of the Later Nineteenth Century.</em> Cleveland Museum of Art, Cleveland, OH (1921).", "opening_date": "1921-01-01T00:00:00"}]}, "provenance": [{"description": "(Possibly Hotel Drouot, Paris, France, April 12-14, 1883, lot 84, sale Bascle Collection, sold to Paul Dutrimont)", "citations": [], "footnotes": [], "date": "1883", "sortorder": 1}, {"description": "(Galerie George Petit, Paris, France, December 3-4, 1906, sale, Alexandre Blanc Collection, sold to Paul Detrimont, according to annotated catalogue in Frick library)", "citations": [], "footnotes": [], "date": "1906", "sortorder": 2}, {"description": "Samuel Mather [1851-1931], Cleveland, OH, by descent to his daughter, Constance Mather Bishop", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Mrs. Robert H. Bishop, Jr., (Constance Mather Bishop) [1889-1969], Novelty, OH, by descent to her son, Dr. Johnathan S. Bishop", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Dr. Johathan S. Bishop, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1993", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1993-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fellow artist Edouard Manet considered Jongkind the \"father of modern landscape painting.\"", "description": "Although born and trained in Holland, Jongkind spent much of his life painting outdoors in France. In this depiction of Bas-Meudon near Paris, the artist applied paint in small patches of bright color to suggest the intensity of outdoor light. Although typcially finished in the studio from open-air sketches, Jongkind's oil paintings achieve a convincing immediacy that greatly impressed the young Claude Monet. The two met in the early 1860s and spent part of a summer painting together along the coast of Normandy. \"From that time he was my real master,\" Monet later acknowledged, \"it was to him that I owe the final education of my eye.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477008"], "internet_archive": ["https://archive.org/details/clevelandart-1993.236-the-seine-at-bas-meu"]}, "citations": [{"citation": "Moreau-Ne\u0301laton, Etienne. <em>Jongkind raconte\u0301 par lui-me\u0302me</em>. Paris, France: H. Laurens, 1918.", "page_number": "Mentioned: p. 87-88", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland.</em> Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: v. 2, p. 155", "url": null}, {"citation": "Hefting, Victorine. <em>Jongkind d'apre\u0300s sa correspondance</em>. Utrecht, Netherlands: Haentjens Dekker &amp; Gumbert, 1969.", "page_number": "Mentioned p. 155, letter 2131", "url": null}, {"citation": "Hefting, Victorine. <em>Jongkind: sa vie, son \u0153uvre, son e\u0301poque</em>. Paris, France: Arts et me\u0301tiers graphiques, 1975.", "page_number": "Reproduced: p. 356", "url": null}, {"citation": "Hefting, Victorine. <em>J. B. Jongkind: voorloper van het impressionisme</em>. Amsterdam, Netherlands: Bakker, 1992.", "page_number": "Reproduced: p. 102", "url": null}, {"citation": "\u201c1993 Annual Report.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (July 1994): 143\u2013218.", "page_number": "Mentioned: p. 163", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "D' Argencourt, Louise, and Roger Diederen.<em> Catalogue of Paintings. Pt. 4. European Paintings of the 19th Century.</em> Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: v. 2, p. 377-379, no. 131", "url": null}, {"citation": "Stein, Adolphe. <em>Jongkind: catalogue critique de l'oeuvre</em>. Paris, France: Brame &amp; Lorenceau, 2003.", "page_number": "Reproduced: p. 172, fig. 368", "url": null}], "url": "https://clevelandart.org/art/1993.236", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1993.236/1993.236_web.jpg", "width": "1263", "height": "892", "filesize": "919635", "filename": "1993.236_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1993.236/1993.236_print.jpg", "width": "3400", "height": "2401", "filesize": "6612123", "filename": "1993.236_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1993.236/1993.236_full.tif", "width": "5000", "height": "3531", "filesize": "52995924", "filename": "1993.236_full.tif"}}, "alternate_images": [], "creditline": "Gift of the family of Constance Mather Bishop", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 157104, "creators": [{"id": 1788, "description": "Johan Barthold Jongkind (Dutch, 1819\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1819", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-02-15T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:09.605000"}, {"id": 152818, "accession_number": "1985.69", "share_license_status": "CC0", "tombstone": "Wall Charger Depicting Two Birds, 1879. Edouard Lievre (French, 1829\u20131886), Fernand Thesmar (French, 1843\u20131912). Cloisonn\u00e9 and painted enamel mounted in gilt metal frame; framed: 50.7 x 50.7 cm (19 15/16 x 19 15/16 in.); diameter: 28.9 cm (11 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Arthur F. Connard in memory of Jacob B. Perkins and Family, 1985.69", "current_location": "221 19th Century Decorative Arts", "title": "Wall Charger Depicting Two Birds", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "cloisonn\u00e9 and painted enamel mounted in gilt metal frame", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Enamel", "measurements": "Framed: 50.7 x 50.7 cm (19 15/16 x 19 15/16 in.); Diameter: 28.9 cm (11 3/8 in.)", "dimensions": {"framed": {"height": 0.507, "width": 0.507}, "diameter": {"width": 0.289}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on front of the plaque, monogrammed and dated 1879.  ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Jacob B. Perkins; Mrs. Arthur F. Connard, Rocky River, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After Japan was opened to the West in the 1860s, Western craftsmen exposed to these new artistic sensibilities popularized the delicate natural and floral motifs that were characteristic of Japanese design.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781165"], "internet_archive": ["https://archive.org/details/clevelandart-1985.69-wall-charger-depicti"]}, "citations": [], "url": "https://clevelandart.org/art/1985.69", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.69/1985.69_web.jpg", "width": "923", "height": "893", "filesize": "773179", "filename": "1985.69_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.69/1985.69_print.jpg", "width": "3400", "height": "3289", "filesize": "9941023", "filename": "1985.69_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.69/1985.69_full.tif", "width": "4776", "height": "4620", "filesize": "66237740", "filename": "1985.69_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.69/1985.69_alt0_web.jpg", "width": "879", "height": "893", "filesize": "834050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.69/1985.69_alt0_print.jpg", "width": "1536", "height": "1560", "filesize": "2643387"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.69/1985.69_alt0_full.tif", "width": "1536", "height": "1560", "filesize": "7191156"}}], "creditline": "Gift of Mrs. Arthur F. Connard in memory of Jacob B. Perkins and Family", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152818, "creators": [{"id": 388593, "description": "Edouard Lievre (French, 1829\u20131886)", "extent": null, "qualifier": null, "role": null, "biography": "artist 1829-1886", "name_in_original_language": null, "birth_year": "1829", "death_year": "1886", "use_in_caption": true, "include_extent": false, "weight": 0}, {"id": 14394, "description": "Fernand Thesmar (French, 1843\u20131912)", "extent": null, "qualifier": null, "role": "enamelist", "biography": null, "name_in_original_language": null, "birth_year": "1843", "death_year": "1912", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-05-29T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:35.864000"}, {"id": 147520, "accession_number": "1973.30", "share_license_status": "CC0", "tombstone": "Card Rack with a Jack of Hearts, c.1895. John F. Peto (American, 1854\u20131907). Oil on canvas; framed: 95.9 x 83.2 x 4.4 cm (37 3/4 x 32 3/4 x 1 3/4 in.); unframed: 76.2 x 63.5 cm (30 x 25 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1973.30", "current_location": null, "title": "Card Rack with a Jack of Hearts", "creation_date": "c.1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 95.9 x 83.2 x 4.4 cm (37 3/4 x 32 3/4 x 1 3/4 in.); Unframed: 76.2 x 63.5 cm (30 x 25 in.)", "dimensions": {"framed": {"height": 0.959, "width": 0.832, "depth": 0.044}, "unframed": {"height": 0.762, "width": 0.635}, "former": {"height": 0.959, "width": 0.832, "depth": 0.057}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper right: \"J F P\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}, {"id": 302330, "title": "Heritage and Horizon: American Painting 1776 - 1976", "description": "<i>Heritage and Horizon: American Painting 1776 - 1976</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (March 7-April 11, 1976); The Detroit Institute of Arts, Detroit, MI (May 2-June 13, 1976); The Toledo Museum of Art, Toledo, OH (July 4-August 15, 1976); The Cleveland Museum of Art, Cleveland, OH (September 8-October 10, 1976).", "opening_date": "1976-03-07T05:00:00"}, {"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": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}, {"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": "Northampton, Mass., Smith College Museum of Art, John F. Peto (1-24 March 1950); traveled to Brooklyn, The Brooklyn Museum of Art (11 April-21 May 1950); San Francisco, California Palace of the Legion of Honor (10 June-9 July 1950); cat. no. 36, not illus.", "opening_date": "1950-04-11T00:00:00"}, {"description": "New York, Hirschl &amp; Adler Galleries Inc., Faces and Places: Changing Images of 19th Century America (5 December 1972-6 January 1973)", "opening_date": "1972-12-05T00:00:00"}, {"description": "Buffalo, Albright-Knox Art Gallery, Heritage and Horizon: American Painting, 1776-1976 (6 March-11 April 1976); Detroit, The Detroit Institute of Arts (5 May-13 June 1976); Toledo, The Toledo Museum of Art (4 July-15 August 1976); Cleveland, The Cleveland Museum of Art (8 September-10 October 1976), illus. cat. no. 24.", "opening_date": "1976-03-06T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art, Important Information Inside: The Art of John F. Peto and the Idea of Still-Life Painting in Nineteenth-Century America (16 January-29 May 1983); traveled to Fort Worth, Amon Carter Museum (15 July-18 September 1983), cat. no. 189, illus. p. 201.", "opening_date": "1983-01-16T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art Still-Life Paintings in Gallery 222 (1992?), pamphlet which seems to have accompanied a small show of still-lifes owned by the CMA; the 8/92 at the end of the pamphlet seems to indicate that is when this show took place, but this could not be confirmed.", "opening_date": "1992-08-01T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1973-", "sortorder": 1}, {"description": "(Hirschl & Adler Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1972-1973", "sortorder": 2}, {"description": "Alice Kaplan [1903-1995], New York, NY1", "citations": [], "footnotes": ["<div><!--block-->1 Alice Kaplan was a prominent New York City art collector and patron.&nbsp; Presumably, she purchased the painting from Kennedy Galleries, possibly in 1965.</div>"], "date": "Probably 1965-1972", "sortorder": 3}, {"description": "(Kennedy Galleries, New York, NY, probably sold to Alice Kaplan)", "citations": [], "footnotes": null, "date": "By 1965", "sortorder": 4}, {"description": "Howard Keyser III [1904-1980], Island Heights, NJ and Philadelphia, PA, consigned to the Kennedy Galleries 1", "citations": [], "footnotes": ["<div><!--block-->1 The circumstances of Keyser\u2019s acquisition of the painting are unknown, but the scholarly record hints at two possible scenarios.&nbsp; According to Alfred V. Frankenstein, Peto sold a number of paintings to James M. Bryant [1853-1923], of Island Heights, NJ, and these paintings were dispersed among Bryant\u2019s son-in-law, Howard Keyser, Jr. [1875-1959], and Keyser\u2019s four children:&nbsp; James, Cheston, Mrs. William Wood, and Howard III.&nbsp; Alternatively, according to a 1964 article about Peto's studio, there was \"a Mr. Keyser who had bought paintings from Peto through the years for a few dollars\u201d; presumably, this references Howard Keyser, Jr., who in turn could have passed ownership of the Cleveland painting to his son, Howard Keyser III.&nbsp; We know for certain that Howard Keyser III had the painting by July 21, 1947, when Frankenstein compiled a list of the Peto paintings located in Keyser's Island Heights home (the Cleveland Peto is No. 7).</div>"], "date": "By 1947 - by 1965", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Living in a New Jersey resort town, Peto sold some of his paintings to tourists.", "description": "Like modern-day bulletin boards, card racks were used to gather newspaper clippings, scraps of paper, and other ephemera in one place. Although it is unclear if the items seen here carry symbolic meaning, they nevertheless demonstrate the human desire to collect and recollect. Their tattered state and frayed edges further evoke a sense of memory and nostalgia. The illusionistic quality of Peto\u2019s pictures makes the objects appear to exist in real space. Even the cigarette butt perched at the bottom looks ready to be plucked from the painting\u2019s frame.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472526"], "internet_archive": ["https://archive.org/details/clevelandart-1973.30-card-rack-with-a-jac"]}, "citations": [{"citation": "Alfred Victor Frankenstein papers, 1861-1980, Archives of American Art, Smithsonian Institution [Reels 1376-1377].", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. \"American Painting.\" Cleveland, OH: The Cleveland Museum of Art, no date.", "page_number": "Mentioned and reproduced (unpaginated pamphlet)", "url": ""}, {"citation": "Frankenstein, Alfred. \"Harnett, True and False.\" <em>The Art Bulletin</em> 31, No.1 (March 1949): 38-56.", "page_number": "Mentioned (unpaginated): Fig.8 as \"Rack picture\"", "url": "https://www.jstor.org/stable/3047212"}, {"citation": "Brooklyn Museum, and Alfred V. Frankenstein. <em>John F. Peto: Catalogue of the Exhibition with a Critical Biography by Alfred Frankenstein</em>. Brooklyn, NY: Brooklyn Museum, 1950.", "page_number": "Mentioned: p.48", "url": ""}, {"citation": "R[egina].S[oria]. \"John F. Peto's Studio.\" <em>Archives of American Art</em> 4, No.1 (January 1964).", "page_number": "Mentioned: p.8", "url": "https://www.jstor.org/stable/1557006"}, {"citation": "Stuart P. Feld, email to Victoria Sears Goldman, April 3, 2013, in CMA curatorial file.", "page_number": "Mentioned:  p.73; Reproduced: p.72", "url": null}, {"citation": "Kennedy Galleries. \"Recorders, Deceivers and Dreamers: A sampling of the variety and vitality of American painting.\" <em>The Kennedy Quarterly</em> 5, No.2 (January 1965).", "page_number": "Mentioned: p.73; Reproduced: p.72", "url": ""}, {"citation": "Frankenstein, Alfred V. <em>After the Hunt; William Harnett and Other American Still Life Painters, 1870-1900</em>. Berkeley, CA: University of California Press, 1969.", "page_number": "Mentioned: p.xviii, 108; Reproduced (unpaginated)", "url": null}, {"citation": "\"This man's painting looks like collage.\" <em>Sun Press</em>, October 18, 1973.", "page_number": "Mentioned (unpaginated)", "url": ""}, {"citation": "Metropolitan Museum of Art (New York, N.Y.), and Detroit Institute of Arts. <em>The Art Quarterly</em> 37, No.1 (Spring 1974). New York, NY: Metropolitan Museum of Art, 1974.", "page_number": "Mentioned: p.100", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Bulletin of the Cleveland Museum of Art</em>, 61, No.2 (February 1974). Cleveland, OH: The Cleveland Museum of Art, 1974.", "page_number": "Mentioned: p.74; Reproduced: p.53", "url": "https://www.jstor.org/stable/25152513"}, {"citation": "Hinson, Tom E. \"Eddy: New Shoes for H.\" <em>The Bulletin of the Cleveland Museum of Art</em> 62, No.10 (December 1975).", "page_number": "Mentioned: p.296; Reproduced: p.297", "url": "https://www.jstor.org/stable/25152614"}, {"citation": "Albright-Knox Art Gallery, Detroit Institute of Arts, and Toledo Museum of Art. <em>Heritage and Horizon: American Painting, 1776-1976. </em>Exh. Cat. Toledo, OH: Toledo Museum of Art, 1976.", "page_number": "Mentioned: pp.7, 40:  Reproduced: p.40", "url": ""}, {"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. 236", "url": "https://archive.org/details/CMAHandbook1978/page/n256"}, {"citation": "Wilmerding, John.<em> Important Information Inside: The Art of John F. Peto and the Idea of Still-Life Painting in Nineteenth-Century America</em>. Washington D.C.: National Gallery of Art, 1983.", "page_number": "Mentioned: pp.204, 243, 254; Reproduced: p.201", "url": "nga.gov/research/publications/pdf-library/important-information-inside.html"}, {"citation": "Dreiss, Joseph. \"John F. Peto.\" <em>Arts Magazine</em> 57, No.8 (April 1983).", "page_number": "Mentioned and reproduced: p.19", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p.138", "url": "archive.org/details/CMAHandbook1991/page/n153/mode/2up"}, {"citation": "Wilmerding, John. <em>American Views: Essays on American Art</em>. Princeton, N.J.: Princeton University Press, 1991.", "page_number": "Mentioned: p.xvii, 297; Reproduced: p.299", "url": ""}, {"citation": "The Cleveland Museum of Art. Still-Life Paintings in Gallery 222: The Cleveland Museum of Art. Cleveland, OH: The Cleveland Museum of Art, 1992.", "page_number": "Mentioned (unpaginated brochure)", "url": ""}, {"citation": "The Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p.177", "url": ""}, {"citation": "Capek, Michael. <em>Artistic Trickery: The Tradition of Trompe L'oeil Art</em>. Minneapolis, MN: Lerner Publications Company, 1995.", "page_number": "Mentioned and reproduced: p.45", "url": ""}, {"citation": "Pelfrey, Robert H. <em>Art and Mass Media</em>. Dubuque, IA: Kendall/Hunt Publishing Company, 1996.", "page_number": "Mentioned: p.275; Reproduced: p.276", "url": ""}, {"citation": "Wilmerding, John. <em>Compass and Clock: Defining Moments in American Culture: 1800, 1850, 1900</em>. New York, NY: Harry N. Abrams, 1999.", "page_number": "Reproduced: p.201", "url": ""}, {"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": "no. 50, p. 188, color repr. p. 26", "url": null}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 87, & p. 102 - 103", "url": ""}, {"citation": "Wilmerding, John. \"Images of Lincoln in Peto's Late Paintings.\" <em>Archives of American Art Journal</em> 22, No.2 (1982).", "page_number": "Mentioned: p.9; Reproduced: p.10", "url": "https://www.jstor.org/stable/1557400"}], "url": "https://clevelandart.org/art/1973.30", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.30/1973.30_web.jpg", "width": "742", "height": "893", "filesize": "332959", "filename": "1973.30_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.30/1973.30_print.jpg", "width": "2824", "height": "3400", "filesize": "4654748", "filename": "1973.30_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.30/1973.30_full.tif", "width": "4153", "height": "5000", "filesize": "62327204", "filename": "1973.30_full.tif"}}, "alternate_images": [{"date_created": "2010-07-19T19:23:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.30/1973.30_alt0_web.jpg", "width": "775", "height": "900", "filesize": "223917"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.30/1973.30_alt0_print.jpg", "width": "2929", "height": "3400", "filesize": "2191816"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.30/1973.30_alt0_full.tif", "width": "4640", "height": "5387", "filesize": "75015800"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147520, "creators": [{"id": 3237, "description": "John F. Peto (American, 1854\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1854", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c.1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:05.280000"}, {"id": 142735, "accession_number": "1966.444", "share_license_status": "CC0", "tombstone": "Flower Study of Forget-Me-Nots, c. 1885\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Turquoise, diamonds, rock crystal, silver gilt; overall: 8.9 x 3.1 cm (3 1/2 x 1 1/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.444", "current_location": "211 Faberg\u00e9", "title": "Flower Study of Forget-Me-Nots", "creation_date": "c. 1885\u20131915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "turquoise, diamonds, rock crystal, silver gilt", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 8.9 x 3.1 cm (3 1/2 x 1 1/4 in.)", "dimensions": {"overall": {"height": 0.089, "width": 0.031}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Faberg\u00e9\u2019s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "These delicate flowers, resembling a bouquet of forget-me-nots, are composed of finely rounded turquoise stones set around rose-cut diamonds on silver-gilt stems placed in rock crystal pots. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760801"], "internet_archive": ["https://archive.org/details/clevelandart-1966.444-flower-study-of-forg"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Reproduced: p. 76; Mentioned: p.78, cat. 35.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p, 110, cat. 90", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Swezey, Marilyn Pfeifer, Caroline de Guitaut, and Joyce Lasky Reed. <em>Faberge\u0301 Flowers</em>. New York: Harry N. Abrams, Publishers, 2004.", "page_number": "Mentioned and reproduced: pp. 74-75.", "url": "https://ingallslibrary.on.worldcat.org/oclc/54046274"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: pp. 180-181, cat. 52.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.444", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.444/1966.444_web.jpg", "width": "778", "height": "900", "filesize": "156069", "filename": "1966.444_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.444/1966.444_print.jpg", "width": "2939", "height": "3400", "filesize": "1293539", "filename": "1966.444_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.444/1966.444_full.tif", "width": "3917", "height": "4532", "filesize": "53279836", "filename": "1966.444_full.tif"}}, "alternate_images": [{"date_created": "2008-05-28T18:02:07", "annotation": "", "web": 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Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\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": "2026-03-27 00:10:38.602000"}, {"id": 142736, "accession_number": "1966.445", "share_license_status": "CC0", "tombstone": "Flower Study of a Miniature Lily of the Valley, c. 1885\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Pearls, jade, rock crystal, gold, diamonds; overall: 5.1 x 2.3 cm (2 x 7/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.445", "current_location": "211 Faberg\u00e9", "title": "Flower Study of a Miniature Lily of the Valley", "creation_date": "c. 1885\u20131915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "pearls, jade, rock crystal, gold, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 5.1 x 2.3 cm (2 x 7/8 in.)", "dimensions": {"overall": {"height": 0.051, "width": 0.023}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Small and delicate, Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by Tsarina Alexandra and others in the court. She kept them in all the palaces as a reminder of spring during the harsh Russian winters.", "description": "A small, carved rock crystal vase holds this lily of the valley study. The pearls, forming the flower\u2019s buds, are drilled and attached to the remarkably slim gold stem. The hand-cut nephrite (jade) leaves enhance the naturalistic aura of the flower. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761691"], "internet_archive": ["https://archive.org/details/clevelandart-1966.445-flower-study-of-a-mi"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Reproduced: p. 77; Mentioned: p. 79, cat. 37.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: pp. 110-11, cat. 92.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Swezey, Marilyn Pfeifer, Caroline de Guitaut, and Joyce Lasky Reed. <em>Faberge\u0301 Flowers</em>. New York: Harry N. Abrams, Publishers, 2004.", "page_number": "Mentioned and reproduced: pp. 74-5.", "url": "https://ingallslibrary.on.worldcat.org/oclc/54046274"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: pp. 180-181, cat. 73.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.445", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.445/1966.445_web.jpg", "width": "767", "height": "900", "filesize": "150903", "filename": "1966.445_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.445/1966.445_print.jpg", "width": "2896", "height": "3400", "filesize": "1106234", "filename": "1966.445_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.445/1966.445_full.tif", "width": "4003", "height": "4700", "filesize": "56466444", "filename": "1966.445_full.tif"}}, "alternate_images": [{"date_created": "2008-05-28T18:25:10", "annotation": "", "web": 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The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2016.33", "current_location": "108A African", "title": "Male Figure (Ofika)", "creation_date": "late 1800s or early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Mbole-style carver"], "technique": "Wood, colorant, and upholstery studs", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "42.2 cm (16 5/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.422}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 306886, "title": "Recent Acquisitions", "description": "<i>Recent Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-June 7, 2018).", "opening_date": "2018-03-17T04:00:00"}, {"id": 324225, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20, 2019-October 5, 2020).", "opening_date": "2019-02-20T05:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (03/17/2018-06/06/2018): \"Recent Acquisitions 2014-2017\"", "opening_date": "2018-03-17T00:00:00"}, {"description": "<em>Utotombo, The Art of Black Africa in Belgian Private Collections</em>, Palais des Beaux-Arts, Brussels, Belgium (03/25/1988-06/05/1988)", "opening_date": "1988-03-25T05:00:00Z"}]}, "provenance": [{"description": "Field-collected by Pierre Dartevelle", "citations": [], "footnotes": ["<div><!--block-->Sales invoice November 24, 1995, Curatorial Files</div>"], "date": "1971", "sortorder": 1}, {"description": "Phillipe Guimiot, Brussels, BE, sold to Atlantic Art Partners", "citations": [], "footnotes": ["<div><!--block-->Sales invoice November 24, 1995, Curatorial Files</div>"], "date": "1971\u20131995", "sortorder": 2}, {"description": "Atlantic Art Partners I, LLC, New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->Sales invoice November 24, 1995, Curatorial Files</div>"], "date": "1995\u20132016", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2016\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stripe painted down the figure's torso represents the cord used for execution.", "description": "Figures such as this, known as <em>ofika, </em>were central to the initiation practices and the enforcement of laws among the all-male Lilwa association, a hierarchical organization that served educational, judicial, political, economic, and ritual functions among the Mbole. Meant to instill a moral code and to act as a cautionary symbol during initiation for Lilwa novices, ofika figures are believed to represent criminals who were ritually hanged for transgressions against Lilwa laws. The figure\u2019s encrusted surface imitates how members covered their bodies with a substance made of ashes and palm oil during burial rites.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79870518"], "internet_archive": ["https://archive.org/details/clevelandart-2016.33-male-figure-ofika"]}, "citations": [{"citation": "Petridis, Constantine. \u201cAcquisition Highlights 2016: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 17.", "page_number": "Reproduced: P. 17; Mentioned: P. 7, 17", "url": "https://archive.org/details/CMAMM2017-02/page/n7/mode/2up"}, {"citation": "Lemonedes, Heather. \u201cAcquisition Highlights.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>58, no. 2 (March/April 2018): 6-7.", "page_number": "Reproduced: P. 7", "url": "https://archive.org/details/CMAMM2018-02/page/n3/mode/2up"}, {"citation": "<em>African Arts</em> (Winter 1996, XXIX, 1). Back cover.", "page_number": "Back cover", "url": ""}, {"citation": "Bastin et al, <em>Utotombo. L'art d'Afrique noire dans les collections priv\u00e9es belges. </em>Brussels: Soci\u00e9t\u00e9 des expositions, 1998. Cat. 250, p. 244", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2016.33", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2016.33/2016.33_web.jpg", "width": "621", "height": "900", "filesize": "118706", "filename": "2016.33_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2016.33/2016.33_print.jpg", "width": "2347", "height": "3400", "filesize": "1360901", "filename": "2016.33_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2016.33/2016.33_full.tif", "width": "5522", "height": "8000", "filesize": "132559356", "filename": "2016.33_full.tif"}}, "alternate_images": [{"date_created": "2016-06-03T13:25:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt0_web.jpg", "width": "627", "height": "900", "filesize": "116118"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt0_print.jpg", "width": "2367", "height": "3400", "filesize": "1348461"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt0_full.tif", "width": "5569", "height": "8000", "filesize": "133685916"}}, {"date_created": "2016-06-03T13:02:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt1_web.jpg", "width": "644", "height": "900", "filesize": "120516"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt1_print.jpg", "width": "2433", "height": "3400", "filesize": "1361670"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt1_full.tif", "width": "5598", "height": "7822", "filesize": "131393496"}}, {"date_created": "2016-06-03T14:22:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt2_web.jpg", "width": "568", "height": "900", "filesize": "96666"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt2_print.jpg", "width": "2146", "height": "3400", "filesize": "1057882"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt2_full.tif", "width": "5050", "height": "8000", "filesize": "121232256"}}, {"date_created": "2016-06-03T14:31:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt3_web.jpg", "width": "547", "height": "900", "filesize": "100192"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt3_print.jpg", "width": "2068", "height": "3400", "filesize": "1125866"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt3_full.tif", "width": "4867", "height": "8000", "filesize": "116839652"}}, {"date_created": "2016-06-03T14:38:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt4_web.jpg", "width": "577", "height": "900", "filesize": "110196"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt4_print.jpg", "width": "2179", "height": "3400", "filesize": "1312933"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.33/2016.33_alt4_full.tif", "width": "5041", "height": "7867", "filesize": "119003728"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 286015, "creators": [], "legal_status": "accessioned", "accession_date": "2016-06-09T00:00:00-04:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s or early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:37.850000"}, {"id": 112932, "accession_number": "1931.50", "share_license_status": "CC0", "tombstone": "Beatrice, 1897. Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936), published by Ambroise Vollard (French, 1867\u20131939). Color lithograph on China paper laid on wove paper; image: 33.6 x 29.6 cm (13 1/4 x 11 5/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1931.50", "current_location": null, "title": "Beatrice", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "color lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 33.6 x 29.6 cm (13 1/4 x 11 5/8 in.)", "dimensions": {"image": {"height": 0.336, "width": 0.296}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "Signed, lower right of image, in graphite: ODILON REDON; initialed on stone, upper right corner: OR", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301501, "title": "40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 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": 311560, "title": "Drawn on Stone: 19th-Century Lithography", "description": "<i>Drawn on Stone: 19th-Century Lithography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25, 1993-February 20, 1994).", "opening_date": "1993-09-25T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": [{"description": "<em>Nabi Prints: Ritual and Reality</em>. Spencer Museum of Art, University of Kansas, Lawrence, KS (March 1 - April 8, 1979).", "opening_date": "1979-03-01T00:00:00"}]}, "provenance": [{"description": "(Yvonne Conter, Geneva, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1931", "sortorder": 1}, {"description": "The Print Club of Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1931", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1931-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was published in <em>L'Album d'Estampes Originales</em>, a portfolio of lithographs edited by Vollard that included works by some of the leading artists of the day including Bonnard, C\u00e9zanne, Toulouse-Lautrec, Vuillard, and Whistler.", "description": "This print represents Odilon Redon\u2019s fullest experimentation with color lithography. Although he occasionally printed works in a single color, he only made one work in a full range of tones. Revisiting the subject of a pastel from about a decade earlier, <em>Beatrice </em>portrays a recurring figure in Redon\u2019s work\u2014the woman who inspired Italian poet Dante Alighieri (1265\u20131321). Working with his frequent collaborators during the 1890s, printer Auguste Clot and publisher Ambroise Vollard, Redon used muted shades to suggest Beatrice\u2019s ethereal presence and her timeless role as an artistic muse.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005364"], "internet_archive": ["https://archive.org/details/clevelandart-1931.50-beatrice"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: B\u00e9atrice.", "page_number": "Mentioned: p. 58", "url": "https://archive.org/details/Lithography/page/n65"}], "catalogue_raisonne": "Mellerio 168", "url": "https://clevelandart.org/art/1931.50", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.50/1931.50_web.jpg", "width": "793", "height": "893", "filesize": "419467", "filename": "1931.50_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.50/1931.50_print.jpg", "width": "3020", "height": "3400", "filesize": "6496143", "filename": "1931.50_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.50/1931.50_full.tif", "width": "3270", "height": "3682", "filesize": "36150448", "filename": "1931.50_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112932, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1931-02-13T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["B\u00e9atrice", "l'Album des peintres-graveurs: B\u00e9atrice"], "is_highlight": false, "updated_at": "2026-03-27 00:09:28.849000"}, {"id": 121288, "accession_number": "1942.1159", "share_license_status": "CC0", "tombstone": "Portrait of Sandford Peacocke, 1801. William Wood (British, c. 1768\u20131809). Watercolor on ivory in a gold frame with glazed reverse; framed: 8.6 x 7.3 cm (3 3/8 x 2 7/8 in.); sight: 8 x 6.7 cm (3 1/8 x 2 5/8 in.). The Cleveland Museum of Art, The Edward B. Greene Collection, 1942.1159", "current_location": "203B British Painting and Decorative Arts", "title": "Portrait of Sandford Peacocke", "creation_date": "1801", "creation_date_earliest": 1801, "creation_date_latest": 1801, "artists_tags": ["male"], "culture": ["England, early 19th century"], "technique": "watercolor on ivory in a gold frame with glazed reverse", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 8.6 x 7.3 cm (3 3/8 x 2 7/8 in.); Sight: 8 x 6.7 cm (3 1/8 x 2 5/8 in.)", "dimensions": {"framed": {"height": 0.086, "width": 0.073}, "sight": {"height": 0.08, "width": 0.067}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on back:  By Will. Wood of Cork Strt. / Lond. / Wood", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": [{"description": "<em>Main European Rotation (Gallery 202)</em>, The Cleveland Museum of Art, Cleveland, OH (January 30, 2012 - July 23, 2012). [Verso on display]", "opening_date": "2012-01-30T00:00:00"}]}, "provenance": [{"description": "(Leo Schidlof (1886-1966), Paris, France, sold to Edward B. Greene)", "citations": [], "footnotes": [], "date": "-1929", "sortorder": 1}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1929-1942", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sandford Peacocke was married in 1801 and by 1802 was serving in the British military in Jamaica. It may have been for these occasions that the miniature was painted.", "description": "William Wood worked primarily in London and exhibited over 100 miniatures at the Royal Academy, where he began his training at the age of 16. His portraits of men in particular are regarded as highly refined and remarkably sensitive psychological studies. While Wood is known to have copied miniatures by Richard Cosway (1742\u20131821), George Engleheart (1752\u20131829), and John Smart (1741\u20131811), his distinctive style can be observed in the network of small dots and dashes of paint that follow the contours of a sitter\u2019s face. In addition to portrait miniatures, Wood executed a number of eye miniatures and became increasingly interested in watercolor landscapes during the years preceding his death in 1810. He signed his miniatures on the paper backing, often with the sitter\u2019s name or initials, Wood\u2019s studio location, and the year. The fact that the artist signed his work on the back rather than the front has contributed to making his miniatures harder to identify immediately, an issue complicated by his aptitude for imitating a variety of styles employed by his fellow miniaturists.<br><br>Historians have rare insight into Wood\u2019s working process due to the survival of his four-volume ledger that documents 1,211 miniatures painted by the artist between 1790 and 1808; the ledger is now in the collection of the National Art Library at the Victoria and Albert Museum. The entries are remarkably thorough, frequently including information about when a work was begun and completed, its size, the colors used and their durability, the sitter\u2019s costume, and the price charged. From 1794, Wood also attached tracings of many of the miniatures to the ledger entries. Along with the careful notes he kept, these tracings would have facilitated the making of copies or revisions, which were evidently performed with some frequency when a sitter desired a change in hairstyle or costume; the promotion of an officer necessitated an alteration of his uniform; or a miniature\u2019s pigments proved fugitive. Wood usually used numbers to refer to the colors applied in a work, but no key for them exists, and their identity often remains a mystery.<br><br>The entry for this portrait is characteristically complete and notes that the sitter was residing at Devonshire Street in London. It contains an attached tracing of the miniature and records that the portrait was begun on March 25, 1801, finished on April 11, and delivered July 29. Wood\u2019s miniatures were often delivered days after they were completed, so it is noteworthy that this work was not relinquished by Wood for more than three months after its completion. Moreover, it was received not by the sitter or a family member but by a \u201cGeneral Stuart,\u201d whose relationship to Peacocke is unknown.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80017102"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1159-portrait-of-sandford"]}, "citations": [{"citation": "Williamson, George Charles. <em>The Miniature Collector; A Guide for the Amateur Collector of Portrait Miniatures</em>. New York, NY: Dodd, Mead &amp; Co, 1921.", "page_number": "Reproduced: p. 289", "url": null}, {"citation": "Cleveland Museum of Art. Portrait Miniatures: T<em>he Edward B. Greene Collection.</em> Cleveland, OH: The Cleveland Museum of Art, 1951.", "page_number": "Reproduced: p. 32, no. 48, pl. XXII", "url": "https://archive.org/details/PortraitMiniatures/page/n69"}, {"citation": "Schidlof, Leo R. <em>The Miniature in Europe in the 16th, 17th, 18th, and 19th Centuries</em>. Graz: Akademische Druck- u. Verlagsanstalt, 1964.", "page_number": "vol. 2, p. 889", "url": ""}, {"citation": "Foskett, Daphne.<em> Miniatures: Dictionary and Guide</em>. Woodbridge, Suffolk: Antique Collectors' Club, 1987.", "page_number": "pp. 384\u201387", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 206", "url": ""}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives.</em> 2013.", "page_number": "Mentioned: p.81", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl. <em>British Portrait Miniatures: The Cleveland Museum of Art. </em>2013.", "page_number": "Cat. no. 69, pp. 263-265", "url": ""}], "url": "https://clevelandart.org/art/1942.1159", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1159/1942.1159_web.jpg", "width": "900", "height": "900", "filesize": "148195", "filename": "1942.1159_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1159/1942.1159_print.jpg", "width": "3400", "height": "3400", "filesize": "1450164", "filename": "1942.1159_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1159/1942.1159_full.tif", "width": "10522", "height": "10522", "filesize": "332165432", "filename": "1942.1159_full.tif"}}, "alternate_images": [{"date_created": "2013-02-06T18:53:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt0_web.jpg", "width": "670", "height": "893", "filesize": "84001"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "926542"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt0_full.tif", "width": "6000", "height": "8000", "filesize": "144022164"}}, {"date_created": "2008-01-03T15:56:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt1_web.jpg", "width": "706", "height": "893", "filesize": "417365"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt1_print.jpg", "width": "2689", "height": "3400", "filesize": "4931810"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt1_full.tif", "width": "4326", "height": "5470", "filesize": "71021452"}}, {"date_created": "2008-10-07T17:51:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt2_web.jpg", "width": "688", "height": "893", "filesize": "399870"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt2_print.jpg", "width": "2620", "height": "3400", "filesize": "4474151"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt2_full.tif", "width": "3311", "height": "4297", "filesize": "42712652"}}, {"date_created": "2025-08-15T16:45:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt3_web.jpg", "width": "900", "height": "900", "filesize": "161900"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt3_print.jpg", "width": "3400", "height": "3400", "filesize": "1931203"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt3_full.tif", "width": "10522", "height": "10522", "filesize": "332165616"}}, {"date_created": "2013-02-06T18:46:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt4_web.jpg", "width": "670", "height": "893", "filesize": "84467"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt4_print.jpg", "width": "2550", "height": "3400", "filesize": "1006899"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1159/1942.1159_alt4_full.tif", "width": "6000", "height": "8000", "filesize": "144022068"}}], "creditline": "The Edward B. Greene Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121288, "creators": [{"id": 3757, "description": "William Wood (British, c. 1768\u20131809)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1768", "death_year": "1809", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-31T00:00:00", "sortable_date": 1801, "date_added_to_oa": null, "date_text": "1801", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:40.571000"}, {"id": 149149, "accession_number": "1977.72", "share_license_status": "CC0", "tombstone": "Cupid Secretly Drawing an Arrow, 1807. Gilles-Lambert Godecharle (Belgian, 1750\u20131835). Terracotta; overall: 22.8 cm (9 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1977.72", "current_location": "301 Baroque Sculpture Mezzanine", "title": "Cupid Secretly Drawing an Arrow", "creation_date": "1807", "creation_date_earliest": 1807, "creation_date_latest": 1807, "artists_tags": ["male"], "culture": ["Belgium, Brussels"], "technique": "terracotta", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 22.8 cm (9 in.)", "dimensions": {"overall": {"height": 0.228}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on the edge of the base at right:  \"Godecharle\" and \"1807.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 310227, "title": "The Persistence of Classicism in Sculpture", "description": "<i>The Persistence of Classicism in Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1988-January 15, 1989).", "opening_date": "1988-11-16T05:00:00"}, {"id": 217162, "title": "L'Espirit Cr\u00e9ateur de Pigalle \u00e0 Canova: Terres cuites europ\u00e9ennes 1740 \u00e0 1840", "description": "<i>L'Espirit Cr\u00e9ateur de Pigalle \u00e0 Canova: Terres cuites europ\u00e9ennes 1740 \u00e0 1840</i>. Mus\u00e9e du Louvre, Paris, France (organizer) (September 15, 2003-January 5, 2004); The Metropolitan Museum of Art, New York, NY (January 30-April 23, 2004).", "opening_date": "2003-09-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "Joseph Henry Fitzhenry [1836-1913], London", "citations": [], "footnotes": ["<div><!--block-->Galerie Georges Petit (Paris). <em>Catalogue des sculptures en marbre, terre cuite, pla\u0302tre des XVIIe, XVIIIe &amp; XIXe sie\u0300cles par ... composant la Collection de M. Marius Paulme</em> ... May 15, 1929.</div>"], "date": "-1913", "sortorder": 1}, {"description": "(H\u00f4tel Drouot, Paris, Fitzhenry sale, Feb. 18-21, 1914, no. 499, sold to Lemay)", "citations": [], "footnotes": null, "date": "1914", "sortorder": 2}, {"description": "Lemay", "citations": [], "footnotes": ["<div><!--block-->An annotated copy of the Fitzhenry sale catalogue notes that the Godecharle was sold to \"Lemay.\" &nbsp;</div>"], "date": "1914\u2013", "sortorder": 3}, {"description": "Marius Paulme [1863-1928], Paris", "citations": [], "footnotes": null, "date": "Until 1929", "sortorder": 4}, {"description": "(Paulme sale, Galerie Georges Petit, Paris, May 15, 1929, no. 320, possibly sold to Comte de Rivaud)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 5}, {"description": "Possibly Comte de Rivaud", "citations": [], "footnotes": ["<div><!--block-->Handwritten next to the Godecharle in a copy of the 1929 Paulme sale catalogue is the annotation, \"Comte de Rivaud[?]\".&nbsp; It is somewhat unusual for a buyer annotation to include a question mark, and the reasons for the uncertainty are unknown.&nbsp; Comte de Rivaud may be Ren\u00e9 Rivaud de la Raffini\u00e8re (b. 1887) or Olivier Rivaud de la Raffini\u00e8re (1875-1938), both members of a prominent banking family.&nbsp;</div>"], "date": "1929-", "sortorder": 6}, {"description": "(Sale, Palais Galliera, Paris, Dec. 6, 1972, no. 49", "citations": [], "footnotes": [], "date": "1972", "sortorder": 7}, {"description": "(Kunsthandlung Julius B\u00f6hler, Munich, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1977", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977\u2013", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Cupid traipses daintily on rose blossoms, ready to shoot his love-filled arrow at an unsuspecting victim.", "description": "This clay model is a maquette for a sculpture in limestone more than three feet tall, entitled <em>Cupid Disguised, Hiding Under a Veil</em>. The motif is borrowed from the <a href=\"https://collections.mfa.org/objects/155692/cameo-with-the-wedding-of-cupid-and-psyche-or-an-initiation?ctx=1f2efc3f-e9d8-4e09-acb1-851ce7ea0c13&amp;idx=1\">Marlborough cameo</a> (an ancient Roman cameo now at the Museum of Fine Arts, Boston, inv. no. 99.101) that was a source of inspiration for neoclassical artists. The gem illustrates the wedding of Cupid and Psyche\u2014shown as veiled children with protruding wings\u2014from which Godecharle extracted the single figure of Cupid and, instead, depicted him in ambush.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781079"], "internet_archive": ["https://archive.org/details/clevelandart-1977.72-cupid-secretly-drawi"]}, "citations": [{"citation": "Ho\u0302tel Drouot. <em>Catalogue des objets d'art ... faiences, porcelaines ... tableaux, livres ... meubles ... dont la vente apre\u0300s de\u0301ce\u0300s de M. Fitzhenry</em>. Feb. 18-21, 1914.", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit (Paris). <em>Catalogue des sculptures en marbre, terre cuite, pla\u0302tre des XVIIe, XVIIIe &amp; XIXe sie\u0300cles par ... composant la Collection de M. Marius Paulme</em> ... May 15, 1929.", "page_number": null, "url": null}, {"citation": "Muse\u0301e Gallie\u0301ra. <em>Objets d'art et de bel ameublement</em>. Dec. 6, 1972.", "page_number": null, "url": null}, {"citation": "Kunsthandlung Julius B\u00f6hler, invoice, July 25, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1977.\" <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 1 (1978): 2-42.", "page_number": "p. 38, cat. no. 9, repr. p. 17", "url": "www.jstor.org/stable/25159560"}, {"citation": "Draper, James David, and Guilhem Scherf. L'esprit cre\u0301ateur: de Pigalle a\u0300 Canova : terres cuites europe\u0301ennes, 1740-1840. Paris: Re\u0301union des Muse\u0301es Nationaux, 2003.", "page_number": "cat. no. 87, p.208-209", "url": null}, {"citation": "Draper, James David, and Guilhem Scherf. <em>Playing with Fire: European Terracotta Models, 1740-1840</em>. New York: Metropolitan Museum of Art, 2004.", "page_number": "cat. no. 87, p. 194-195", "url": null}], "url": "https://clevelandart.org/art/1977.72", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.72/1977.72_web.jpg", "width": "598", "height": "893", "filesize": "249884", "filename": "1977.72_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.72/1977.72_print.jpg", "width": "2275", "height": "3400", "filesize": "3974044", "filename": "1977.72_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.72/1977.72_full.tif", "width": "2821", "height": "4216", "filesize": "35715316", "filename": "1977.72_full.tif"}}, "alternate_images": [{"date_created": "2008-01-28T16:34:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.72/1977.72_alt0_web.jpg", "width": "632", "height": "893", "filesize": "257316"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.72/1977.72_alt0_print.jpg", "width": "2407", "height": "3400", "filesize": "4155785"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.72/1977.72_alt0_full.tif", "width": "3128", "height": "4419", "filesize": "41502032"}}, {"date_created": "2008-01-28T16:38:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.72/1977.72_alt1_web.jpg", "width": "635", "height": "893", "filesize": "259062"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.72/1977.72_alt1_print.jpg", "width": "2416", "height": "3400", "filesize": "4277614"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.72/1977.72_alt1_full.tif", "width": "3132", "height": "4407", "filesize": "41442872"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149149, "creators": [{"id": 13127, "description": "Gilles-Lambert Godecharle (Belgian, 1750\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1750", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1807, "date_added_to_oa": null, "date_text": "1807", "collapse_artists": false, "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": "2026-03-27 00:02:07.807000"}, {"id": 127235, "accession_number": "1949.551", "share_license_status": "CC0", "tombstone": "Peasant Girl with Dog, c. 1894. Pierre-Auguste Renoir (French, 1841\u20131919). Red chalk; sheet: 31 x 24.1 cm (12 3/16 x 9 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1949.551", "current_location": null, "title": "Peasant Girl with Dog", "creation_date": "c. 1894", "creation_date_earliest": 1889, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "red chalk", "support_materials": [{"description": "ivory modern laid paper,  discolored", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 31 x 24.1 cm (12 3/16 x 9 1/2 in.)", "dimensions": {"sheet": {"height": 0.31, "width": 0.241}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in red chalk: Renoir ; verso, upper left, in graphite: 8 ; upper left, in graphite: 41 x 50 ; lower left, on paper strip mounted to sheet, in graphite: 77", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 518710, "title": "19th Century Master Drawings", "description": "<i>19th Century Master Drawings</i>. Newark Museum, Newark, NJ (organizer) (March 16-April 30, 1961).", "opening_date": "1961-03-16T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 361386, "title": "19th and 20th Century Drawings", "description": "<i>19th and 20th Century Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 19-March 24, 1965).", "opening_date": "1965-02-19T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 351191, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": [{"description": "<em>Nineteenth Century Master Drawings. </em>Newark Museum (March 16 - April 30, 1961).", "opening_date": "1961-03-16T00:00:00"}, {"description": "<em>Renoir, Degas</em>. Charles E. Slatkin Galleries, New York (November 7 - December 6, 1958).", "opening_date": "1958-11-07T00:00:00"}, {"description": "<em>Ein Jahrhundert Franz\u00f6sischer Zeichnung</em>. Paul Cassirer, Berlin (December 1929 - January 1930).", "opening_date": "1929-12-01T00:00:00"}]}, "provenance": [{"description": "Max Silberberg, Breslau", "citations": [], "footnotes": [], "date": "by 1920-after 1929", "sortorder": 1}, {"description": "(possibly Paul Cassirer, Berlin)", "citations": [], "footnotes": null, "date": "1929-?", "sortorder": 2}, {"description": "(Jacques Seligmann & Co., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1949", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1949-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The art historian John Rewald supposedly called this work \"one of the two or three most beautiful Renoir drawings in America.\"", "description": "During the last decades of his career, Renoir worked prolifically in red chalk, which was used to develop a loose and sketchy style. In this drawing, the artist attempted to recapture the spontaneity that characterized Impressionist art a few decades earlier. By showing a young girl seated resting peacefully alongside a bale of hay, he idealized rural French life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60752500"], "internet_archive": ["https://archive.org/details/clevelandart-1949.551-peasant-girl-with-do"]}, "citations": [{"citation": "Vollard, Ambroise. <em>La vie et l\u2019oeuvre de Pierre-Auguste Renoir</em>. Paris: Vollard, 1919.", "page_number": "Reproduced: frontispiece", "url": null}, {"citation": "Meier-Graefe, Julius. <em>Auguste Renoir</em>. Munich: R. Piper &amp; Co., 1920.", "page_number": "Reproduced: p. 139", "url": null}, {"citation": "Meier-Graefe, Julius. <em>Renoir</em>. Leipzig: Klinkhardt &amp; Biermann, 1929.", "page_number": "Mentioned: p. 443, no. 238; Reproduced: pl. 238", "url": null}, {"citation": "<em>Ein Jahrhundert Franz\u00f6sischer Zeichnung</em>. Exh. Cat. Berlin: Paul Cassirer, 1929.", "page_number": "Mentioned: p. 80, no. 93", "url": null}, {"citation": "\"Accessions of American and Canadian Museums, April - June 1953.\" <em>Art Quarterly</em> 16 (Winter 1953).", "page_number": "Mentioned: p. 353", "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. 607", "url": "https://archive.org/details/CMAHandbook1958/page/n113"}, {"citation": "<em>Renoir, Degas: A Loan Exhibition of Drawings, Pastels, Sculptures</em>. Exh. Cat. New York: Charles E. Slatkin Galleries, 1958.", "page_number": "Mentioned: no. 62; Reproduced: pl. XLII", "url": null}, {"citation": "<em>Nineteenth Century Master Drawings</em>. Exh. Cat. Newark: Newark Museum, 1961.", "page_number": "Mentioned and reproduced: no. 46", "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": "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": "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": "Pharisien, Bernard. <em>Renoir de vigne en vin \u00e0 Essoyes</em>. Bar-sur-Aube: Nemont, 2012.", "page_number": "Reproduced: p. 23", "url": null}, {"citation": "Guillaume, Lamia.<em> Un autre Renoir. </em>Exh. Cat. Troyes: Mus\u00e9e d'art moderne de la ville de Troyes, 2017.", "page_number": "Reproduced: p. 60", "url": null}], "url": "https://clevelandart.org/art/1949.551", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.551/1949.551_web.jpg", "width": "701", "height": "893", "filesize": "551813", "filename": "1949.551_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.551/1949.551_print.jpg", "width": "1536", "height": "1976", "filesize": "1779834", "filename": "1949.551_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.551/1949.551_full.tif", "width": "1536", "height": "1976", "filesize": "9108756", "filename": "1949.551_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt0_web.jpg", "width": "694", "height": "893", "filesize": "598304"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt0_print.jpg", "width": "1536", "height": "1976", "filesize": "2963622"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt0_full.tif", "width": "1536", "height": "1976", "filesize": "9108756"}}, {"date_created": "2010-08-05T15:45:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt1_web.jpg", "width": "692", "height": "893", "filesize": "532380"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt1_print.jpg", "width": "2633", "height": "3400", "filesize": "8226509"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt1_full.tif", "width": "4795", "height": "6191", "filesize": "89094620"}}, {"date_created": "2010-08-05T15:52:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt2_web.jpg", "width": "691", "height": "893", "filesize": "352604"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt2_print.jpg", "width": "2630", "height": "3400", "filesize": "6368586"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.551/1949.551_alt2_full.tif", "width": "4772", "height": "6168", "filesize": "88326728"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127235, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-12-23T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "c. 1894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Siesta"], "is_highlight": false, "updated_at": "2026-03-27 00:07:24.894000"}, {"id": 135265, "accession_number": "1958.28", "share_license_status": "CC0", "tombstone": "Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi, c. 1875. Edgar Degas (French, 1834\u20131917). Oil on fabric; framed: 67.6 x 58.4 x 6 cm (26 5/8 x 23 x 2 3/8 in.); unframed: 49 x 39.4 cm (19 5/16 x 15 1/2 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.28", "current_location": null, "title": "Stefanina Primicile Carafa, Marchioness of Cicerale and Duchess of Montejasi", "creation_date": "c. 1875", "creation_date_earliest": 1870, "creation_date_latest": 1880, "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: 67.6 x 58.4 x 6 cm (26 5/8 x 23 x 2 3/8 in.); Unframed: 49 x 39.4 cm (19 5/16 x 15 1/2 in.)", "dimensions": {"framed": {"height": 0.676, "width": 0.584, "depth": 0.06}, "unframed": {"height": 0.49, "width": 0.394}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 338874, "title": "Small Paintings from Famous Collections", "description": "<i>Small Paintings from Famous Collections</i>. Taft Museum of Art, Cincinnati, OH (organizer) (April 4-June 7, 1981).", "opening_date": "1981-04-04T04:00:00"}, {"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": 338956, "title": "Degas: The Portraits", "description": "<i>Degas: The Portraits</i>. Kunsthaus Z\u00fcrich, Zurich, Switzerland (organizer) (December 2, 1994-March 3, 1995); K\u00fcnsthalle Tubingen, D-72076 T\u00fcbingen, Germany (March 18-June 18, 1995).", "opening_date": "1994-12-02T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. 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": 540045, "title": "Napoli Ottocento", "description": "<i>Napoli Ottocento</i>. Scuderie del Quirinale, Rome, Italy (organizer) (March 26-June 16, 2024).", "opening_date": "2024-03-26T04:00:00"}], "legacy": [{"description": "<em>French Art of the Nineteenth Century, Paintings, Prints, Drawings</em>. Fogg Art Museum, Cambridge, MA (1942).", "opening_date": "1942-01-01T00:00:00"}, {"description": "<em>Collectors' Choice; Masterpieces of French Art from New York Private Collections.</em> Paul Rosenberg &amp; Co., New York, NY (1953).", "opening_date": "1953-01-01T00:00:00"}, {"description": "<em>Pictures Collected by Yale Alumni</em>. Yale University Art Gallery, New Haven, CT (1956).", "opening_date": "1956-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of 19th and 20th Century French Paintings-Masterpieces Recalled</em>. Paul Rosenberg &amp; Co., New York, NY (1957).", "opening_date": "1957-01-01T00:00:00"}]}, "provenance": [{"description": "Carafa Family, Naples, Italy", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Mrs. Millicent A. Rogers [1902-1953], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Paul Rosenberg & Co., New York, NY, June 25, 1951, sold to Leonard C. Hanna Jr.)", "citations": [], "footnotes": [], "date": "1942-1951", "sortorder": 3}, {"description": "Leonard C. Hanna Jr., [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1951-1958", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Degas was a Parisian by birth, but had family connections around the world, including New Orleans and Italy. In this portrait Degas's aunt, who was a titled member of the aristocracy in southwestern Italy, is captured in loose, flowing strokes with her mourning dress and watery-eyed gaze.", "description": "Although best remembered for his depictions of ballet dancers and race horses, Degas painted many likenesses of his family members. He probably painted this portrait of his aunt, Stefania Carafa (1819\u20131901), during an extended visit to Naples, where many of his relatives lived. Described in family papers as a highly indulged, fun-loving child, the duchess grew into the stoic, world-weary woman depicted here. No expensive finery reveals her high social rank; indeed she wears a mourning dress, possibly to observe the recent death of her brother Achille.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465071"], "internet_archive": ["https://archive.org/details/clevelandart-1958.28-stefanina-primicile"]}, "citations": [{"citation": "Frankfurter, Alfred M. \"Collectors and Million-Dollar Taste.\"<em> ARTnews </em>52 (March 1953): 24-25.", "page_number": "Reproduced: p. 25", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: v. 2, p. 72", "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: The Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 9", "url": null}, {"citation": "\"Great Show of French Masters.\" Life 45, no. 8 (August 25, 1958): 41-48.", "page_number": "Reproduced: p. 43", "url": null}, {"citation": "\"Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> XLVI, no. 6 (June 1959): 109-158.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Boggs, Jean Sutherland. <em>Portraits by Degas</em>. Berkeley: University of California Press, 1962.", "page_number": "Mentioned: p. 124", "url": null}, {"citation": "Saisselin, R\u00e9my G. <em>Style, Truth, and the Portrait.</em> [Cleveland]: Cleveland Museum of Art, 1963.", "page_number": "Reproduced: cat. no. 90", "url": null}, {"citation": "Boggs, Jean Sutherland. \"Edgar Degas and Naples.\" <em>The Burlington Magazine</em> 105 (June 1963): 273-276.", "page_number": "Reproduced: p. 275, fig. 36", "url": null}, {"citation": "Mastai, M. L. D. \u201cPortraiture from Titian to Degas at the Cleveland Museum of Art.\u201d <em>Connoisseur</em> 154 (October 1963): 133\u201334.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Lee, Sherman. \"Style, Truth, and the Portrait.\" <em>Art in America</em> 51, no. 5 (October 1963): 28-29.", "page_number": "Reproduced: p. 28", "url": null}, {"citation": "\"The Artist's View of Man: Portraiture Through Four Centuries.\" <em>Illustrated London News </em>243 (October 5, 1963): 521.", "page_number": "Mentioned and reproduced: p. 521", "url": null}, {"citation": "Conlan, Barnett D. \"Report From Paris.\" <em>Pictures on Exhibit</em> 27, no. 2 (November 1963): 34-45.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "\"Berichte.\" <em>Pantheon</em> 22 (1964): 55-57.", "page_number": "Reproduced: p. 56", "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. 172", "url": "https://archive.org/details/CMAHandbook1966/page/n196"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 213", "url": "https://archive.org/details/CMAHandbook1978/page/n233"}, {"citation": "Taft Museum. <em>Small Paintings from Famous Collections, [Exhibition], The Taft Museum, April 4 - June 7, 1981</em>. [Cincinnati, Ohio]: [The Museum], 1981.", "page_number": "Mentioned and Reproduced: no. 13", "url": null}, {"citation": "Hanson, Anne Coffin. \"Edward Hopper, American Meaning and French Craft.\" <em>Art Journal</em> 41, no. 2 (1981): 142-49.", "page_number": "Mentioned: p. 149, no. 20", "url": null}, {"citation": "Brame, Philippe, Theodore Reff, and Paul-Andr\u00e9 Lemoisne. <em>Degas Et Son Oeuvre A Supplement</em>. New York: Garland, 1984.", "page_number": "Mentioned and reproduced: no. 53", "url": null}, {"citation": "Boggs, Jean Sutherland. <em>Degas: [an Exhibition Held at the] Galeries Nationales Du Grand Palais, Paris, 9 February-16 May 1988, National Gallery of Canada, Ottawa, 16 June-28 August 1988, the Metropolitan Museum of Art, New York, 27 September 1988-8 January 1989</em>. New York: Metropolitan Museum of Art, 1988.", "page_number": "Reproduced: p. 253, fig. 125", "url": null}, {"citation": "Degas, Edgar, Felix Andreas Baumann, Marianne Karabelnik, and Jean Sutherland Boggs. <em>Degas: Portraits</em>. London: Merrell Holberton, 1994.", "page_number": "Mentioned and Reproduced: no. 98, p. 44-45, 196, 340", "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: p. 212-215", "url": null}, {"citation": "Dwyer Modestini, Dianne, and Mario Modestini. <em>Masterpieces: Based on a Manuscript by Mario Modestini. </em>Fiesole (Firenze) : Cadmo, 2018.", "page_number": "Reproduced: p. 93; Mentioned: p. 94, p. 473", "url": null}, {"citation": "Degas, Edgar, Adriano Pedrosa, Fernando Oliva, and Sofia Borges. Degas: Dance, Politics and Society. 2021, 322.", "page_number": "Reproduced: p. 322, fig. 282.", "url": ""}], "url": "https://clevelandart.org/art/1958.28", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.28/1958.28_web.jpg", "width": "717", "height": "900", "filesize": "207189", "filename": "1958.28_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.28/1958.28_print.jpg", "width": "2707", "height": "3400", "filesize": "3236989", "filename": "1958.28_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.28/1958.28_full.tif", "width": "11124", "height": "13971", "filesize": "466269800", "filename": "1958.28_full.tif"}}, "alternate_images": [{"date_created": "2007-10-17T13:20:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.28/1958.28_alt0_web.jpg", "width": "707", "height": "893", "filesize": "422621"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.28/1958.28_alt0_print.jpg", "width": "2692", "height": "3400", "filesize": "6846996"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.28/1958.28_alt0_full.tif", "width": "4423", "height": "5586", "filesize": "74152700"}}, {"date_created": "2017-05-08T12:17:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.28/1958.28_alt1_web.jpg", "width": "900", "height": "759", "filesize": "238997"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.28/1958.28_alt1_print.jpg", "width": "3400", "height": "2869", "filesize": "3639267"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.28/1958.28_alt1_full.tif", "width": "14221", "height": "12000", "filesize": "511985876"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135265, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "c. 1875", "collapse_artists": false, "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": ["Portrait of the Duchess of Montejasi-Cicerale"], "is_highlight": false, "updated_at": "2026-03-27 00:07:59.491000"}, {"id": 138369, "accession_number": "1962.3", "share_license_status": "CC0", "tombstone": "Mlle. Alexandrine-Julie de la Boutraye, c. 1832\u201334. Eug\u00e8ne Delacroix (French, 1798\u20131863). Oil on fabric; framed: 94.5 x 81 x 10.5 cm (37 3/16 x 31 7/8 x 4 1/8 in.); unframed: 73 x 59.2 cm (28 3/4 x 23 5/16 in.). The Cleveland Museum of Art, In memory of Maud Stager Eells, gift from her daughter, 1962.3", "current_location": "219 19th Century European", "title": "Mlle. Alexandrine-Julie de la Boutraye", "creation_date": "c. 1832\u201334", "creation_date_earliest": 1827, "creation_date_latest": 1839, "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: 94.5 x 81 x 10.5 cm (37 3/16 x 31 7/8 x 4 1/8 in.); Unframed: 73 x 59.2 cm (28 3/4 x 23 5/16 in.)", "dimensions": {"framed": {"height": 0.945, "width": 0.81, "depth": 0.105}, "unframed": {"height": 0.73, "width": 0.592}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in center right: Eug Delacroix [infrared reveals a signature below the present one: Eug delacroix f. / 1832]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 519728, "title": "Centenaire d'Euge\u0300ne Delacroix", "description": "<i>Centenaire d'Euge\u0300ne Delacroix</i>. Mus\u00e9e du Louvre, Paris, France (organizer) (May 1-October 15, 1963).", "opening_date": "1963-05-01T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 515959, "title": "La Peinture Francaise dans les Collections Americaines", "description": "<i>La Peinture Francaise dans les Collections Americaines</i>. Mus\u00e9e des Beaux-Arts de Bordeaux, F-33000 Bordeaux, France (organizer) (May 13-September 15, 1966).", "opening_date": "1966-05-13T04:00:00"}], "legacy": [{"description": "Paris, Exposition Universelle, Palais du Trocad\u00e9ro. Exposition des Portraits Historiques (1878), no. 855.", "opening_date": null}, {"description": "New York, American Art Galleries. Loan Exhibition of Portraits (1903), no. 61, Portrait of a Lady.", "opening_date": "1903-01-01T00:00:00"}, {"description": "CMA. French Art since Eighteen Hundred (1929), CMA Bulletin 16 (1929): 159.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Art Institute of Chicago. Loan Exhibition of Paintings Watercolors, Drawings and Prints by Eug\u00e8ne Delacroix (1930), no. 7, 45 (repr.).", "opening_date": "1930-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Louvre. Exposition Eug\u00e8ne Delacroix (1930), 1: no. 70, 2:41 (repr.).", "opening_date": "1930-01-01T00:00:00"}, {"description": "New York, Marie Harriman Gallery. Exhibition of Courbet and Delacroix (1933), no. 14", "opening_date": "1933-01-01T00:00:00"}, {"description": "CMA. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 272 (repr.).", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Knoedler &amp; Co. Figure Pieces: Loan Exhibition (1937), no. 2.", "opening_date": "1937-01-01T00:00:00"}, {"description": "Rochester, N.Y., Memorial Art Gallery. Precursors of Modern Art (1938), no. 12.", "opening_date": "1938-01-01T00:00:00"}, {"description": "New York, World's Fair. Catalogue of European &amp; American Paintings 1500-1900. Masterpieces of Art (1940), no. 242 (repr.).", "opening_date": "1940-01-01T00:00:00"}, {"description": "New York, Wildenstein &amp; Co. Eug\u00e8ne Delacroix 1798-1863 (1944), no. 9, repr.", "opening_date": "1944-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Louvre. Centenaire d'Eug\u00e8ne Delacroix 1798-1863 (1963), no. 119.", "opening_date": "1963-01-01T00:00:00"}, {"description": "Bordeaux, Mus\u00e9e des Beaux-Arts. La peinture fran\u00e7aise: Collections am\u00e9ricaines (1966), no. 43 (repr.).", "opening_date": "1966-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["589.34", "2579.32", "2561.29"], "did_you_know": null, "description": "The sitter, who was born in 1820, posed for this portrait in 1834. She later became the wife of Count Raymond du Tillet.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60468970"], "internet_archive": ["https://archive.org/details/clevelandart-1962.3-mlle-alexandrine-jul"]}, "citations": [{"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 159", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Delacroix, Eug\u00e8ne, and Elizabeth Fernandez-Gimenez. \u201cMlle. Julie de La Boutraye.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 10 (December 1962): 236\u2013242.", "page_number": "Mentioned: p. 236-242; Reproduced: p. 237, fig. 1", "url": "http://www.jstor.org/stable/25151920"}, {"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. 167", "url": "https://archive.org/details/CMAHandbook1966/page/n191"}, {"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. 167", "url": "https://archive.org/details/CMAHandbook1969/page/n191"}, {"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. 205", "url": "https://archive.org/details/CMAHandbook1978/page/n225"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 224-227, Vol. I, no. 81", "url": ""}], "url": "https://clevelandart.org/art/1962.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.3/1962.3_web.jpg", "width": "710", "height": "893", "filesize": "325090", "filename": "1962.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.3/1962.3_print.jpg", "width": "2705", "height": "3400", "filesize": "4849117", "filename": "1962.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.3/1962.3_full.tif", "width": "4774", "height": "6000", "filesize": "85964028", "filename": "1962.3_full.tif"}}, "alternate_images": [], "creditline": "In memory of Maud Stager Eells, gift from her daughter", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 138369, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1827, "date_added_to_oa": null, "date_text": "c. 1832\u201334", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mlle. Julie de la Boutraye"], "is_highlight": false, "updated_at": "2026-03-27 00:05:58.742000"}, {"id": 84662, "accession_number": "2020.107", "share_license_status": "CC0", "tombstone": "The Orange Christ, 1889. Maurice Denis (French, 1870\u20131943). Oil on board; unframed: 23.8 x 18.9 cm (9 3/8 x 7 7/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.107", "current_location": null, "title": "The Orange Christ", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["Nabis", "male"], "culture": ["France"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 23.8 x 18.9 cm (9 3/8 x 7 7/16 in.)", "dimensions": {"framed": {"height": 0.287, "width": 0.335, "depth": 0.054}, "unframed": {"height": 0.238, "width": 0.189}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "vertical studio monogram, lower left", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Maurice Denis</em>. Galerie Beaux-Arts, Paris, France (1963<em>).</em>", "opening_date": "1963-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Mus\u00e9e Toulouse-Lautrec, Albi, France (June 28-September 29, 1963).", "opening_date": "1963-06-28T00:00:00"}, {"description": "<em>Maurice Denis</em>. Wildenstein Gallery, London, United Kingdom (1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Maurice Denis et les Nabis</em>. Mus\u00e9e des beaux-arts, Angers, France (June 1-August 31, 1967).", "opening_date": "1967-06-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Orangerie des Tuilleries, Paris, France (June 1-August 31, 1970).", "opening_date": "1970-06-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Salles d'Exposition du Grenier \u00e0 Sel, Honfleur, France (July - Aug. 1975).", "opening_date": "1975-07-01T00:00:00"}, {"description": "<em>Vincent van Gogh and the Birth of Cloisonism</em>. Art Gallery of Ontario, Toronto, Ontario (January 24 - March 22, 1981); Rijksmuseum, Amsterdam, Netherlands (April 9 - 14 June 1981).", "opening_date": "1981-01-24T00:00:00"}, {"description": "<em>Maurice Denis - 100 ans apres a Alencon</em>. Mus\u00e9e des Beaux-Arts de la Dentelle d'Alencon, Alencon, France (July 6-September 29, 1985).", "opening_date": "1985-07-06T00:00:00"}, {"description": "<em>Le chemin de Gauguin : genese et rayonnement</em>. Mus\u00e9e du Prieure, Yvelines, France (October 7, 1985- March 2, 1986).", "opening_date": "1985-10-07T00:00:00"}, {"description": "<em>The Spiritual in Art: Abstract Painting 1890-1985</em>. Los Angeles County Museum of Art, Los Angeles, CA organizer) (November 23, 1986-March 8, 1987); Museum of Contemporary Art, Chicago, IL (April 17-July 19, 1987); Haags Gemeentemuseum, (September 1-November 22, 1987).", "opening_date": "1987-04-17T00:00:00"}, {"description": "<em>Maurice Denis, 1870-1943. </em>Muse\u0301e des Beaux-Arts, Lyon, France (September 29-December 18, 1994); Wallraf-Richarts Museum, Cologne, Germany (January 22-April 2,1995); Walker Art Gallery, Liverpool, United Kingdom (April 21-June 18, 1995); Van Gogh Museum, Amsterdam, Netherlands (July 7-September 17, 1995).", "opening_date": "1994-09-29T00:00:00"}, {"description": "<em>Gauguin\u2019s Vision. </em>Royal Scottish Academy Building, Edinburgh, Scotland (July 6- October 2, 2005).", "opening_date": "2005-07-06T00:00:00"}]}, "provenance": [{"description": "The artist's studio", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "By descent to the artist\u2019s son, Jean-Fran\u00e7ois Denis [1915\u20132004], Alen\u00e7on, France", "citations": [], "footnotes": ["<div><!--block-->[1] According to Anne Distel, <em>Maurice Denis </em>(Paris: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970), cat. no. 7, the painting was in the collection of J.F. Denis, Alen\u00e7on.&nbsp;</div>"], "date": null, "sortorder": 2}, {"description": "(Galerie Hopkins Custot, Paris, France, March 21, 2007, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": ["<div><!--block-->[2] According to Belinda Thomson, Frances Fowle, and Lesley Stevenson, <em>Gauguin\u2019s Vision</em> (Edinburgh: National Galleries of Scotland, 2005), p. 83, fig. 102, ill.</div>"], "date": "by 2005\u20132007", "sortorder": 3}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2007\u20132020", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As reflected in the two-dimensionality and color blocking in this painting, Denis believed a painting was \"a flat surface covered with colors assembled in a certain order.\"", "description": "A devout Catholic, Maurice Denis sought to create what he described as \u201cimperishable icons.\u201d In this small painting, he used flat planes of intense colors to conjure emotion in the viewer. Here, a somber group of women, depicted as amorphous black forms, gather around an orange figure of Christ on the cross. The sky is a reddish-purple streaked with green clouds. Pink angels flank the crucified Christ whose head is haloed in brilliant yellow. In this painting, the daring young artist combined religious fervor with unprecedented visual experimentation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480871"], "internet_archive": ["https://archive.org/details/clevelandart-2020.107-the-orange-christ"]}, "citations": [{"citation": "Muse\u0301e Toulouse-Lautrec. <em>Exposition Maurice Denis; peintures, aquarelles, dessins, lithographies, du 28 juin au 29 septembre 1963, Muse\u0301e Toulouse-Lautrec. </em>Albi.1963.", "page_number": "Mentioned: P. 21, cat. no. 5", "url": null}, {"citation": "Angers. <em>Maurice Denis &amp; les Nabis: exposition Muse\u0301e des Beaux-Arts d'Angers, du 1er juin au 31 aou\u0302t 1967</em>. Angers, France: Le Muse\u0301e, 1967.", "page_number": "Mentioned: no. 2", "url": null}, {"citation": "Distel, Anne. <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970</em>. Paris, France: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970.", "page_number": "Mentioned: no. 7", "url": null}, {"citation": "<em>Maurice Denis, 1870-1943</em>. Honfleur, France: Societe des artistes Honfleurais, 1975.", "page_number": "Mentioned: no. 3", "url": null}, {"citation": "Welsh-Ovcharov, Bogomila, and Vincent van Gogh. <em>Vincent Van Gogh and the Birth of Cloisonism</em>. Toronto: Art Gallery of Ontario, 1981.", "page_number": "Mentioned and Reproduced: p. 380, no. 143", "url": null}, {"citation": "Welsh-Ovcharov, Bogomila. <em>Vincent Van Gogh and the Birth of Cloisonism</em>. Toronto, Ontario: Art Gallery of Ontario, 1981.", "page_number": "Reproduced: p. 380, no. 143", "url": null}, {"citation": "Janin-Juvigny, Sophie, Franc\u0327oise Ramassamy, and Guy Taburet. <em>100 ans apre\u0300s a\u0300 Alenc\u0327on:</em> 6 juillet-29 septembre 1985, Muse\u0301e des beaux-arts et de la dentelle. Alenc\u0327on, France: Le Muse\u0301e, 1985.", "page_number": "Reproduced: p. 25, no. 19", "url": null}, {"citation": "<em>Le chemin de Gauguin: gene\u0300se et rayonnement. </em>Saint-Germain-en-Laye, France: Muse\u0301e de\u0301partemental du Prieure\u0301, 1985.", "page_number": "Reproduced: P. 94", "url": ""}, {"citation": "Tuchman, Maurice, Judi Freeman, and Carel Blotkamp. <em>The Spiritual in Art: Abstract Painting 1890-1985.</em> New York: Abbeville Press, 1986.", "page_number": "Reproduced: P. 353-354", "url": ""}, {"citation": "Muse\u0301e des Beaux Arts, Wallraf-Richartz Museum, Walker Art Gallery, and Van Gogh Museum. <em>Maurice Denis: 1870-1943. </em>Paris, France: Re\u0301union des Muse\u0301es Nationaux, 1994.", "page_number": "Mentioned and Reproduced: P. 139, no. 19", "url": null}, {"citation": "Thomson, Belinda, Frances Fowle, and Lesley Stevenson. <em>Gauguin's Vision. </em>Edinburgh: National Galleries of Scotland, 2005.", "page_number": "Mentioned and reproduced: P. 83, fig. 102", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.107", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.107/2020.107_web.jpg", "width": "726", "height": "900", "filesize": "373699", "filename": "2020.107_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.107/2020.107_print.jpg", "width": "2741", "height": "3400", "filesize": "3893285", "filename": "2020.107_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.107/2020.107_full.tif", "width": "4462", "height": "5535", "filesize": "74119012", "filename": "2020.107_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 84662, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:22.697000"}, {"id": 130674, "accession_number": "1953.386", "share_license_status": "CC0", "tombstone": "Feast Ladle, late 1800s\u2013early 1900s. Native North America, Northwest Coast, Alaska, Tlingit. Horn, bone, copper, abalone shell inlay; overall: 13 cm (5 1/8 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1953.386", "current_location": "231 Native North American", "title": "Feast Ladle", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1850, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Native North America, Northwest Coast, Alaska, Tlingit"], "technique": "horn, bone, copper, abalone shell inlay", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Miscellaneous", "measurements": "Overall: 13 cm (5 1/8 in.)", "dimensions": {"overall": {"width": 0.13, "length": 0.442}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 229358, "title": "Art of the American Indians: The Thaw Collection", "description": "<i>Art of the American Indians: The Thaw Collection</i>. The Cleveland Museum of Art, Cleveland, OH (March 7-May 30, 2010).", "opening_date": "2010-03-07T00:00:00"}], "legacy": [{"description": "<em>Sacred Circles: Two Thousand Years of North American Indian Art, </em>Hayward Gallery, London (October 7, 1976\u2013January 16,1977).", "opening_date": "1976-10-07T04:00:00Z"}]}, "provenance": [{"description": "Ralph C. Altman, Los Angeles, CA, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1953", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An imposing eagle presides over the bowl of this impressive ladle.", "description": "Elaborate utensils, valuable possessions of Northwest Coast noble clans, were used during potlatch feasts. An imposing eagle hovers, patron-like, over this ladle\u2019s bowl and the bounty it once served; a bear\u2019s head appears on the underside of the bowl. Both may be crests, motifs that, like European heraldry, were exclusive to important families and referred to their histories and rights to control land and resources.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755552"], "internet_archive": ["https://archive.org/details/clevelandart-1953.386-feast-ladle"]}, "citations": [{"citation": "Coe, Ralph T. <em>Sacred Circles: Two Thousand Years of North American Indian Art : Exhibition Organized by the Arts Council of Great Britain with the Support of the British-American Associates, [Held at the] Hayward Gallery, London, 7 October 1976-16 January 1977 : Catalogue</em>. [London]: Arts Council of Great Britain, 1976.", "page_number": "p. 146, cat. #326", "url": ""}, {"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. 406", "url": "https://archive.org/details/CMAHandbook1978/page/n426"}, {"citation": "Crawford, Virginia. \"Northwest Coast Indian Art.\" <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 9 (1978).", "page_number": "p. 304", "url": "https://www.jstor.org/stable/25159603"}, {"citation": "Gowing, Lawrence. <em>A History of Art</em>. London: Macmillan, 1995.", "page_number": "p. 494", "url": null}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 2008.", "page_number": "p. 24", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 339", "url": ""}], "url": "https://clevelandart.org/art/1953.386", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.386/1953.386_web.jpg", "width": "912", "height": "893", "filesize": "336134", "filename": "1953.386_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.386/1953.386_print.jpg", "width": "3400", "height": "3330", "filesize": "4659552", "filename": "1953.386_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.386/1953.386_full.tif", "width": "4288", "height": "4200", "filesize": "54067428", "filename": "1953.386_full.tif"}}, "alternate_images": [{"date_created": "2008-02-21T20:58:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.386/1953.386_alt0_web.jpg", "width": "803", "height": "893", "filesize": "297042"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.386/1953.386_alt0_print.jpg", "width": "3056", "height": "3400", "filesize": "4413650"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.386/1953.386_alt0_full.tif", "width": "4012", "height": "4464", "filesize": "53773376"}}], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130674, "creators": [], "legal_status": "accessioned", "accession_date": "1953-08-12T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-26 23:59:56.885000"}, {"id": 146110, "accession_number": "1971.297", "share_license_status": "CC0", "tombstone": "Figure Pair (asye usu), late 1800s\u2013early 1900s. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood, resin, glass beads, plant fiber, and metal; part 1: 49.5 x 9.1 x 13 cm (19 1/2 x 3 9/16 x 5 1/8 in.); part 2: 47.7 x 10 x 11 cm (18 3/4 x 3 15/16 x 4 5/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.297", "current_location": "108A African", "title": "Figure Pair (asye usu)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1935, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood, resin, glass beads, plant fiber, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Part 1: 49.5 x 9.1 x 13 cm (19 1/2 x 3 9/16 x 5 1/8 in.); Part 2: 47.7 x 10 x 11 cm (18 3/4 x 3 15/16 x 4 5/16 in.)", "dimensions": {"part 1": {"height": 0.495, "width": 0.091, "depth": 0.13}, "part 2": {"height": 0.477, "width": 0.1, "depth": 0.11}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 85, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 38, repr. p. 105.", "opening_date": "1973-03-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; January 7- March 9, 2003.  \" Object in Focus: Male (blolo bian) and Female (blolo bla) Spirit Partner Figures, Africa, Ivory Coast, Baule, c. 1930s [wood; 1971.297.1-2] \"", "opening_date": "2003-01-07T00:00:00"}]}, "provenance": [{"description": "Katherine C. White (aka Katherine Merkel, Katherine Reswick)", "citations": [], "footnotes": null, "date": "?-1971", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH by gift", "citations": [], "footnotes": null, "date": "1971-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Baule artists looked to the world around them to capture contemporary ideas and ideals of beauty; these figures have hairstyles that would have been worn when the sculptures were carved.", "description": "Baule figures carved as pairs usually represent untamed spirits of the wilderness called <em>asye usu.</em> These spirits may intervene in the lives of individuals by taking possession of them. If this possession does not result in madness, it can lead to the human host\u2019s becoming a diviner who can enter into a trance to reveal the causes of ailments and other misfortunes. People who feel their lives are being interrupted by the asye usu commission carvings representing idealized male and female forms whose grace and beauty in both anatomy and adornment will seduce the spirits and compel them to use the sculptures as their temporary homes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779160"], "internet_archive": ["https://archive.org/details/clevelandart-1971.297-figure-pair-asye-usu"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, no. 85.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art. <em>1972 Year in Review</em>. Bulletin of the Cleveland Museum of Art 60, no. 3, cat. 38.", "page_number": "", "url": ""}, {"citation": "Drewal, Henry John. African Art: A Brief Guide to the Collection. Cleveland: Cleveland Museum of Art, 1989, fig.15.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 17, p. 64 - 65", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 12", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art,  2016.", "page_number": "Mentioned and Reproduced: P. 14", "url": ""}], "url": "https://clevelandart.org/art/1971.297", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.297/1971.297_web.jpg", "width": "635", "height": "900", "filesize": "169540", "filename": "1971.297_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.297/1971.297_print.jpg", "width": "2398", "height": "3400", "filesize": "1039805", "filename": "1971.297_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.297/1971.297_full.tif", "width": "3498", "height": "4959", "filesize": "52063768", "filename": "1971.297_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T15:50:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.297/1971.297_alt0_web.jpg", "width": "468", "height": "900", "filesize": "77485"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.297/1971.297_alt0_print.jpg", "width": "1767", "height": "3400", "filesize": "647470"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.297/1971.297_alt0_full.tif", "width": "3144", "height": "6048", "filesize": "57068040"}}, {"date_created": "2020-03-20T16:17:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.297/1971.297_alt1_web.jpg", "width": "657", "height": "900", "filesize": "174904"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.297/1971.297_alt1_print.jpg", "width": "2482", "height": "3400", "filesize": "1097730"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.297/1971.297_alt1_full.tif", "width": "3650", "height": "5000", "filesize": "54774096"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146110, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Figure of a Spirit Husband", "Figure Pair (Asye Usu)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:31.241000"}, {"id": 168751, "accession_number": "2010.454.a", "share_license_status": "CC0", "tombstone": "Female Bowl-Bearing Figure, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, Luba-style carver. Wood, glass beads, upholstery studs, plant fiber, and iron; overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.454.a", "current_location": "108A African", "title": "Female Bowl-Bearing Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luba-style carver"], "technique": "Wood, glass beads, upholstery studs, plant fiber, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.)", "dimensions": {"overall": {"height": 0.408, "width": 0.161, "depth": 0.273}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "<em>Frans M. Olbrechts (1899-1958): In Search of Art in Africa.</em> Ethnographic Museum, Antwerp, BE (December 7, 2001-March 31, 2002)", "opening_date": "2001-12-07T00:00:00"}, {"description": "<em>Tentoonstelling van Kongo-Kunst.</em> Stad Stedelijke Feestzaal, Antwerp, BE (December 24, 1937-January 16, 1938)", "opening_date": "1937-12-24T00:00:00"}]}, "provenance": [{"description": "Gaston Heenen [1880-1963], Brussels, BE, 1939, sold to Hendrik Elias.", "citations": [], "footnotes": null, "date": "?-1939", "sortorder": 1}, {"description": "(Hendrik Elias [b. 1925], Galerie Elmar, Wieze, BE, 1968, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "1939-1968", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "1968-2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Symbolic of anvils, the round metal tacks decorating the figure's hair \"pin\" spirits and their secrets within it. They are at the hairline and each of the four hair cascades (the bottommost is now gone).", "description": "In Luba-style art, an object's beauty affects how well it works. While bowl-bearing figures had many possible uses, a royal diviner likely used this well-carved image of a woman carrying a bowl in rituals. Dusty traces of <em>mpemba</em> (white chalk) fleck the shining exterior and the bowl's interior, showing it once held this sacred powder. Diamond-shaped scarification marks at her waist, chest, and back add to her beauty. Her hair is carved into the cascading layered hairstyle worn in the Luba region at the turn of the twentieth century. Strands of imported glass beads encircle her waist and neck, and dangle from her hair. The alternating white and blue beads may symbolize the moon and Mbidi Kiluwe, a culture hero linked to royal practice and smithing. While much Luba-style art depicts women--who are societally important--men created and owned the majority of such works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075129"], "internet_archive": ["https://archive.org/details/clevelandart-2010.454.a-female-bowl-bearing"]}, "citations": [{"citation": "Antwerpen, Stad Stedelijke Feestzaal, and Antwerpsche Propagandaweken. <em>Tentoonstelling van Kongo-Kunst,</em> cat. 669. Exh. Cat. Antwerp: Antwerpsche Propagandaweken, December 24, 1937-January 16, 1938.", "page_number": "Mentioned: cat. 669.", "url": null}, {"citation": "Olbrechts, Frans M. <em>Plastiek van Kongo.</em> Antwerp/Brussels/Ghent/Leuven: Standaards-Boekhandel, 1946.", "page_number": "Reproduced: pl. 108", "url": null}, {"citation": "Olbrechets, Frans M., Constantine Petridis, and Daniel P. Biebuyck. <em>Frans M. Olbrechts (1899-1958): In Search of Art in Africa</em>, cat. 53. Exh. Cat. Antwerp: Ethnographic Museum, December 7, 2001-March 31, 2002.", "page_number": "Reproduced and mentioned: [p. 165] cat. 53", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 30, 79, 82-83, 108.", "page_number": "Mentioned: pp. 30, 79-80, 108, 114 ; reproduced: p. 82-83, cat. 26", "url": null}, {"citation": "Petridis, Constantine. \"Inscriptions: Establishing a Pre-1937 Acquisition Date for 1,525 Central African Sculptures.\" <em>Tribal: The Magazine of Tribal Art</em> XXIV: 4, no. 85 (Autumn, 2017): 127, 130-131.", "page_number": "p. 127, p. 130 color repr., p. 131 sketch", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 119.", "page_number": "Reproduced: p. 119, fig. 4; mentioned: p. 122", "url": null}], "url": "https://clevelandart.org/art/2010.454.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.454.a/2010.454.a_web.jpg", "width": "687", "height": "900", "filesize": "161880", "filename": "2010.454.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.454.a/2010.454.a_print.jpg", "width": "2594", "height": "3400", "filesize": "947271", "filename": "2010.454.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.454.a/2010.454.a_full.tif", "width": "7153", "height": "9377", "filesize": "201246292", "filename": "2010.454.a_full.tif"}}, "alternate_images": [], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168751, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2010.454", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:13.553000"}, {"id": 168752, "accession_number": "2010.454.b", "share_license_status": "CC0", "tombstone": "Female Bowl-Bearing Figure (lid), late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, Luba-style carver. Wood and upholstery studs; overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.454.b", "current_location": "108A African", "title": "Female Bowl-Bearing Figure (lid)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luba-style carver"], "technique": "Wood and upholstery studs", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 40.8 x 16.1 x 27.3 cm (16 1/16 x 6 5/16 x 10 3/4 in.)", "dimensions": {"overall": {"height": 0.408, "width": 0.161, "depth": 0.273}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "<em>Frans M. Olbrechts (1899-1958): In Search of Art in Africa.</em> Ethnographic Museum, Antwerp, BE (December 7, 2001-March 31, 2002)", "opening_date": "2001-12-07T00:00:00"}, {"description": "<em>Tentoonstelling van Kongo-Kunst.</em> Stad Stedelijke Feestzaal, Antwerp, BE (December 24, 1937-January 16, 1938)", "opening_date": "1937-12-24T00:00:00"}]}, "provenance": [{"description": "Gaston Heenen [1880-1963], Brussels, BE, 1939, sold to Hendrik Elias.", "citations": [], "footnotes": null, "date": "?-1939", "sortorder": 1}, {"description": "(Hendrik Elias [b. 1925], Galerie Elmar, Wieze, BE, 1968, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "1939-1968", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "1968-2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "It is rare for a Luba-style bowl bearer figure to still have its lid.", "description": "This lid is part of a bowl-bearing figure. In Luba-style art, an object's beauty affects how well it works. While bowl-bearing figures had many possible uses, a royal diviner likely used this well-carved image of a woman carrying a bowl in rituals. Dusty traces of <em>mpemba </em>(white chalk) fleck the shining exterior and the bowl's interior, showing it once held this sacred powder. Diamond-shaped scarification marks at her waist, chest, and back add to her beauty. Her hair is carved into the cascading layered hairstyle worn in the Luba region at the turn of the twentieth century. Strands of imported glass beads encircle her waist and neck, and dangle from her hair. The alternating white and blue beads may symbolize the moon and Mbidi Kiluwe, a culture hero linked to royal practice and smithing. While much Luba-style art depicts women\u2014who are societally important\u2014men created and owned the majority of such works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075130"], "internet_archive": ["https://archive.org/details/clevelandart-2010.454.b-female-bowl-bearing"]}, "citations": [{"citation": "Antwerpen, Stad Stedelijke Feestzaal, and Antwerpsche Propagandaweken. <em>Tentoonstelling van Kongo-Kunst,</em> cat. 669. Exh. Cat. Antwerp: Antwerpsche Propagandaweken, December 24, 1937-January 16, 1938.", "page_number": "Mentioned: cat. 669.", "url": null}, {"citation": "Olbrechts, Frans M. <em>Plastiek van Kongo.</em> Antwerp/Brussels/Ghent/Leuven: Standaards-Boekhandel, 1946.", "page_number": "Reproduced: pl. 108", "url": null}, {"citation": "Olbrechets, Frans M., Constantine Petridis, and Daniel P. Biebuyck. <em>Frans M. Olbrechts (1899-1958): In Search of Art in Africa</em>, cat. 53. Exh. Cat. Antwerp: Ethnographic Museum, December 7, 2001-March 31, 2002.", "page_number": "Reproduced and mentioned: [p. 165] cat. 53", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 119.", "page_number": "Reproduced: p. 119, fig. 4; mentioned: p. 122", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Faberg\u00e9\u2019s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "This flower study depicts a single stem of violet. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Small and delicate, Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761554"], "internet_archive": ["https://archive.org/details/clevelandart-1966.442-flower-study-of-a-vi"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 74-75, cat. 33.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Swezey, Marilyn Pfeifer, Caroline de Guitaut, and Joyce Lasky Reed. <em>Faberge\u0301 Flowers</em>. New York: Harry N. Abrams, Publishers, 2004.", "page_number": "Mentioned and reproduced:  pp. 76-77.", "url": "https://ingallslibrary.on.worldcat.org/oclc/54046274"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. 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Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\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": "2026-03-27 00:08:37.132000"}, {"id": 142741, "accession_number": "1966.448", "share_license_status": "CC0", "tombstone": "Begging Poodle, c. 1895\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Agate, rubies; overall: 6.4 x 2.6 x 2.3 cm (2 1/2 x 1 x 7/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.448", "current_location": "211 Faberg\u00e9", "title": "Begging Poodle", "creation_date": "c. 1895\u20131915", "creation_date_earliest": 1895, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "agate, rubies", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 6.4 x 2.6 x 2.3 cm (2 1/2 x 1 x 7/8 in.)", "dimensions": {"overall": {"height": 0.064, "width": 0.026, "depth": 0.023}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. 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The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. The Walters Art Museum, Baltimore, MD (organizer) (February 14-July 27, 2003); Columbus Museum of Art, Columbus, OH (October 12, 2003-January 4, 2004); Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Small sculptural figures of animals date back to ancient cultures that prized them both for sustenance and mythical godliness.", "description": "In creating luxurious accessories for a desk or tabletop, the House of Faberg\u00e9 often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Faberg\u00e9 and his craftsmen brought them to life, turning milky agate into this figure of a begging poodle or brown and black jasper into sleeping puppies. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60754347"], "internet_archive": ["https://archive.org/details/clevelandart-1966.448-begging-poodle"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: p. 66-7, cat. 29.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 108, cat. 86.", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Faberge\u0301, Peter Carl, and Deborah E. Horowitz. <em>The Faberge\u0301 Menagerie</em>. London: Philip Wilson Pub, 2003.", "page_number": "Mentioned and reproduced: p. 124, cat. 58.", "url": "https://ingallslibrary.on.worldcat.org/oclc/196795062"}], "url": "https://clevelandart.org/art/1966.448", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.448/1966.448_web.jpg", "width": "695", "height": "900", "filesize": "65656", "filename": "1966.448_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.448/1966.448_print.jpg", "width": "2627", "height": "3400", "filesize": "669187", "filename": "1966.448_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.448/1966.448_full.tif", "width": "3536", "height": "4576", "filesize": "48564788", "filename": "1966.448_full.tif"}}, "alternate_images": [], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142741, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1895\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": "2026-03-27 00:03:22.637000"}, {"id": 142744, "accession_number": "1966.450", "share_license_status": "CC0", "tombstone": "Bulldog, c. 1895\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Amethystine quartz, diamonds; overall: 4.4 x 5.1 x 3.5 cm (1 3/4 x 2 x 1 3/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.450", "current_location": "211 Faberg\u00e9", "title": "Bulldog", "creation_date": "c. 1895\u20131915", "creation_date_earliest": 1895, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "amethystine quartz, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 4.4 x 5.1 x 3.5 cm (1 3/4 x 2 x 1 3/8 in.)", "dimensions": {"overall": {"height": 0.044, "width": 0.051, "depth": 0.035}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 211192, "title": "Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop", "description": "<i>Faberg\u00e9's Menagerie: The Animal Creations of the Faberg\u00e9 Workshop</i>. The Walters Art Museum, Baltimore, MD (organizer) (February 14-July 27, 2003); Columbus Museum of Art, Columbus, OH (October 12, 2003-January 4, 2004); Portland Art Museum, Portland, OR (February 8-May 2, 2004).", "opening_date": "2003-02-14T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Faberg\u00e9's lapidaries carefully chose the stones to resemble the color and texture of the figure they were sculpting. The smoky quartz used for this bulldog was polished to resemble his dark shiny coat.", "description": "In creating luxurious accessories for a desk or tabletop, the House of Faberg\u00e9 often used native hardstones such as multicolored agate and jasper, green nephrite, pink rhodonite, quartz, and rock crystal found in the Ural Mountains of western Russia. By paying careful attention to the unique colors and textures of the stones, Faberg\u00e9 and his craftsmen brought them to life, turning smoky quartz into this figure of a seated bulldog, for example. The use of native materials also promoted Russian nationalism, which appealed greatly to the tsar and his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759490"], "internet_archive": ["https://archive.org/details/clevelandart-1966.450-bulldog"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 68-9, cat 30.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Faberge\u0301, Peter Carl, and Deborah E. Horowitz. <em>The Faberge\u0301 Menagerie</em>. London: Philip Wilson Pub, 2003.", "page_number": "Mentioned and reproduced: p. 121, cat. 55.", "url": "https://ingallslibrary.on.worldcat.org/oclc/196795062"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: p. 184, cat. 33.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.450", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.450/1966.450_web.jpg", "width": "924", "height": "893", "filesize": "379761", "filename": "1966.450_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.450/1966.450_print.jpg", "width": "2686", "height": "2595", "filesize": "3787812", "filename": "1966.450_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.450/1966.450_full.tif", "width": "2686", "height": "2595", "filesize": "20944888", "filename": "1966.450_full.tif"}}, "alternate_images": [{"date_created": "2005-08-22T19:55:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt0_web.jpg", "width": "906", "height": "893", "filesize": "404371"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt0_print.jpg", "width": "3400", "height": "3350", "filesize": "4874733"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt0_full.tif", "width": "5000", "height": "4926", "filesize": "73921356"}}, {"date_created": "2005-07-12T18:44:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt1_web.jpg", "width": "801", "height": "893", "filesize": "345080"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt1_print.jpg", "width": "3048", "height": "3400", "filesize": "4371510"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt1_full.tif", "width": "4482", "height": "5000", "filesize": "67259664"}}, {"date_created": "2008-06-09T13:22:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt2_web.jpg", "width": "1116", "height": "893", "filesize": "469308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt2_print.jpg", "width": "3142", "height": "2515", "filesize": "4413405"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt2_full.tif", "width": "3142", "height": "2515", "filesize": "23740404"}}, {"date_created": "2008-06-09T13:28:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt3_web.jpg", "width": "1082", "height": "893", "filesize": "447638"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt3_print.jpg", "width": "2931", "height": "2419", "filesize": "3895980"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.450/1966.450_alt3_full.tif", "width": "2931", "height": "2419", "filesize": "21303332"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142744, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1895\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": "2026-03-27 00:02:38.849000"}, {"id": 174043, "accession_number": "1972.905", "share_license_status": "CC0", "tombstone": "A Builder of Boats, c. 1904. John George Brown (American, born England, 1831\u20131913). Oil on canvas; framed: 98 x 120 x 11 cm (38 9/16 x 47 1/4 x 4 5/16 in.); unframed: 80 x 101.6 cm (31 1/2 x 40 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1972.905", "current_location": "207 American Realism", "title": "A Builder of Boats", "creation_date": "c. 1904", "creation_date_earliest": 1889, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["America, late 19th-early 20th Century"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 98 x 120 x 11 cm (38 9/16 x 47 1/4 x 4 5/16 in.); Unframed: 80 x 101.6 cm (31 1/2 x 40 in.)", "dimensions": {"framed": {"height": 0.98, "width": 1.2, "depth": 0.11}, "unframed": {"height": 0.8, "width": 1.016}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  J.G. Brown N.A.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1973: \"Year in Review for 1972,\" Bulletin, LX (March, 1973), p. 82, no. 115.", "opening_date": "1973-03-01T00:00:00"}, {"description": "Atlanta, High Museum of Art, April 2 - July 31, 1994: \"John George Brown: The Dignity of Years\".", "opening_date": "1994-04-02T00:00:00"}]}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["905.1972"], "did_you_know": "The object held in the sitter\u2019s right hand is a drawing compass.", "description": "Brown's preference for rural subjects in a time when the United States was undergoing rapid industrialization suggests nostalgia for the past. Indeed, <em>A Builder of Boats,</em> an image of an elderly craftsman working alone with hand tools in a tranquil setting replete with his sleeping dog, offered its contemporary audience a distinct alternative to mechanized factory production.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230297"], "internet_archive": ["https://archive.org/details/clevelandart-1972.905-boat-builder"]}, "citations": [{"citation": "American Federation of Arts. <em>American Art Annual</em>. Florence N. Levy, ed. volume XI. Boston: Noyes, Platt &amp; Co, 1914.", "page_number": "Mentioned: p. 479", "url": null}, {"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:1 (January, 1973). pp. 1-36.", "page_number": "Mentioned: p. 23", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1972.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:3 (March, 1973). pp. 63-115.", "page_number": "Reproduced: p. 82, fig. 115; Mentioned: p. 109", "url": null}, {"citation": "\"Recent Accessions of American and Canadian Museums, July-September, 1972.\" <em>The Art Quarterly</em>. 36 (Spring/Summer, 1973).", "page_number": "Mentioned: p. 114", "url": null}, {"citation": "Lurie, Ann Tzeutschler and William S. \"Annual Report for 1972.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:6 (June, 1973). pp. 171-205.", "page_number": "Mentioned: p. 178", "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. 231", "url": "https://archive.org/details/CMAHandbook1978/page/n250"}, {"citation": "Rice, Pierce, \"J. G. Brown, The Bootblack Raphael.\" <em>American Art &amp; Antiques</em>. 2:3 (May/June, 1979).", "page_number": "Reproduced", "url": null}, {"citation": "Placidi, Kathleen S. \u201cBeyond Bootblacks: \u2018The Boat Builder\u2019 and the Art of John George Brown.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 10 (December 1990): 366\u2013382.<br>Published as: <em>The Boat Builder</em>", "page_number": "Mentioned: p. 366-368; Reproduced: p. 367, fig. 2", "url": "https://www.jstor.org/stable/25161306"}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 24", "url": null}, {"citation": "Truettner, William H., and Roger B. Stein. <em>Picturing Old New England: Image and Memory</em>. Washington, D.C.: National Museum of American Art, Smithsonian Institution; New Haven, CT: Yale University Press, 1999.", "page_number": "Reproduced: p. 154, fig. 172", "url": null}, {"citation": "Hoppin, Martha J. <em>The World of J.G. Brown</em>. Chesterfield, MA: Chameleon Books, 2010.", "page_number": "Mentioned pp. 221, 223, and 242, notes 60 and 61; reproduced p. 222.", "url": null}], "url": "https://clevelandart.org/art/1972.905", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.905/1972.905_web.jpg", "width": "1146", "height": "893", "filesize": "678727", "filename": "1972.905_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.905/1972.905_print.jpg", "width": "3400", "height": "2650", "filesize": "5258937", "filename": "1972.905_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.905/1972.905_full.tif", "width": "4698", "height": "3663", "filesize": "51662528", "filename": "1972.905_full.tif"}}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 174043, "creators": [{"id": 6490, "description": "John George Brown (American, born England, 1831\u20131913)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1831", "death_year": "1913", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-07-31T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "c. 1904", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:09.929000"}, {"id": 151257, "accession_number": "1983.14", "share_license_status": "CC0", "tombstone": "View of the Gulf of Pozzuoli from Solfatara, 1803. Philipp Hackert (German, 1737\u20131807). Oil on canvas; framed: 146 x 190 x 14 cm (57 1/2 x 74 13/16 x 5 1/2 in.); unframed: 119 x 166.5 cm (46 7/8 x 65 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1983.14", "current_location": "219 19th Century European", "title": "View of the Gulf of Pozzuoli from Solfatara", "creation_date": "1803", "creation_date_earliest": 1803, "creation_date_latest": 1803, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 146 x 190 x 14 cm (57 1/2 x 74 13/16 x 5 1/2 in.); Unframed: 119 x 166.5 cm (46 7/8 x 65 9/16 in.)", "dimensions": {"framed": {"height": 1.46, "width": 1.9, "depth": 0.14}, "unframed": {"height": 1.19, "width": 1.665}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed and signed bottom edge to left of center in brown paint: Vue prise sur la Solfatare a Pozzoule, / peint par Philippe Hackert 1803.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Berlin, K\u00f6nigliche Akademie der Bildenden K\u00fcnste. Akademie-Ausstellung (1808), no. 66, Ansicht der Solfatara zu Puzzuoli gegen das Vorgebirge Misenum, Baja, Ischia, Procida, u. s. w.", "opening_date": null}, {"description": "Munich, Galerie Gr\u00fcnwald. Drei Jahrhunderte Deutsche Malerei (1982), no. 4 (repr.).", "opening_date": "1982-01-01T00:00:00"}]}, "provenance": [{"description": "Artist\u2019s estate, by descent to Johann Christian Behrendt", "citations": [], "footnotes": ["<div><!--block-->After Hackert's death in 1807, a catalogue of the works of art of his estate was compiled: <em>Catalogue des Tableaux\u2026fait par le d\u00e9funt Paysagiste Philippe Hackert</em>.</div>"], "date": "1803-1807", "sortorder": 1}, {"description": "Johann Christian Behrendt [1765-1838], Berlin", "citations": [], "footnotes": ["<div><!--block-->Behrendt was married to the artist\u2019s sister Wilhelmina.&nbsp; The painting may have passed down through Behrendt\u2019s family: a Hackert painting that was sold at Christie\u2019s, Amsterdam on May 7, 2013 was inherited by Behrendt after Hackert\u2019s death, and then passed to Behrendt\u2019s descendants. &nbsp;</div>"], "date": "1807-", "sortorder": 2}, {"description": "Sotheby's (Firm). Important Old Master Paintings.  Dec. 9, 1981.", "citations": [], "footnotes": null, "date": "Until 1981", "sortorder": 3}, {"description": "(Sale, Sotheby's, London, Dec. 9, 1981 (lot 36), sold to Galerie Gr\u00fcnwald)", "citations": [], "footnotes": null, "date": "1981", "sortorder": 4}, {"description": "(Galerie Gr\u00fcnwald, Munich, and David Carritt, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->According to T.S. Bathurst of David Carritt, Ltd., his firm and Galerie Gr\u00fcnwald were co-partners in the sale of the Hackert painting to CMA.&nbsp; &nbsp;</div>"], "date": "1981-1983", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1983-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "While in Naples, the German writer Johann Wolfgang von Goethe took painting lessons from Philipp Hackert; their meetings were documented in Goethe's travelogue <em>Italienische Reise</em> (Italian Journey).", "description": "Attracted to its dramatic vistas, volcanoes, exotic peasants, and classical ruins, landscape painters of the 1700s and 1800s flocked to the countryside around Naples. This view looks west toward the Gulf of Pozzuoli from just above the Solfatara, an area of volcanic steam vents. The ancient town of Pozzuoli, where the apostle Paul landed on his way to Rome, lies in the distance. Hackert's attention to detail and rendering of form with extreme lucidity is characteristic of German Romantic painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475162"], "internet_archive": ["https://archive.org/details/clevelandart-1983.14-view-of-the-gulf-of"]}, "citations": [{"citation": "Galerie Gru\u0308nwald (Munich, Germany). <em>Drei jahrhunderte Deutsche Malerei: 8. Oktober bis 30. November 1982</em>. Mu\u0308nchen: Galerie Gru\u0308nwald, 1982.", "page_number": null, "url": null}, {"citation": "T.S. Bathurst, letter to Sherman Lee, Feb. 10, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sotheby's (Firm). <em>Important Old Master Paintings</em>.  Dec. 9, 1981.", "page_number": null, "url": null}, {"citation": "Sotheby's (Firm). <em>Important Old Master Paintings</em>.  Dec. 9, 1981.", "page_number": null, "url": null}, {"citation": "Lohse, Bruno. <em>Jakob Phillipp Hackert; Leben und Anfange seiner Kunst</em>. Emsdetten, Westf: H. &amp; J. Lechte, 1936.", "page_number": null, "url": null}, {"citation": "Galerie Gru\u0308nwald (Munich, Germany). <em>Drei jahrhunderte Deutsche Malerei: 8. Oktober bis 30. November 1982</em>. Mu\u0308nchen: Galerie Gru\u0308nwald, 1982.", "page_number": null, "url": null}, {"citation": "Lohse, Bruno. <em>Jakob Phillipp Hackert; Leben und Anfange seiner Kunst</em>. Emsdetten, Westf: H. &amp; J. Lechte, 1936.", "page_number": null, "url": null}, {"citation": "Turner, Evan H. \u201cYear in Review for 1983.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 2 (February 1984): 38\u201379.", "page_number": "Mentioned: p. 68, no. 17; Reproduced: Back cover", "url": "http://www.jstor.org/stable/25159848"}, {"citation": "Kr\u00f6nig, Wolfgang. \u201cJacob Philipp Hackert: View from the Solfatara onto the Gulf of Pozzuoli.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 1 (January 1986): 14\u201323.", "page_number": "Mentioned and reproduced: p. 18-19, fig. 1", "url": "http://www.jstor.org/stable/25159927"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 346-349, Vol. II, no. 121", "url": ""}, {"citation": "Curzi, Valter. <em>Storie Dell\u2019arte : Opere E Metodi</em>. Milano: Skira, 2023.", "page_number": "Mentioned: p. 94; reproduced: p. XLI, fig. 98", "url": ""}], "url": "https://clevelandart.org/art/1983.14", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1983.14/1983.14_web.jpg", "width": "1261", "height": "893", "filesize": "955936", "filename": "1983.14_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.14/1983.14_print.jpg", "width": "2048", "height": "1450", "filesize": "2521365", "filename": "1983.14_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.14/1983.14_full.tif", "width": "2048", "height": "1450", "filesize": "8911884", "filename": "1983.14_full.tif"}}, "alternate_images": [{"date_created": "2008-10-29T19:20:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.14/1983.14_alt0_web.jpg", "width": "1254", "height": "893", "filesize": "865518"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.14/1983.14_alt0_print.jpg", "width": "3400", "height": "2421", "filesize": "6288805"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.14/1983.14_alt0_full.tif", "width": "5942", "height": "4231", "filesize": "75460864"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 151257, "creators": [{"id": 2962, "description": "Philipp Hackert (German, 1737\u20131807)", "extent": null, "qualifier": null, "role": "artist", "biography": "After having been given a basic artistic education by his father and uncle, who were both painters, Jakob Philipp Hackert attended the drawing classes of Blaise Nicholas le Sueur (1716-1783), the director of the Berlin Academy, in 1758. With an early interest in landscape painting, Hackert began copying the works of Claude Lorrain (1600-1682) and Dutch seventeenth-century artists. He traveled in northern Germany where he received commissions for decorative cycles in Stralsund and R\u00fcgen, and in 1764 he visited Sweden. From 1765 until 1768 Hackert lived in Paris, where he met landscape and marine painter Joseph Vernet (1714-1789) and eventually invited his brother Johann Gottlieb Hackert (1744-1773), also a landscape painter, to join him. In Paris Jakob Philipp's popular paintings, gouaches, and drawings were already being reproduced in print form. In 1768 the Hackert brothers left for Rome, which would remain their main residence until 1786, although they made countless trips in search of different types of landscape. In 1770 they visited Naples, a city that, with its natural and cultural treasures, was an important destination for any traveler to Italy. In 1771 Hackert received an important commission from Catherine II of Russia to paint a series of canvases depicting Russia's sea victory over Turkey, and this truly established his reputation. One year later his brother traveled to London in order to bring commissioned paintings to British clients; he became ill, however, and died in Bath. Jakob Philipp called his other brother, Georg Hackert (1755-1805), to Rome in order for him to engrave his paintings. Hackert's work found many prominent buyers, and he turned down an offer to become court painter in Russia. In 1782 he traveled to Naples again and was introduced to King Ferdinand IV, who commissioned several works. Four years later Hackert became his court painter. In 1787 he met several times with Johann Wolfgang von Goethe (1749-1832) during the latter's stay in Naples; Goethe recorded their meetings in his Italienische Reise (Italian Journey, 1816-17). Goethe admired his works, and it was he who eventually urged Hackert to write his autobiog-raphy, which Goethe adapted and published after Hackert's death. Political unrest caused the royal family to seek refuge in Palermo in 1798, and the arrival of French troops in Naples one year later forced Hackert to leave the city and his comfortable existence at court. After a year in Pisa, Hackert and his brother settled in Florence in 1800. Three years later Hackert bought a nearby estate in San Pietro di Careggi, where he worked and made careful studies of rocks, trees, and plants, which he regarded as the basis of his landscapes. Among a few other works Hackert wrote one short treatise on the use of varnish, Sull'uso della vernice nella pittura (1788), and one on landscape painting, Theoretisch-praktische Anleitung zum richtigen und geschmackvollen Landschafts-Zeichnen nach der Natur (n.d.).", "name_in_original_language": null, "birth_year": "1737", "death_year": "1807", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1803, "date_added_to_oa": null, "date_text": "1803", "collapse_artists": false, "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": "2026-03-27 00:05:25.710000"}, {"id": 160089, "accession_number": "1997.58", "share_license_status": "CC0", "tombstone": "Fire Screen, c. 1878\u201380. Firm of Herter Brothers (American). Gilded wood, painted and gilded wood panels, brocaded silk, embossed paper; overall: 131.8 x 76.2 x 58.3 cm (51 7/8 x 30 x 22 15/16 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 1997.58", "current_location": null, "title": "Fire Screen", "creation_date": "c. 1878\u201380", "creation_date_earliest": 1878, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["America"], "technique": "gilded wood, painted and gilded wood panels, brocaded silk, embossed paper", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 131.8 x 76.2 x 58.3 cm (51 7/8 x 30 x 22 15/16 in.)", "dimensions": {"overall": {"height": 1.318, "width": 0.762, "depth": 0.583}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "No existing exhibition history.", "opening_date": null}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Produced by the New York decorating firm Herter Brothers, this screen would have been used to shield sitters from the heat of a fireplace.", "description": "During the 1870s the New York firm of Herter Brothers produced some of the most sophisticated and technically refined furniture made anywhere in the world at that date. Although the firm is known to have made a considerable quantity of gilded furniture, this fire screen is one of only a few examples to survive in good condition. The painted and gilded embossed panel of birds and flowers was likely made in Japan.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980739"], "internet_archive": ["https://archive.org/details/clevelandart-1997.58-fire-screen"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMuseum Acquires Major Chuck Close Painting, 19th-century Fire Screen, Rare Prints &amp; Drawings,\u201d June 9, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4136"}, {"citation": "Hawley, Henry H., \"A Herter Brothers Firescreen\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 03, March 1998", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM1998-03/page/n7"}, {"citation": "Howe, Katherine S., \"Herter Brother's Furniture,\" <em>FMR</em> (April 1998).", "page_number": "Mentioned & reproduced: pp. 118-9", "url": null}, {"citation": "May, Sally Ruth, Jane Takac, and Barbara J. Bradley. <em>Knockouts: A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned & reproduced: pp. 49-50, no. 49; listed: p. 117", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=50820863"}, {"citation": "Cunningham, Michael. \"Discovering Japanese Screens.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 41, no. 6 (Summer 2001: 4-5.", "page_number": "Mentioned and reproduced: p. 5", "url": "https://archive.org/details/CMAMM2001-06/page/n3/mode/2up"}, {"citation": "Donley, Gregory M., \"Forward Thinking\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 10, December 2002", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2002-10/page/n3"}, {"citation": "Berliner, Nancy Zeng, and Edward S. Cooke. I<em>nspired by China: Contemporary Furnituremakers Explore Chinese Traditions</em>. Salem: Peabody Essex Museum, 2006.", "page_number": "Mentioned: p. 49, fig. 10", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=75958409"}, {"citation": "Pin\u0303a, Leslie A. <em>Furniture in History, 3000 B.C.-2000 A.D. </em>Boston: Prentice Hall, 2010.", "page_number": "Mentioned: p. 23", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=268788668"}, {"citation": "Franklin, David, and C. Griffith Mann.<em> Treasures from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with, New York, NY: Scala Publishers, 2012.", "page_number": "Mentioned & reproduced: pp. 270-1", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=813973055"}, {"citation": "Bidwell, Frederick E. and Leslie Cade.<em> The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with New York, NY: Scala Arts Publishers, 2014.", "page_number": "Mentioned & reproduced: p. 142", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=857403600"}], "url": "https://clevelandart.org/art/1997.58", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.58/1997.58_web.jpg", "width": "616", "height": "893", "filesize": "387919", "filename": "1997.58_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.58/1997.58_print.jpg", "width": "2346", "height": "3400", "filesize": "5246686", "filename": "1997.58_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.58/1997.58_full.tif", "width": "", "height": "", "filesize": "", "filename": "1997.58_full.tif"}}, "alternate_images": [{"date_created": "2007-11-30T19:06:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.58/1997.58_alt0_web.jpg", "width": "621", "height": "893", "filesize": "337249"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.58/1997.58_alt0_print.jpg", "width": "2366", "height": "3400", "filesize": "5149136"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.58/1997.58_alt0_full.tif", "width": "", "height": "", "filesize": ""}}], "creditline": "The Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160089, "creators": [{"id": 5819, "description": "Herter Brothers (American)", "extent": null, "qualifier": "firm of", "role": "artist", "biography": "Christian Herter (1840-83). Born in Stuttgart. He studied at the \u00c9cole des Beaux Arts in Paris before joining his elder half-brother Gustave (1830-98) in New York in 1860. Gustave had been there since 1848 and had worked for Tiffany before founding his own furniture and decorations firm in 1857. In 1864 Christian returned to Paris to study under Pierre-Victor Gallard (1822-92) and in the early 1870s he was in England. Herter Brothers became a leading New York furniture and decorating business in the 1870s and 1880s, being one of the first to abandon the usual run of historical styles and produce pieces rather similar to those made contemporaneously in England, with a discreet use of oriental motifs. Marquetry furniture like that made for the railroad magnate Jay Gould in 1877-82 or the luxurious gilt and inlaid furniture made for the William H. Vanderbuilt House, NY, c. 1882 is typical of the more extravagant type of aesthetic movement in the US. He employed a large staff of craftsmen and designers, the latter including the architect Charles B. Atwood (1849-95). The firm survived until 1906.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-06-02T00:00:00", "sortable_date": 1878, "date_added_to_oa": null, "date_text": "c. 1878\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:01:17.316000"}, {"id": 163924, "accession_number": "2005.3", "share_license_status": "CC0", "tombstone": "Figure (iginga), probably 1800s. Africa, Central Africa, Democratic Republic of Congo, Lega-style maker. Elephant ivory, tukula, and oil; overall: 16.7 x 5.5 x 4.5 cm (6 9/16 x 2 3/16 x 1 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2005.3", "current_location": null, "title": "Figure (iginga)", "creation_date": "probably 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Lega-style maker"], "technique": "Elephant ivory, tukula, and oil", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 16.7 x 5.5 x 4.5 cm (6 9/16 x 2 3/16 x 1 3/4 in.)", "dimensions": {"overall": {"height": 0.167, "width": 0.055, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Ratton, Paris, France", "citations": [], "footnotes": [""], "date": "ca. 1950s", "sortorder": 1}, {"description": "Guy Ladriere, Paris, France", "citations": [], "footnotes": null, "date": "no date recorded", "sortorder": 2}, {"description": "Pierre Dartevelle, Paris, France", "citations": [], "footnotes": null, "date": "ca. 1980-1983", "sortorder": 3}, {"description": "The Vranken-Hoet Collection, Brussels, Belgium", "citations": [], "footnotes": null, "date": "1983-2005", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH by purchase", "citations": [], "footnotes": null, "date": "2005 to present", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The dark surface (patina) of this sculpture comes from years of handling and the application of oil and a red powder called <em>tukula</em>; it was originally cream-colored!", "description": "The life of Lega men and women is structured around their advancement through the different grades of the Bwami association. Fulfilling political, social, religious, and other roles, the members\u2019 ultimate purpose is the pursuit of wisdom and excellence. Ivory figurines were reserved for members of the two highest Bwami grades, in which the core of the Lega\u2019s moral philosophy is revealed.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778754"], "internet_archive": ["https://archive.org/details/clevelandart-2005.3-figure-iginga"]}, "citations": [{"citation": "Rachewiltz, Boris de. <em>Arte Africana. </em>[Rome]: [Istituto Grafico Tiberino], 1967.", "page_number": "14-15", "url": ""}, {"citation": "Debbaut, Jan, Dominique Favart, and G. van Geertruyen. <em>Utotombo: l'art d'Afrique noire dans les collections prive\u0301es belges : Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>. Bruxelles: Palais des beaux-arts, 1988.", "page_number": "243, cat. 246", "url": ""}, {"citation": "Cornet, Joseph, Angelo Turconi, and Mobutu Sese Seko. <em>Zaire: peuples/art/culture. Anvers: Fonds Mercator</em>, 1989.", "page_number": "120.", "url": ""}, {"citation": "Biebuyck, Daniel P., and Michel Boulanger.<em> Ethique et beaute\u0301 Lega au c\u0153ur de l'Afrique</em>. Bruxelles: Snoeck-Ducaju, 2002.", "page_number": "152, cat. 91", "url": ""}, {"citation": "Cleveland Museum of Art.<em> Annual Report.</em> Cleveland, Ohio: The Museum, 2006.", "page_number": "22, 30", "url": ""}, {"citation": "Petridis, Constantine. \"Good and Beautiful.\" <em>Cleveland Museum of Art Member's Magazine</em>. Cleveland Museum of Art, September 2006.", "page_number": "7-11", "url": "https://archive.org/details/CMAMM2006-07"}, {"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". <em>African Arts</em>. (44) No. 1, Spring 2011.", "page_number": "53; 56, Fig. 4.", "url": ""}, {"citation": "Cleveland Museum of Art, David Franklin, and C. Griffith Mann<em>. Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2012.", "page_number": "240-1", "url": ""}, {"citation": "Felix, Marc Leo. <em>White gold, black hands: ivory sculpture in Congo</em>. Qiquhar, Heilungkiang, China: Gemini Sun, Volume 6, June 2013.", "page_number": "Fig. 27a & b, p. 190-191, 242", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art. </em>2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2005.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2005.3/2005.3_web.jpg", "width": "602", "height": "893", "filesize": "253903", "filename": "2005.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2005.3/2005.3_print.jpg", "width": "2292", "height": "3400", "filesize": "3208680", "filename": "2005.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2005.3/2005.3_full.tif", "width": "3277", "height": "4862", "filesize": "47827224", "filename": "2005.3_full.tif"}}, "alternate_images": [{"date_created": "2005-03-02T19:44:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt0_web.jpg", "width": "517", "height": "893", "filesize": "214140"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt0_print.jpg", "width": "1967", "height": "3400", "filesize": "2704883"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt0_full.tif", "width": "2892", "height": "5000", "filesize": "43399152"}}, {"date_created": "2006-04-04T14:46:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt1_web.jpg", "width": "574", "height": "893", "filesize": "243498"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt1_print.jpg", "width": "2187", "height": "3400", "filesize": "3038456"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt1_full.tif", "width": "3406", "height": "5295", "filesize": "54133424"}}, {"date_created": "2005-03-02T20:03:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.3/2005.3_alt2_web.jpg", "width": "547", 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H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163924, "creators": [], "legal_status": "accessioned", "accession_date": "2005-02-28T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "probably 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:03.701000"}, {"id": 128874, "accession_number": "1951.483", "share_license_status": "CC0", "tombstone": "Victoria Dubourg, c. 1866. Edgar Degas (French, 1834\u20131917). Graphite; sheet: 30.9 x 21.9 cm (12 3/16 x 8 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1951.483", "current_location": null, "title": "Victoria Dubourg", "creation_date": "c. 1866", "creation_date_earliest": 1861, "creation_date_latest": 1871, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite", "support_materials": [{"description": "off-white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 30.9 x 21.9 cm (12 3/16 x 8 5/8 in.)", "dimensions": {"sheet": {"height": 0.309, "width": 0.219}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "verso, upper right, in blue crayon: Ph 1756 [underlined]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361211, "title": "The Nineteenth Century: One Hundred Twenty-Five Master Drawings", "description": "<i>The Nineteenth Century: One Hundred Twenty-Five Master Drawings</i>. Solomon R. Guggenheim Museum, New York, NY (March 26-April 23, 1962).", "opening_date": "1962-03-26T05:00:00"}, {"id": 519373, "title": "Nineteenth Century: 125 Master Drawings", "description": "<i>Nineteenth Century: 125 Master Drawings</i>. Frederick R. Weisman Art Museum, Minneapolis, MN (organizer) (March 26-April 23, 1962); Solomon R. Guggenheim Museum, New York, NY (May 10-June 30, 1962).", "opening_date": "1962-03-26T05:00:00"}, {"id": 361211, "title": "The Nineteenth Century: One Hundred Twenty-Five Master Drawings", "description": "<i>The Nineteenth Century: One Hundred Twenty-Five Master Drawings</i>. Frederick R. Weisman Art Museum, Minneapolis, MN (organizer) (May 15-July 1, 1962).", "opening_date": "1962-03-26T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 338947, "title": "The Private Degas", "description": "<i>The Private Degas</i>. Whitworth Art Gallery, Manchester, United Kingdom of Great Britain and Northern Ireland (January 20-February 28, 1987); Fitzwilliam Museum, Cambridge CB2 1RB (March 17-May 3, 1987).", "opening_date": "1987-01-20T05:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>The Private Degas</em>. Whitworth Art Gallery, University of Manchester (January 17 - February 28, 1987); Fitzwilliam Museum, University of Cambridge (March 14 - May 3, 1987).", "opening_date": "1987-01-17T00:00:00"}, {"description": "<em>Works by Edgar Degas</em>. Cleveland Museum of Art (February 5 - March 9, 1947).", "opening_date": "1947-02-05T00:00:00"}, {"description": "<em>French Drawings and Water Colors, Supplement to The Painting of France Since the Revolution</em>. M. H. De Young Memorial Museum, San Francisco (Summer 1941).", "opening_date": "1941-01-01T00:00:00"}]}, "provenance": [{"description": "Estate of Edgar Degas [1834-1917], Paris", "citations": [], "footnotes": [], "date": "c. 1866-1918", "sortorder": 1}, {"description": "(Galerie Georges Petit, second Degas sale, Paris, December 11-13, 1918, no. 238, 2nd part)", "citations": [], "footnotes": null, "date": "1918", "sortorder": 2}, {"description": "Mme. Alice Weiller [1869-1943], Paris, by descent to Paul-Louis Weiller, Geneva", "citations": [], "footnotes": [], "date": "after 1918-by 1941", "sortorder": 3}, {"description": "Paul-Louis Weiller [1883-1993], Geneva", "citations": [], "footnotes": [], "date": "by 1941-before 1951", "sortorder": 4}, {"description": "Mr. and Mrs. Lewis B. Williams, Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "by 1947-1951", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Around the time this drawing was made, its subject, Victoria Dubourg, became engaged to the artist Henri Fantin-Latour, also a friend of Degas.", "description": "This drawing is one of several studies that Edgar Degas created for a painted portrait of the artist Victoria Dubourg, now in the collection of the Toledo Museum of Art. Here, Degas concentrated on the facial expression of Dubourg, known for her still-lifes of flowers. Attempting to precisely render Dubourg's direct gaze, Degas drew her eyes in greater detail, even adding an additional sketch along the sheet's upper margin.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909396"], "internet_archive": ["https://archive.org/details/clevelandart-1951.483-victoria-dubourg"]}, "citations": [{"citation": "<em>Catalogue des tableaux, pastels, et dessins par Edgar Degas et provenant de son atelier...2e vente. </em>Paris: Georges Petit, 1918.", "page_number": "Mentioned and reproduced: p. 39, no. 238 (2nd part of lot, as Buste de femme)", "url": null}, {"citation": "Lemoisne, P. A. <em>Degas et son oeuvre</em>. Paris: Brame and De Hauke, 1946).", "page_number": "Mentioned: p. 68, under no. 137", "url": null}, {"citation": "<em>French Drawings and Water Colors, Supplement to The Painting of France Since the French Revolution</em>. Exh. Cat. San Francisco: M. H. de Young Memorial Museum, 1941.", "page_number": "Mentioned: p. 6, no. 217", "url": null}, {"citation": "Francis, Henry Sayles. <em>Works by Edgar Degas</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1947.", "page_number": "Mentioned: p. 19, no. 57; Reproduced: pl. XLVIII", "url": null}, {"citation": "Coe, Nancy. \"The History of the Collecting of European Paintings and Drawings in the City of Cleveland.\" MA Thesis. Oberlin College, 1955.", "page_number": "Mentioned: vol. II, p. 258, no. 9", "url": null}, {"citation": "Francis, Henry. \"Drawings by Degas.\" <em>The Bulletin of the Cleveland Museum of Art </em>44, no. 10 (December 1957): 212-217.", "page_number": "Mentioned: p. 215; Reproduced: p. 214", "url": "https://www.jstor.org/stable/25142248"}, {"citation": "Eitner, Lorenz. <em>The Nineteenth Century: One Hundred Twenty-Five Master Drawings</em>. Exh. Cat. Minneapolis: University of Minnesota, 1962.", "page_number": "Mentioned: no. 27; Reproduced: pl. 33", "url": null}, {"citation": "<em>The Toledo Museum of Art: European Paintings</em>. Toledo: Toledo Museum of Art, 1976.", "page_number": "Mentioned: p. 52", "url": null}, {"citation": "Thomson, Richard. <em>The Private Degas</em>. Exh. Cat. New York: Thames and Hudson, 1987.", "page_number": "Mentioned: p. 17, 139, no. 30; Reproduced: p. 21", "url": null}], "url": "https://clevelandart.org/art/1951.483", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.483/1951.483_web.jpg", "width": "641", "height": "893", "filesize": "316811", "filename": "1951.483_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.483/1951.483_print.jpg", "width": "2440", "height": "3400", "filesize": "5782538", "filename": "1951.483_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.483/1951.483_full.tif", "width": "4707", "height": "6558", "filesize": "92631236", "filename": "1951.483_full.tif"}}, "alternate_images": [{"date_created": "2006-05-18T13:51:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.483/1951.483_alt0_web.jpg", "width": "631", "height": "893", "filesize": "339247"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.483/1951.483_alt0_print.jpg", "width": "2404", "height": "3400", "filesize": "4814238"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.483/1951.483_alt0_full.tif", "width": "3634", "height": "5139", "filesize": "56054392"}}], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128874, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-12-26T00:00:00", "sortable_date": 1861, "date_added_to_oa": null, "date_text": "c. 1866", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Study for Portrait of Mlle. Dubourg"], "is_highlight": false, "updated_at": "2026-03-27 00:01:21.139000"}, {"id": 376229, "accession_number": "2020.63", "share_license_status": "CC0", "tombstone": "Quasimodo, c. 1875\u201380. Odilon Redon (French, 1840\u20131916). Charcoal with fabricated black chalk and touches of white and gray gouache on gray wove paper; sheet: 36.8 x 32.9 cm (14 1/2 x 12 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2020.63", "current_location": null, "title": "Quasimodo", "creation_date": "c. 1875\u201380", "creation_date_earliest": 1870, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "charcoal with fabricated black chalk and touches of white and gray gouache on gray wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 36.8 x 32.9 cm (14 1/2 x 12 15/16 in.)", "dimensions": {"sheet": {"height": 0.368, "width": 0.329}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in black ink: ODILON REDON", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Les Peintres de l\u2019\u00e2me: Le Symbolisme id\u00e9aliste en France</em>. Mus\u00e9e d\u2019Ixelles, Brussels (October 15\u2013December 31, 1999).", "opening_date": "1999-12-31T00:00:00"}, {"description": "<em>\u0152uvres sur papier</em>. Galerie Eric Coatalem, Paris (2002).", "opening_date": "2002-01-01T00:00:00"}]}, "provenance": [{"description": "Marcel Lecomte [1900-1966], Paris", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(sale, H\u00f4tel Drouot, Paris, June 11, 1997, no. 74)", "citations": [], "footnotes": null, "date": "1997", "sortorder": 2}, {"description": "(Galerie Ronny van de Velde, Antwerp)", "citations": [], "footnotes": null, "date": "by 1999", "sortorder": 3}, {"description": "Private Collection, Paris, France", "citations": [], "footnotes": null, "date": "after 1999-before 2002", "sortorder": 4}, {"description": "(Galerie Eric Coatalem, Paris, sold to Eugene Thaw, New York)", "citations": [], "footnotes": null, "date": "2002", "sortorder": 5}, {"description": "Eugene Thaw [1927\u20132018], New York", "citations": [], "footnotes": null, "date": "2002-2018", "sortorder": 6}, {"description": "(sale, Christie\u2019s, New York, November 12, 2018, no. 160)", "citations": [], "footnotes": null, "date": "2018", "sortorder": 7}, {"description": "(sale, Christie\u2019s, New York, May 14, 2019, no. 116, sold to a private collector)", "citations": [], "footnotes": null, "date": "2019", "sortorder": 8}, {"description": "private collection", "citations": [], "footnotes": null, "date": "2019", "sortorder": 9}, {"description": "(Jill Newhouse, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "2019-2020", "sortorder": 10}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Victor Hugo, the author who inspired this drawing\u2019s subject, also made drawings with black materials inspired by his own imagination, much like Redon\u2019s own work.", "description": "The nineteenth-century French artist Odilon Redon was known for works defined by their darkness\u2014both the black materials he used and the mood of his fantastical themes. This drawing depicts Quasimodo, the protagonist of Victor Hugo\u2019s 1831 novel <em>The Hunchback of Notre Dame</em>, but does not directly relate to the text. Redon layered and rubbed away charcoal marks to create the indeterminate space behind the pair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244333"], "internet_archive": ["https://archive.org/details/clevelandart-2020.63-quasimodo"]}, "citations": [{"citation": "Wildenstein, Alec. <em>Odilon Redon, catalogue raisonn\u00e9 de l\u2019\u0153uvre peint et dessin\u00e9</em>. Paris: Wildenstein Institute, 1992.", "page_number": "Mentioned and reproduced: vol. 4, p. 276, no. 2639", "url": null}, {"citation": "<em>Peintures et dessins des XIXe et XXe si\u00e8cles</em>. Paris: Drouot, 1997.", "page_number": "Mentioned and reproduced: p. 24, no. 74", "url": null}, {"citation": "Jumeau-Lafond, Jean-David. <em>Les Peintres de l\u2019\u00e2me: Le Symbolisme id\u00e9aliste en France</em>. Exh. cat. Brussels: Mus\u00e9e d\u2019Ixelles, 1999.", "page_number": "Mentioned and reproduced: p. 143, no. 109", "url": null}, {"citation": "<em>\u0152uvres sur papier</em>. Exh. cat. Paris: Galerie Eric Coatalem, 2002.", "page_number": "Mentioned and reproduced: pp. 50-51", "url": null}, {"citation": "<em>Impressionist and Modern Art Works on Paper and Day Sales</em>. New York: Christie\u2019s, 2018.", "page_number": "Mentioned and reproduced: no. 160", "url": null}, {"citation": "<em>Impressionist and Modern Art Works on Paper and Day Sales</em>. New York: Christie\u2019s, 2019.", "page_number": "Mentioned and reproduced: no. 116", "url": null}, {"citation": "Salsbury, Britany. \u201cCollecting Dreams: An exhibition of the museum's outstanding collection of works by Odilon Redon.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 3 (Summer 2021): 12-15.", "page_number": "Reproduced and Mentioned: P. 13-14", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 122-125, no. 20", "url": ""}], "catalogue_raisonne": "Wildenstein 2639", "url": "https://clevelandart.org/art/2020.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.63/2020.63_web.jpg", "width": "808", "height": "900", "filesize": "365211", "filename": "2020.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.63/2020.63_print.jpg", "width": "3051", "height": "3400", "filesize": "4913368", "filename": "2020.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.63/2020.63_full.tif", "width": "8449", "height": "9415", "filesize": "238669584", "filename": "2020.63_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 376229, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "c. 1875\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:16.328000"}, {"id": 147526, "accession_number": "1973.36", "share_license_status": "CC0", "tombstone": "The Prisoner, c. 1816\u201322. Jacques-Louis David (French, 1748\u20131825). Black chalk on cream laid paper; sheet: 13.1 x 19.6 cm (5 3/16 x 7 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1973.36", "current_location": null, "title": "The Prisoner", "creation_date": "c. 1816\u201322", "creation_date_earliest": 1816, "creation_date_latest": 1822, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk on cream laid paper", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 13.1 x 19.6 cm (5 3/16 x 7 11/16 in.)", "dimensions": {"sheet": {"height": 0.131, "width": 0.196}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, at upper left, in black chalk: L. David, Brux.; inscribed, on an old support, now removed: 1 des. de L. David.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 441416, "title": "Jacques-Louis David", "description": "<i>Jacques-Louis David</i>. Mus\u00e9e du Louvre, Paris, France (October 26, 1988-February 12, 1989); Mus\u00e9e National de Ch\u00e2teau de Versailles, 78 008 Versailles cedex, France (October 26, 1988-February 12, 1989).", "opening_date": "1989-10-26T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 223677, "title": "Jacques-Louis David: Empire to Exile", "description": "<i>Jacques-Louis David: Empire to Exile</i>. J. Paul Getty Museum, Los Angeles, CA (February 1-April 24, 2005); Sterling and Francine Clark Art Institute, Williamstown, MA (organizer) (June 5-September 5, 2005).", "opening_date": "2005-02-01T00:00:00"}, {"id": 361567, "title": "Jacques Louis David: Radical Draftsman", "description": "<i>Jacques Louis David: Radical Draftsman</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 14-May 15, 2022) https://www.metmuseum.org/exhibitions/listings/2022/jacques-louis-david-radical-draftsman.", "opening_date": "2022-02-17T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Old Master Drawings Presented by Adolphe Stein and Lorna Lowe. </em>H. Terry-Engell Gallery, London (July 3 - 15, 1972).", "opening_date": "1972-07-03T00:00:00"}]}, "provenance": [{"description": "(sale, H\u00f4tel Drouot, Paris, February 9, 1972, no. 13 bis, sold to Adolphe Stein, Paris and London)", "citations": [], "footnotes": null, "date": "1972", "sortorder": 1}, {"description": "(Adolphe Stein, Paris and London, sold to Eugene V. Thaw, New York)", "citations": [], "footnotes": null, "date": "1972", "sortorder": 2}, {"description": "(Eugene V. Thaw, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1972 - 1973", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1973-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Scholars have suggested that Jacques-Louis David might have intended this drawing as a portrait of Napoleon Bonaparte, who the artist supported. The former leader died a prisoner on the island of Saint Helena in 1821.", "description": "This drawing belongs to a series of enigmatic sheets that the French artist Jacques-Louis David created while living as an exile in Brussels from 1816 until his death in 1825. Many of these untitled works present close-up views of expressive heads and were given by the artist to his friends. This image of a turbaned man next to a hanging chain and oil lamp loosely references David's painting <em>The Intercession of Saint Roch</em> (1780) from much earlier in his career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926754"], "internet_archive": ["https://archive.org/details/clevelandart-1973.36-the-prisoner"]}, "citations": [{"citation": "Se\u0301rullaz, Arlette. \u201cA propos de quelques dessins de Jacques-Louis David pour \u2018Mars d\u00e9sarm\u00e9\u0301 par Ve\u0301nus et les Gr\u00e2ces.\u2019\u201d <em>Bulletin des muse\u0301es royaux des beaux-arts de Belgique</em> 21, nos. 1\u20134 (1972): 107-116.", "page_number": "Mentioned: p. 107n2", "url": null}, {"citation": "<em>Dessins, aquarelles, pastels, gouaches </em>[. . .] <em>tableaux anciens et du XIXe si\u00e8cle</em>. Paris: H\u00f4tel Drouot, 1972.", "page_number": "Mentioned: no. 13 bis", "url": ""}, {"citation": "<em>Old Master Drawings Presented by Adolphe Stein and Lorna Lowe</em>. Exh. Cat. London: H. Terry-Engell Gallery, 1972.", "page_number": "Mentioned and reproduced: p. 9, no. 74", "url": ""}, {"citation": "Nash, Steven A. \u201cThe Drawings of Jacques-Louis David: Selected Problems.\u201d PhD diss., Stanford University, 1973.", "page_number": "Mentioned: p. 241, n. 439", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1973.\" <em>Bulletin of the Cleveland Museum of Art</em> 61, no. 2 (February 1974): 31-78.", "page_number": "Mentioned: p. 75, no. 65; Reproduced: p. 46", "url": "https://www.jstor.org/stable/25152513"}, {"citation": "Coekelberghs, Denis and Pierre Loze. <em>Autour du n\u00e9o-classicisme en belgique, 1770\u20131830</em>. Exh. cat. Brussels: Muse\u0301e Communal des Beaux-Arts d\u2019Ixelles, 1985.", "page_number": "Mentioned: pp. 28, 189, no. 148", "url": null}, {"citation": "Schnapper, Antoine and Arlette S\u00e9rullaz. <em>Jacques-Louis David, 1748\u20131825</em>. Exh. cat. Paris: Muse\u0301e du Louvre, 1989.", "page_number": "Mentioned: p. 106, no. 245; Reproduced: p. 554", "url": null}, {"citation": "Noe\u0308l, Bernard. <em>David</em>. New York: Crown, 1989.", "page_number": "Reproduced: p. 48", "url": ""}, {"citation": "Johnson, Dorothy. <em>Jacques-Louis David: Art in Metamorphosis</em>. Princeton, NJ: Princeton University Press, 1993.", "page_number": "Mentioned: pp. 231-33; Reproduced: p. 232", "url": null}, {"citation": "Johnson, Dorothy. <em>Jacques-Louis David: The Farewell of Telemachus and Eucharis.</em>. Los Angeles: Getty Museum, 1997.", "page_number": "Mentioned: pp. 30-31; Reproduced: p. 30", "url": ""}, {"citation": "Lajer-Burcharth, Ewa. <em>Necklines: The Art of Jacques-Louis David after the Terror</em>. New Haven, CT: Yale University Press, 1999.", "page_number": "Mentioned: p. 324, n. 94", "url": null}, {"citation": "Rosenberg, Pierre and Louis-Antoine Prat. <em>Jacques-Louis David, 1748\u20131825: Catalogue raisonn\u00e9 des dessins</em>. Milan: Leonardo Arte, 2002.", "page_number": "Mentioned and reproduced: vol. 1, p. 352, no. 393", "url": ""}, {"citation": "Bordes, Philippe. <em>Jacques-Louis David: Empire to Exile. </em>Exh. cat. Williamstown, MA: Sterling and Francine Clark Art Institute, 2005.", "page_number": "Mentioend: p. 284, no. 43; Reproduced: p. 285", "url": null}, {"citation": "Johnson, Dorothy. \u201cLines of Thought: David\u2019s Aporetic Late Drawings.\". In <em>David after David</em>, edited by Mark Ledbury. Williamstown, MA: Sterling and Francine Clark Art Institute, 2007.", "page_number": "Mentioned: p. 160", "url": ""}, {"citation": "Padiyar, Satish. \u201cDispossessed: On \u2018Late\u2019 David.\" In <em>David after David</em>, edited by Mark Ledbury. Williamstown, MA: Sterling and Francine Clark Art Institute, 2007.", "page_number": "Mentioned and reproduced: p. 310", "url": ""}, {"citation": "Prat, Louis-Antoine. <em>Le Dessin fran\u00e7ais au XIXe si\u00e8cle</em>. Paris: Louvre Editions, 2012.", "page_number": "Mentioned and reproduced: p. 65", "url": null}, {"citation": "Crow, Thomas E.<em> Restoration: The Fall of Napoleon in the Course of European Art, 1812\u20131820</em>. Princeton, NJ: Princeton University Press, 2018.", "page_number": "Reproduced and mentioned: p. 139", "url": null}, {"citation": "David, Jacques Louis, and Perrin Stein. Jacques Louis David: Radical Draftsman. 2022, 253.", "page_number": "Reproduced; p. 253, No. 81.", "url": ""}, {"citation": "Stein, Perrin. <em>Jacques-Louis David: Radical Draftsman</em>. Exh. cat. New York: Metropolitan Museum of Art, 2022.", "page_number": "Mentioned and reproduced: pp. 253, no. 81, 258", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 80-83, no. 5b", "url": ""}], "catalogue_raisonne": "Rosenberg and Prat 393", "url": "https://clevelandart.org/art/1973.36", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.36/1973.36_web.jpg", "width": "1263", "height": "858", "filesize": "830860", "filename": "1973.36_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.36/1973.36_print.jpg", "width": "3400", "height": "2310", "filesize": "6308053", "filename": "1973.36_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.36/1973.36_full.tif", "width": "6395", "height": "4344", "filesize": "83378000", "filename": "1973.36_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.36/1973.36_alt0_web.jpg", "width": "1263", "height": "853", "filesize": "865980"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.36/1973.36_alt0_print.jpg", "width": "2048", "height": "1383", "filesize": "2288306"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.36/1973.36_alt0_full.tif", "width": "2048", "height": "1383", "filesize": "8500100"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147526, "creators": [{"id": 1643, "description": "Jacques-Louis David (French, 1748\u20131825)", "extent": null, "qualifier": null, "role": "artist", "biography": "The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Acad\u00e9mie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Mus\u00e9e du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Mus\u00e9e du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Acad\u00e9mie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napol\u00e9on Bonaparte. David's painting The Intervention of the Sabine Women (1799, Mus\u00e9e du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'\u00e9tat of 1799, Napol\u00e9on was named first consul and began supplying David with important commissions. Upon Napol\u00e9on's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napol\u00e9on, or Le Sacre (1805-7, Mus\u00e9e du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napol\u00e9on in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napol\u00e9on's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.", "name_in_original_language": null, "birth_year": "1748", "death_year": "1825", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "c. 1816\u201322", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:44.514000"}, {"id": 117030, "accession_number": "1937.575", "share_license_status": "CC0", "tombstone": "Self-Portrait, c. 1812. Joseph Paelinck (Belgian, 1781\u20131839). Oil on canvas; framed: 114 x 94.5 x 7.5 cm (44 7/8 x 37 3/16 x 2 15/16 in.); unframed: 89 x 69.3 cm (35 1/16 x 27 5/16 in.). The Cleveland Museum of Art, Gift of Elisabeth Ireland and Robert Livingston Ireland Jr., in memory of their mother, Mrs. Perry W. Harvey, 1937.575", "current_location": "202 French Neoclassical Decorative Arts", "title": "Self-Portrait", "creation_date": "c. 1812", "creation_date_earliest": 1807, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["Belgium, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 114 x 94.5 x 7.5 cm (44 7/8 x 37 3/16 x 2 15/16 in.); Unframed: 89 x 69.3 cm (35 1/16 x 27 5/16 in.)", "dimensions": {"framed": {"height": 1.14, "width": 0.945, "depth": 0.075}, "unframed": {"height": 0.89, "width": 0.693}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312374, "title": "Masterpieces of Art from the New York and San Francisco World's Fairs", "description": "<i>Masterpieces of Art from the New York and San Francisco World's Fairs</i>. The Cleveland Museum of Art, Cleveland, OH (February 7-March 7, 1940).", "opening_date": "1940-02-07T05:00:00"}, {"id": 315650, "title": "An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of The Ontario Society of Artists", "description": "<i>An Exhibition of Great Paintings in Aid of the Canadian Red Cross and of Small Pictures by Members of The Ontario Society of Artists</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (co-organizer) (November 15-December 15, 1940).", "opening_date": "1940-11-15T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}], "legacy": [{"description": "The Fifth Loan Exhibition of Old and Modern Masters. Exh. cat. The Detroit Institute of Arts (October 1927), no. 77, Ingres, Portrait of a Young Man. Canvas: 27 \u00bd inches by 36 inches. Lent by the Erlich Galleries.", "opening_date": "1927-10-01T00:00:00"}, {"description": "New York, Ehrich Galleries. (1929).", "opening_date": "1929-01-01T00:00:00"}, {"description": "cma. French Art since Eighteen Hundred (1929), CMA Bulletin 16 (1929): 159.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute. A Survey of French Painting (1936), no. 11 (repr.), Ingres, Portrait of a Man, lent by Mrs. Perry W. Harvey.", "opening_date": "1936-01-01T00:00:00"}, {"description": "cma. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art. (1936), no. 283 (repr.).", "opening_date": "1936-01-01T00:00:00"}, {"description": "San Francisco, Golden Gate International Exhibition. Masterworks of Five Centuries (1939), no. 120 (repr.) (as Ingres).", "opening_date": "1939-01-01T00:00:00"}, {"description": "cma. Masterpieces of Art from New York and San Francisco World's Fair (1940), no. 41.", "opening_date": "1940-01-01T00:00:00"}, {"description": "Toledo Museum of Art; Art Gallery of Toronto. The Spirit of Modern France. An Essay on Painting in Society 1745-1946 (1946-47), no. 15, A Gentleman of Rome 1807-1811.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Cincinnati, Taft Museum. The Regency, Empire, and Directoire Periods (1947), no cat.", "opening_date": "1947-01-01T00:00:00"}, {"description": "Detroit Institute of Arts. French Painting from David to Courbet (1950), no. 21 (as Ingres).", "opening_date": "1950-01-01T00:00:00"}, {"description": "Buffalo, N.Y., Albright Art Gallery. Forerunners of Modern Painting (1952); see Gallery Notes (May-October 1952), 10 (repr.) (as Ingres), 13-14 (repr.).", "opening_date": "1952-05-01T00:00:00"}]}, "provenance": [{"description": "Alessandro Contini-Bonacossi collection, Rome. Sold 1926 to Ehrich Galleries, New York. Bought by Mrs. Perry W. Harvey, Cleveland, 1929. Given to the CMA in 1937.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["3236.33", "3304.35", "258.30", "2185.30", "2794.31", "2559.29"], "did_you_know": null, "description": "Born in a small village in Belgium, Paelinck attended a local drawing academy as a youth. His skill earned him a scholarship to study in Paris where he worked with Jacques-Louis David (1748\u20131825), the leading French neoclassical master and official court painter of Napoleon I. Paelinck later moved to Rome to study ancient art firsthand and to participate in the city's lively international art scene. Paelinck's attire shows him as a dandy, wearing fashionable, subtly colored clothes. Over his black suit, he wears a box-coat\u2014a garment having a wide, velvet collar originally associated with coachmen but popular among artists in Rome during the early 19th century. The coat demonstrates Paelinck's skill at depicting textures. Likewise, the simplicity of his desk and chair\u2014based on ancient Greek and Roman models\u2014reflects the highest fashion of the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514002"], "internet_archive": ["https://archive.org/details/clevelandart-1937.575-self-portrait"]}, "citations": [{"citation": "Francis, Henry. \"'Portrait of a Man' by Ingres.\" <em>The Bulletin of the Cleveland Museum of Art </em>no 25, no. 7 (July 1938): 135-137", "page_number": "Reproduced: front cover; Mentioned: p. 135", "url": "https://www.jstor.org/stable/25137947"}, {"citation": "Francis, Henry. \"Loans to Important Exhibitions.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 7 (July 1939): 123", "page_number": "Mentioned: p. 123; Reproduced: p. 127", "url": "https://www.jstor.org/stable/25138029"}, {"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": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 32", "url": "https://archive.org/details/CMAPaintings1945/page/n40"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 482-485, Vol. II, no. 108", "url": ""}], "url": "https://clevelandart.org/art/1937.575", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.575/1937.575_web.jpg", "width": "692", "height": "893", "filesize": "389148", "filename": "1937.575_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.575/1937.575_print.jpg", "width": "2635", "height": "3400", "filesize": "5773658", "filename": "1937.575_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.575/1937.575_full.tif", "width": "3875", "height": "5000", "filesize": "58157256", "filename": "1937.575_full.tif"}}, "alternate_images": [], "creditline": "Gift of Elisabeth Ireland and Robert Livingston Ireland Jr., in memory of their mother, Mrs. Perry W. Harvey", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 117030, "creators": [{"id": 1847, "description": "Joseph Paelinck (Belgian, 1781\u20131839)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Oostakker, a village near Gent, Joseph Paelinck first studied at the Gent Drawing Academy. In 1802 he won the academy prize, enabling him to leave for Paris. There he enrolled in David's (q.v.) workshop, where he studied until 1806 before returning to Belgium. In 1808 he left for Rome and stayed there through 1812. During this period he regularly sent his paintings to exhibitions in Gent, thus establishing his reputation. After the fall of Napoleon, the Kingdom of the Netherlands was created in 1815, which included the present-day countries of Belgium and the Netherlands, and King William I ascended the throne. Paelinck soon was inundated with official commissions, portraits as well as historical, mythological, and religious subjects. He moved from Gent to Brussels, where a second court was established in addition to the royal family's principal residence in The Hague. His most famous paintings, La belle Anthia (1820, Mus\u00e9e des Beaux-Arts, Gent) and La toilette de Psyche (1823, Rijksmuseum, Amsterdam), recall David's style during his years of exile in Brussels. At the time of David's death in 1825, ideas and taste had significantly evolved. The new bourgeoisie in power sought other subjects in another style, and Paelinck's neoclassical works became undesirable and were replaced by a more romantic art. After the break-up of the kingdom and Belgium's independence in 1830, he even contemplated going into exile because his liaison with the Dutch court was viewed with hostility in the new Belgium. Having outlived his own painting style, Paelinck died in Brussels in 1839 at age fifty-eight.", "name_in_original_language": null, "birth_year": "1781", "death_year": "1839", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1807, "date_added_to_oa": null, "date_text": "c. 1812", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:17.452000"}, {"id": 147489, "accession_number": "1973.221", "share_license_status": "CC0", "tombstone": "Hen, 1900s. Nigeria, Benin Kingdom, \u1eb8do peoples, member(s) of the Igbesanmwan (wood and ivory carvers) guild. Wood; overall: 47.6 cm (18 3/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1973.221", "current_location": "108A African", "title": "Hen", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Nigeria, Benin Kingdom, \u1eb8do peoples, member(s) of the Igbesanmwan (wood and ivory carvers) guild"], "technique": "wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 47.6 cm (18 3/4 in.)", "dimensions": {"overall": {"height": 0.476}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}], "legacy": [{"description": "<em>African Tribal Images: The Katherine White Reswick Collection</em>. The Cleveland Museum of Art, Cleveland, OH (July 10 \u2013 September 1, 1968)", "opening_date": "1968-09-01T00:00:00"}, {"description": "<em>Icon and symbol : The cult of the ancestor in African art</em>. Cranbrook Academy of Art/Museum, Bloomfield Hills, MI (May 30\u2013July 20, 1975)", "opening_date": "1975-07-20T00:00:00"}]}, "provenance": [{"description": "Commissioned from the Igbesanmwan, Benin Kingdom", "citations": [], "footnotes": null, "date": "1900s", "sortorder": 1}, {"description": "(Robert L. Stolper gallery, New York City)", "citations": [], "footnotes": [], "date": "no earlier than 1961", "sortorder": 2}, {"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->\u2022 Photo negative in curatorial file with reference date 1/1/1962&nbsp;<br>\u2022 Published in African Tribal Images (CMA 1968) as cat. No. 150</div>"], "date": "by at least 1962", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<ul><li><!--block-->Acquired as gift at December 28, 1973 meeting&nbsp;</li><li><!--block-->Acquisition publicized in CMA Bulletin Feb 1974 \u201cYear in Review 1973\u201d (cat. #13, repr. p. 71)</li></ul>"], "date": "1973\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["923.68"], "did_you_know": "The interlacing pattern on the base of this sculpture can be seen in Benin Kingdom works in materials from wood to ivory to metal.", "description": "Materials used for ritual objects correspond with the status of their owner, or the person it was dedicated to. Men have cast brass roosters, while women have carved wooden hens like this. This egg-shaped bird is covered with patterns formed by parallel lines indicating the bird\u2019s feathers, from fluffy tufts to sleek plumage. Realistically carved, it replicates an animal that would be sacrificed on a woman\u2019s shrine. On an ancestral altar, it sat alongside other objects like rattle staffs. While Benin is patriarchal (men and their male sons lead), women are important; men cannot succeed spiritually or politically without them.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926648"], "internet_archive": ["https://archive.org/details/clevelandart-1973.221-hen"]}, "citations": [{"citation": "\"The Year in Review for 1968.\" <em>The Bulletin of the Cleveland Museum of Art, </em>61, no. 2 (February 1974): 31-78.", "page_number": "Reproduced:  p. 71, cat. 13; mentioned: p. 73, cat. 13", "url": "https://www.jstor.org/stable/25152513"}, {"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection</em>. [Cleveland]: Cleveland Museum of Art, 1968, no. 150.", "page_number": "Reproduced:  cat. 150", "url": ""}, {"citation": "Broudy, Elizabeth, Elizabeth Youngblood. <em>Icon and Symbol : The Cult of the Ancestor in African Art</em>. Bloomfield Hills, MI: Cranbrook Academy of Art/Museum, 1975", "page_number": "", "url": ""}, {"citation": "Windmuller-Luna, Kristen. \u201cArt from the Benin Kingdom.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 34-35.", "page_number": "Reproduced and Mentioned: P. 34-35.", "url": ""}, {"citation": "<em>Digital Benin, </em>Markk Museum Am Rothenbaum Kulturen und Kunste der Welt<em>, (</em>Last Updated: 2021-02-13)", "page_number": "ID 147489", "url": "https://digitalbenin.org/catalogue/8_147489"}], "url": "https://clevelandart.org/art/1973.221", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.221/1973.221_web.jpg", "width": "600", "height": "893", "filesize": "294074", "filename": "1973.221_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.221/1973.221_print.jpg", "width": "2284", "height": "3400", "filesize": "4229293", "filename": "1973.221_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.221/1973.221_full.tif", "width": "3940", "height": "5866", "filesize": "69368924", "filename": "1973.221_full.tif"}}, "alternate_images": [{"date_created": "2009-08-24T17:28:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt0_web.jpg", "width": "645", "height": "893", "filesize": "322901"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt0_print.jpg", "width": "2455", "height": "3400", "filesize": "4594423"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt0_full.tif", "width": "4183", "height": "5794", "filesize": "72741900"}}, {"date_created": "2009-08-24T17:19:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt1_web.jpg", "width": "622", "height": "893", "filesize": "328494"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt1_print.jpg", "width": "2369", "height": "3400", "filesize": "4570981"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt1_full.tif", "width": "4097", "height": "5880", "filesize": "72304352"}}, {"date_created": "2009-08-24T17:36:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt2_web.jpg", "width": "677", "height": "893", "filesize": "352628"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt2_print.jpg", "width": "2578", "height": "3400", "filesize": "4980031"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt2_full.tif", "width": "4328", "height": "5707", "filesize": "74133032"}}, {"date_created": "2009-08-24T17:43:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt3_web.jpg", "width": "623", "height": "893", "filesize": "299387"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt3_print.jpg", "width": "2373", "height": "3400", "filesize": "4357373"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.221/1973.221_alt3_full.tif", "width": "4035", "height": "5782", "filesize": "70023900"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147489, "creators": [], "legal_status": "accessioned", "accession_date": "1973-12-28T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:35.630000"}, {"id": 311742, "accession_number": "2018.27", "share_license_status": "CC0", "tombstone": "Bow Stand, 1800s. Africa, Central Africa, Democratic Republic of Congo, Luba-style carver. Wood and plant fiber; without base: 57.9 x 23 x 10 cm (22 13/16 x 9 1/16 x 3 15/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2018.27", "current_location": "108A African", "title": "Bow Stand", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luba-style carver"], "technique": "Wood and plant fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "without base: 57.9 x 23 x 10 cm (22 13/16 x 9 1/16 x 3 15/16 in.)", "dimensions": {"without base": {"height": 0.579, "width": 0.23, "depth": 0.1}, "with base": {"height": 0.632}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 324225, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20, 2019-October 5, 2020).", "opening_date": "2019-02-20T05:00:00"}], "legacy": [{"description": "<em>Utotombo: l'art d'Afrique Noire dans les Collections Prive\u0301es Belges, </em>Palais des Beaux-Arts, Brussels (25 March-5 June, 1988).", "opening_date": "1988-03-25T05:00:00Z"}, {"description": "<em>Luba, aux Sources du Za\u00efre, </em>Mus\u00e9e Dapper, Paris (25 November 1993-17 April 1994).", "opening_date": "1993-11-25T05:00:00Z"}]}, "provenance": [{"description": "Ex: Belgian Colonial Family", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Dr. Pierre Danhaive, Namur, Belgium", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Christine Valluet, Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Dr. William McGuire, Minnesota, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "\u20132018", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2018\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The shape of this wooden bow stand is based on a more practical version in metal used by hunters.", "description": "A powerful symbol of the Luba king, bow stands were ceremonial objects that resided within the king\u2019s private vicinity in the palace and were never displayed in public. Typically, bow stands depict a female figure, but the sculptor has carved a figure with ambiguously gendered human traits. This is a symbolic depiction that may allude to how divine rulers (<em>mulopwe</em>) were believed to have both \u201cmale\u201d and \u201cfemale\u201d character traits, which allowed this sculpture to act as a vessel for spirits of any gender.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873615"], "internet_archive": ["https://archive.org/details/clevelandart-2018.27-bow-stand"]}, "citations": [{"citation": "Debbaut, Jan, Dominique Favart, and G. van Geertruyen. <em>Utotombo: l'art d'Afrique noire dans les collections prive\u0301es belges : Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>. Bruxelles: Palais des beaux-arts, 1988.", "page_number": "", "url": ""}, {"citation": "Neyt, Franc\u0327ois.<em> Luba: to the sources of the Zaire</em>. Paris: Muse\u0301e Dapper, 1994.", "page_number": "", "url": ""}, {"citation": "Volper, Julien \u201c\u00c9tude Iconologique d\u2019un Porte-Fl\u00e8che Masculin<em>,\u201d Afrique: Arch\u00e9ologie &amp; Arts</em>, 4 (2006).", "page_number": "pp. 77-82", "url": ""}, {"citation": "Ugochukwu-Smooth, Nzewi. \"Acquisitions 2018: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 2 (March/April 2019): 8-9.", "page_number": "Reproduced and Mentioned: P. 8", "url": "https://archive.org/details/CMAMM2019-02/page/n3/mode/2up"}, {"citation": "Nzewi, Ugochukwu-Smooth. \u201cAcquisitions 2018: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 2 (March/April 2019):  8-9.", "page_number": "Reproduced and Mentioned: P. 8.", "url": ""}], "url": "https://clevelandart.org/art/2018.27", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.27/2018.27_web.jpg", "width": "671", "height": "900", "filesize": "78105", "filename": "2018.27_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.27/2018.27_print.jpg", "width": "2535", "height": "3400", "filesize": "859477", "filename": "2018.27_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.27/2018.27_full.tif", "width": "5822", "height": "7808", "filesize": "136401864", "filename": "2018.27_full.tif"}}, "alternate_images": [{"date_created": "2018-04-10T14:11:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt0_web.jpg", "width": "685", "height": "900", "filesize": "73135"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt0_print.jpg", "width": "2587", "height": "3400", "filesize": "823619"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt0_full.tif", "width": "5943", "height": "7810", "filesize": "139271624"}}, {"date_created": 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"2550", "height": "3400", "filesize": "1596413"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt6_full.tif", "width": "6000", "height": "8000", "filesize": "144028956"}}, {"date_created": "2018-04-11T09:10:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt7_web.jpg", "width": "675", "height": "900", "filesize": "113372"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt7_print.jpg", "width": "2550", "height": "3400", "filesize": "1378789"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.27/2018.27_alt7_full.tif", "width": "6000", "height": "8000", "filesize": "144028332"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 311742, "creators": [], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:32.338000"}, {"id": 157228, "accession_number": "1994.106", "share_license_status": "CC0", "tombstone": "A Calm Watering Place--Extensive and Boundless Scene with Cattle, 1816. Alvan Fisher (American, 1792\u20131863). Oil on panel; unframed: 78 x 102.2 cm (30 11/16 x 40 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1994.106", "current_location": "206 American Landscape", "title": "A Calm Watering Place--Extensive and Boundless Scene with Cattle", "creation_date": "1816", "creation_date_earliest": 1816, "creation_date_latest": 1816, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on panel", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 78 x 102.2 cm (30 11/16 x 40 1/4 in.)", "dimensions": {"unframed": {"height": 0.78, "width": 1.022}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Alexander Gallery, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Some of his fellow artists hired Alvan Fisher to paint animals into their own works because he was so skilled at it.", "description": "In this prime example of Fisher\u2019s early rural pictures, a ferry delivers two wealthy women and their belongings ashore, as a herd of especially handsome cattle rests in the foreground. Boston-based Fisher was among the first American artists to specialize in landscape, recalling that \u201cThis species of painting being novel in this part of the country, I found it a more lucrative, pleasant and distinguishing branch of the art than portrait painting.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477050"], "internet_archive": ["https://archive.org/details/clevelandart-1994.106-a-calm-watering-plac"]}, "citations": [{"citation": "Steinberg, David., \"Right Time, Wrong Place\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 35 no. 04, April 1995", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM1995-04/page/8"}], "url": "https://clevelandart.org/art/1994.106", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.106/1994.106_web.jpg", "width": "1263", "height": "893", "filesize": "797209", "filename": "1994.106_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.106/1994.106_print.jpg", "width": "3400", "height": "2404", "filesize": "5428003", "filename": "1994.106_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.106/1994.106_full.tif", "width": "5000", "height": "3536", "filesize": "53066376", "filename": "1994.106_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 157228, "creators": [{"id": 2894, "description": "Alvan Fisher (American, 1792\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1792", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-09-07T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "1816", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:51.348000"}, {"id": 103997, "accession_number": "1922.173", "share_license_status": "CC0", "tombstone": "The Venetian Girl, c. 1880. Frank Duveneck (American, 1848\u20131919). Oil on canvas; unframed: 86.7 x 62.6 cm (34 1/8 x 24 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1922.173", "current_location": null, "title": "The Venetian Girl", "creation_date": "c. 1880", "creation_date_earliest": 1875, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 86.7 x 62.6 cm (34 1/8 x 24 5/8 in.)", "dimensions": {"unframed": {"height": 0.867, "width": 0.626}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"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": 227782, "title": "Long Term Loan - Ohio Artists in the Governor's Residence", "description": "<i>Long Term Loan - Ohio Artists in the Governor's Residence</i>. Ohio Governor's Residence, Bexley, Ohio (April 22, 2002-December 31, 2006).", "opening_date": "2002-04-22T04:00:00"}], "legacy": [{"description": "Cincinnati, Cincinnati Museum Association, Memorial Exhibition of the Work of Frank Duveneck (1919), no catalogue.", "opening_date": "1919-01-01T00:00:00"}, {"description": "New York, M. Knoedler &amp; Co., Fifteenth Annual Summer Exhibition of Paintings by American Artists (1922), exhibition catalogue, cat. no. 15, not paginated.", "opening_date": "1922-01-01T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago (1922), no catalogue.", "opening_date": "1922-01-01T00:00:00"}, {"description": "Cincinnati, The Cincinnati Museum of Art, \"Exhibition of the Work of Frank Duveneck, May 23 through June 21, 1936,\" Cincinnati Art Museum, p. 25.", "opening_date": "1936-05-23T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, The Twentieth Anniversary Exhibition of the Cleveland Museum of Art: The Official Art Exhibit of the Great Lakes Exposition (26 June-4 October, 1936), cat. no. 354, p. 132.", "opening_date": "1936-06-26T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Catalogue of an Exhibition of American Painting From 1860 Until Today at The Cleveland Museum of Art (23 June-4 October, 1937), cat. no. 52, p. 19-20.", "opening_date": "1937-06-23T00:00:00"}, {"description": "New York, The Whitney Museum of American Art, Paintings by Frank Duveneck 1848-1919 (13 April-15 May, 1938), cat. no. 22, not paginated.", "opening_date": "1938-04-13T00:00:00"}, {"description": "Cincinnati, The Cincinnati Art Museum, An American Abroad: Frank Duveneck's European Years (2 October, 1987-3 January, 1988), p. 104.", "opening_date": "1987-10-02T00:00:00"}]}, "provenance": [{"description": "The artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Frank Boott Duveneck [1886\u20131986] , his son, by inheritance", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Charles Duveneck [1871\u20131946], his half-uncle", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "[Knoedler Galleries, New York, by consignment]", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased in 1922 with funds provided by Josephine Pettingill Everett", "citations": [], "footnotes": null, "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist was also an esteemed art instructor, teaching hundreds of students in Germany, Italy, and the United States.", "description": "Frank Duveneck loved Venice and spent several months there during the early decades of his career. Titled <em>The Venetian Girl</em>, this painting depicts a young woman\u2014likely an artist\u2019s model\u2014who holds a shallow brass bowl containing lemons and grapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503366"], "internet_archive": ["https://archive.org/details/clevelandart-1922.173-the-venetian-girl"]}, "citations": [{"citation": "F. A. W. \u201cDuveneck\u2019s the Venetian Girl.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 9, no. 8 (October 1922): 136\u2013141.", "page_number": "Mentioned and reproduced: p. 136-141", "url": "http://www.jstor.org/stable/25136596"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 33", "url": "https://archive.org/details/CMAHandbook_80839/page/n35"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 45", "url": "https://archive.org/details/CMAHandbook1928/page/n49"}, {"citation": "\"The Dorothy Burnham Everett Memorial Collection.\" <em>The Bulletin of the Cleveland Museum of Art </em>20, no. 1 (January 1933): 1-3", "page_number": "Mentioned: p. 1", "url": "https://www.jstor.org/stable/25137518"}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 until Today at the Cleveland Museum of Art.</em> [Cleveland]: [Printed by the Artcraft Printing Co.], 1937.", "page_number": "Mentioned: p. 20, no. 52", "url": ""}, {"citation": "Francis, Henry. \"The Dorothy Burnham Everett Memorial Collection.\" <em>The Bulletin of the Cleveland Museum of Art </em>25, no. 6, pt. 2 (June 1938): 124-131", "page_number": "Mentioned: p. 124", "url": "https://www.jstor.org/stable/25137944"}, {"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. 89", "url": "https://www.jstor.org/stable/25140932"}, {"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. 540", "url": "https://archive.org/details/CMAHandbook1958/page/n100"}, {"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. 186", "url": "https://archive.org/details/CMAHandbook1966/page/n210"}, {"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. 186", "url": "https://archive.org/details/CMAHandbook1969/page/n210"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 25, no. 56", "url": "http://www.jstor.org/stable/25152465"}, {"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. 230", "url": "https://archive.org/details/CMAHandbook1978/page/n250"}], "url": "https://clevelandart.org/art/1922.173", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.173/1922.173_web.jpg", "width": "632", "height": "893", "filesize": "381777", "filename": "1922.173_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.173/1922.173_print.jpg", "width": "2406", "height": "3400", "filesize": "6003097", "filename": "1922.173_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.173/1922.173_full.tif", "width": "4459", "height": "6301", "filesize": "84315324", "filename": "1922.173_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103997, "creators": [{"id": 3137, "description": "Frank Duveneck (American, 1848\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-08-15T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:37.562000"}, {"id": 160300, "accession_number": "1998.178", "share_license_status": "CC0", "tombstone": "Operating on Guan Yu's Arm (\u95a2\u7fbd\u5272\u81c2\u56f3), 1840s. Katsushika \u014ci (Japanese, c. 1800-after 1857). Hanging scroll; ink, color, and gold on silk; mounted: 206.7 x 73.1 cm (81 3/8 x 28 3/4 in.); painting: 140.2 x 68.3 cm (55 3/16 x 26 7/8 in.). The Cleveland Museum of Art, Kelvin Smith Fund, 1998.178", "current_location": null, "title": "Operating on Guan Yu's Arm", "title_in_original_language": "\u95a2\u7fbd\u5272\u81c2\u56f3", "creation_date": "1840s", "creation_date_earliest": 1840, "creation_date_latest": 1849, "artists_tags": ["female"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll; ink, color, and gold on silk", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Mounted: 206.7 x 73.1 cm (81 3/8 x 28 3/4 in.); Painting: 140.2 x 68.3 cm (55 3/16 x 26 7/8 in.)", "dimensions": {"mounted": {"height": 2.067, "width": 0.731}, "mounted with knobs": {"height": 2.067, "width": 0.776}, "painting": {"height": 1.402, "width": 0.683}, "with knobs": {"depth": 0.027}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6b3e\u8a18\u300c\u61c9\u70ba\u6804\u5973\u7b46\u300d", "inscription_translation": "Signed: Brush of \u014ci, the woman Ei", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u300c\u845b\u3057\u304b\u300d\u767d\u6587\u65b9\u5370", "inscription_translation": "Sealed: Katsushika", "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 213994, "title": "Asian Games: The Art of Contest", "description": "<i>Asian Games: The Art of Contest</i>. The Asia Society Museum, New York, NY (organizer) (October 14, 2004-February 5, 2005); National Museum of Asian Art, Washington, DC (February 26-May 15, 2005).", "opening_date": "2004-10-14T00:00:00"}, {"id": 292167, "title": "Hokusai: Beyond the Great Wave", "description": "<i>Hokusai: Beyond the Great Wave</i>. The British Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (May 25-August 13, 2017); Abeno Harukas Art Museum, Osaka, Japan (October 6-November 19, 2017).", "opening_date": "2017-05-25T04:00:00"}, {"id": 440861, "title": "Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16", "description": "<i>Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16</i>. The Cleveland Museum of Art (organizer) (April 8-October 9, 2022).", "opening_date": "2022-04-08T04:00:00"}], "legacy": [{"description": "<em>Nikuhitsu ukiyo-e meisaku ten</em>. Isetan Department Store, Tokyo, Japan (January 19\u201326, 1957).", "opening_date": "2019-01-01T00:00:00"}, {"description": "<em>Nikuhitsu ukiyo-e meisaku ten: Orinpikku Tokyo taikai kinen [The exhibition of ukiyoe hand-paintings [sic]: In commemoration of the Tokyo Olympics]</em>. Isetan Department Store, Tokyo, Japan (October 8\u201318, 1964).", "opening_date": "1964-01-01T00:00:00"}, {"description": "<em>Nikuhitsu ukiyo-e meihin ten: Azabu bijutsukan shozo [Ukiyo-e Painting Masterpieces in the Collection of the Azabu Museum of Art]</em>. Sendai City Museum, Sendai, Japan (June 11\u2013July 17, 1988); Osaka Municipal Museum of Art, Osaka, Japan (September 6\u2013October 9, 1988); Sogo Museum, Yokohama, Japan (October 20\u2013November 13, 1988).", "opening_date": "1988-07-17T00:00:00"}, {"description": "<em>Nikuhitsu ukiyo-e meihin ten</em> [\u8089\u7b46\u6d6e\u4e16\u7d75\u540d\u54c1\u5c55 = Exhibition of masterpieces of ukiyo-e painting]. Itabashi Art Museum, Tokyo, Japan (April 8\u2013May 7, 1989).", "opening_date": "1989-05-07T00:00:00"}, {"description": "<em>Japanese Gallery 103 Rotation</em>. The Cleveland Museum of Art, Cleveland, OH (December 20, 1998\u2013March 15, 1999).", "opening_date": "1998-12-20T00:00:00"}, {"description": "<em>Japanese Gallery 121 Rotation</em>. The Cleveland Museum of Art, Cleveland, OH (May 4\u2013August 11, 2000).", "opening_date": "2000-08-11T00:00:00"}]}, "provenance": [{"description": "Yamagata Hatsutaro", "citations": [], "footnotes": [], "date": "before 1998", "sortorder": 1}, {"description": "(Christie's New York, \"An Important Collection of Japanese Ukiyo-e Paintings,\" 27 October 1998, lot 84, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "October 27, 1998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1998\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the largest surviving painting by the artist.", "description": "Ukiyo-e artists\u2019 subject matter extended to popular literature. Katsushika \u014ci used color to great effect in her gruesome version of an episode from a 14th-century Chinese novel, <em>Romance of the Three Kingdoms.</em> \u014ci portrayed the passage in which legendary 3rd-century military leader Guan Yu undergoes a bone scraping to remove poisons received from an arrow wound. In this sensationalist portrayal, Guan Yu\u2019s attendants cower at the sight of his bloody arm while he remains unflinchingly focused on his game. As a woman, \u014ci was an outlier in her era, but her talent was allowed to shine due to collaboration with her father, Katsushika Hokusai (1760\u20131849), the famed designer of the print known as <em>The</em> <em>Great Wave</em>.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477606"], "internet_archive": ["https://archive.org/details/clevelandart-1998.178-operating-on-guan-yu"]}, "citations": [{"citation": "Mainichi Shinbunsha \u6bcf\u65e5\u65b0\u805e\u793e. <em>Nikuhitsu ukiyoe meisakuten mokuroku</em> [Catalogue of an exhibition of masterpieces of ukiyo-e painting]. To\u0304kyo\u0304: Isetan, 1957.", "page_number": "no. 94", "url": ""}, {"citation": "<em>Nikuhitsu ukiyo-e meisaku ten: Orinpikku Tokyo taikai kinen </em>[The exhibition of ukiyoe hand-paintings [sic]: In commemoration of the Tokyo Olympics].Tokyo: Mainichi Shimbunsha, 1964.", "page_number": "no. 129", "url": ""}, {"citation": "Shibui, Kiyoshi \u6e0b\u4e95\u6e05, and Sadao Kikuchi \u83ca\u6c60\u8c9e\u592b. <em>Nikuhitsu ukiyoe bijinga shu\u0304sei </em>[\u8089\u7b46\u6d6e\u4e16\u7d75, \u7f8e\u4eba\u753b\u96c6\u6210 = Ukiyo-e paintings of beauties in Japanese collections]. To\u0304kyo\u0304: Mainichi Shinbunsha, 1983.", "page_number": "Reproduced: vol. 2, pl. 20", "url": ""}, {"citation": "Azabu Museum of Art, and Osaka Municipal Museum of Art, eds. <em>Azabu Bijutsukan shozo\u0304 nikuhitsu ukiyoe meihin ten</em> [\u9ebb\u5e03\u7f8e\u8853\u9928\u6240\u8535\u8089\u7b46\u6d6e\u4e16\u7d75\u540d\u54c1\u5c55 = Ukiyo-e painting masterpieces in the collection of the Azabu Museum of Art]. To\u0304kyo\u0304: Azabu Bijutsukan, 1988.", "page_number": "Reproduced: pl. 79", "url": ""}, {"citation": "Tazawa Hiroyoshi \u7530\u6ca2\u88d5\u8cc0. \"Azabu bijutsukan shozo nikuhitsu ukiyo-e meihin ten: Tenrankai annai\" (Exhibition of ukiyo-e masterpieces in the Azabu Museum of Art: Exhibition news). <em>Ukiyo-e geijutsu [\u6d6e\u4e16\u7d75\u82b8\u8853 = Ukiyo-e Art] </em>94 (October 1988).", "page_number": "Reproduced: title page", "url": ""}, {"citation": "<em>Nikuhitsu ukiyo-e meihin ten</em> [\u8089\u7b46\u6d6e\u4e16\u7d75\u540d\u54c1\u5c55 = Exhibition of masterpieces of ukiyo-e painting]. To\u0304kyo\u0304: Itabashi Kuritsu Bijutsukan, 1989.", "page_number": "Reproduced: pl. 51", "url": ""}, {"citation": "Nakamura, Hideki \u4e2d\u6751\u82f1\u6a39. <em>Hokusai mangekyo\u0304: porifoni\u0304teki shutai e</em> [\u5317\u658e\u4e07\u83ef\u93e1 : \u30dd\u30ea\u30d5\u30a9\u30cb\u30fc\u7684\u4e3b\u4f53\u3078 = Gazing at Hokusai's constellation: toward polyphonic vision]. To\u0304kyo\u0304: Bijutsu Shuppansha, 1990.", "page_number": "pp. 100, 101", "url": ""}, {"citation": "Fister, Patricia. <em>Kinsei no josei gakatachi: bijutsu to jenda\u0304 </em>[\u8fd1\u4e16\u306e\u5973\u6027\u753b\u5bb6\u305f\u3061: \u7f8e\u8853\u3068\u30b8\u30a7\u30f3\u30c0\u30fc = Japanese women artists of the kinsei era]. Kyo\u0304to-shi: Shibunkaku Shuppan, 1994.", "page_number": "Reproduced: color pl. p. 228", "url": ""}, {"citation": "Kobayashi, Tadashi \u5c0f\u6797\u5fe0 and Sh\u016bg\u014d. Asano \u6d45\u91ce\u79c0\u525b . <em>Azabu bijutsu k\u014dgeikan </em>[\u9ebb\u5e03\u7f8e\u8853\u5de5\u82b8\u9928 = Azabu Museum of Arts and Crafts]. vol. 6 of <em>Nikuhitsu ukiyo-e taikan</em> [Ukiyo-e paintings in Japanese collections]. Tokyo: Kodansha, 1995.", "page_number": "Reproduced: pl. 61", "url": ""}, {"citation": "Kubota Kazuhiro \u4e45\u4fdd\u7530\u4e00\u6d0b. \"Hokusai musume: Oi Eijo ron\" [A discussion of Hokusai's daughter Oi Eijo]. <em>Ukiyo-e geijutsu [\u6d6e\u4e16\u7d75\u82b8\u8853 = Ukiyo-e Art] </em>107 (September 1995).", "page_number": "Reproduced: fig. 7", "url": ""}, {"citation": "Christie's New York. <em>An Important Collection of Japanese Ukiyo-e Paintings</em>. 27 October 1998, lot 84.", "page_number": "Reproduced: pp. 122\u2013123, lot 84", "url": null}, {"citation": "Cleveland Museum of Art, \u201cNew Cleveland Indian Arrives at the CMA,\u201d November 27, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4223"}, {"citation": "Cunningham Michael R., \"Family Legacy\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 39 no. 07, September 1999", "page_number": "Mentioned & reproduced: p. 4\u20135", "url": "https://archive.org/details/CMAMM1999-07/page/4"}, {"citation": "Gustafson, Eleanor H. \"Museum accessions\" <em>The Magazine Antiques</em>, December 1999, vol. CLVL no. 6.", "page_number": "Reproduced: p. 778", "url": null}, {"citation": "Rousmaniere, Nicole Coolidge. <em>Births and Rebirths in Japanese Art: Essays Celebrating the Inauguration of The Sainsbury Institute for the Study of Japanese Arts and Cultures</em>. Leiden: Hotei, 2003.", "page_number": "Reproduced: pl. 8", "url": null}, {"citation": "Finkel, Irving L., and Colin Mackenzie, editors. <em>Asian Games: The Art of Contest</em>. New York: Asia Society, 2004.", "page_number": "p. 325", "url": null}, {"citation": "Grossman, Nancy, James T. Ulak, Marjorie Williams, and Laurence Channing. <em>Art of Japan: Masterpieces from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2005.", "page_number": "Reproduced: p. 116", "url": null}, {"citation": "Carpenter, John T. <em>Hokusai and His Age: Ukiyo-e Painting, Printmaking and Book Illustration in Late Edo Japan</em>. Amsterdam: Hotei, 2005.", "page_number": "Reproduced: p. 102, n. 9", "url": null}, {"citation": "Meech-Pekarik, Julia, and John T. Carpenter. <em>Designed for Pleasure: The World of Edo Japan in Prints and Paintings, 1680-1860</em>; [Issued in Connection with an Exhibition held Feb. 27 - May 4, 2008, Asia Society and Museum, New York, New York]. Seattle: University of Washington Press, 2008.", "page_number": "Reproduced: p. 162, fig. 116", "url": null}, {"citation": "Clark, Timothy, Angus Lockyer, Ryoko Matsuba, Shu\u0304go\u0304 Asano, and Alfred Haft. <em>Hokusai: beyond the great wave</em>. New York, New York: Thames &amp; Hudson in collaboration with the British Museum, 2017.", "page_number": "Reproduced: p. 298, cat. no. 196", "url": null}, {"citation": "Paget, Rhiannon. <em>Hokusai: 1760-1849.</em> Ko\u0308ln: Taschen, 2018.", "page_number": "Mentioned and Reproduced: p. 49", "url": null}, {"citation": "Bouvette, Sharon, Amir L. Butt, Lacy E. Harville III, and Kenichi A. Tanaka. \"From Ancient Arsenal to an Anesthetic: Historical Roles of Hyoscyamine and Aconitine in Anesthesia.\" <em>Anesthesiology</em> (May 2024).", "page_number": "Mentioned and Reproduced: fig. 1", "url": ""}, {"citation": "Govier, Katherine. \"A Novelist's Research into \u014ci.\" <em>Andon : Journal of the Society for Japanese Art</em> 118 (Autumn 2024): 5\u201321.", "page_number": "Mentioned: p. 15; Reproduced: p. 14, fig.7", "url": ""}], "url": "https://clevelandart.org/art/1998.178", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.178/1998.178_web.jpg", "width": "439", "height": "900", "filesize": "233139", "filename": "1998.178_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.178/1998.178_print.jpg", "width": "1659", "height": "3400", "filesize": "1747746", "filename": "1998.178_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.178/1998.178_full.tif", "width": "6755", "height": 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"https://openaccess-cdn.clevelandart.org/alternate/1998.178/1998.178_alt5_web.jpg", "width": "900", "height": "635", "filesize": "169427"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.178/1998.178_alt5_print.jpg", "width": "3400", "height": "2399", "filesize": "1039243"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.178/1998.178_alt5_full.tif", "width": "7949", "height": "5609", "filesize": "44093440"}}], "creditline": "Kelvin Smith Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160300, "creators": [{"id": 31348, "description": "Katsushika \u014ci (Japanese, c. 1800-after 1857)", "extent": null, "qualifier": null, "role": "artist", "biography": "Artist \u014ci was Hokusai's third daughter, and perhaps his most devoted student and a superb talent in her own right.", "name_in_original_language": "\u845b\u98fe\u5fdc\u70ba", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-11-23T00:00:00", "sortable_date": 1840, "date_added_to_oa": null, "date_text": "1840s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:06:02.180000"}, {"id": 136823, "accession_number": "1961.318.a", "share_license_status": "CC0", "tombstone": "Study of a Nude Woman, Seated Looking to the Right (recto), c. 1810. Pierre-Paul Prud'hon (French, 1758\u20131823). Black and white chalk (both stumped); sheet: 61.9 x 43.6 cm (24 3/8 x 17 3/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1961.318.a", "current_location": null, "title": "Study of a Nude Woman, Seated Looking to the Right (recto)", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and white chalk (both stumped)", "support_materials": [{"description": "blue laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 61.9 x 43.6 cm (24 3/8 x 17 3/16 in.)", "dimensions": {"sheet": {"height": 0.619, "width": 0.436}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "ON SEPERATELY APPLIED PIECES OF PAPER (now removed), printed in black ink: WALTER S. M. BURNS, ESQ. / To be Sold on giving up his Residence at 50, Grosvenor Street, W. / Sale - Sotheby [inscribed in black ink] / DAY OF SALE / Thursday, May 6th, 1926. ; printed in black ink: PIERRE PRUD'HON. / 134   Study of a Nude Woman seated looking to the Right / Black and white chalk on blue paper / 24 in. by 16 3/4 in. (610 mm. by 425 mm.) ; printed in black ink: 2.026", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361355, "title": "French Master Drawings of the 17th and 18th Centuries in North American Collections", "description": "<i>French Master Drawings of the 17th and 18th Centuries in North American Collections</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (September 2-October 15, 1972); Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (September 2-October 15, 1972); National Gallery of Canada, Ottawa, Ont.,, Canada (November 3-December 17, 1972); The New York Cultural Center, New York, NY (April 4-May 13, 1973).", "opening_date": "1972-09-02T04:00:00"}, {"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).", "opening_date": "1994-12-13T00:00:00"}, {"description": "CMA, Rococo, Revolution, Restoration (July 11-Sep. 24, 1989)--[(?): did this finally appear in show?: the exh. files have two lists for the show, only one of which includes this drawing].", "opening_date": "1989-07-11T00:00:00"}, {"description": "CMA (listed in file of \"West Wing Label Copy, ordered June 20, 1986\").", "opening_date": "1986-06-20T00:00:00"}, {"description": "CMA, National Schools of Style (June 14-Sep. 18, 1983).", "opening_date": "1983-06-14T00:00:00"}, {"description": "CMA, The Lessons of the Academy (Feb. 8-May 29, 1983) [\"Study of a Male Nude\" listed on sheet, so only verso shown?--the same question about verso only; recto only; verso/recto both exhibited may apply as well to some of these other exh. entries (if it is an important question???)].", "opening_date": "1983-02-08T00:00:00"}, {"description": "CMA, French Prints and Drawings in the Age of the Bourbons, 1589-1792 (Jan. 25-May 16, 1982) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet, so only recto shown?].", "opening_date": "1982-01-25T00:00:00"}, {"description": "CMA, Idea to Image: Preparatory Studies from the Renaissance to Impressionism (Feb. 19-Mar. 23, 1980), pp. 19-21, illus. recto and verso.", "opening_date": "1980-02-19T00:00:00"}, {"description": "CMA, 17th and 18th Century Genre and French Drawings (May 31-Aug. 19, 1979).", "opening_date": "1979-05-31T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario; Ottawa, National Gallery of Canada; San Francisco, California Palace of the Legion of Honor, French Master Drawings of the 17th and 18th Centuries in North American Collections (Sep. 2-Oct. 15; Nov. 3-Dec. 17, 1972; Jan. 12-Mar. 11, 1973), no. 118, pl. 138.", "opening_date": "1972-11-03T00:00:00"}, {"description": "CMA, \"Gallery List of Drawings\" (opened June 11, 1968) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet].", "opening_date": "1968-06-11T00:00:00"}, {"description": "CMA, \"Gallery List of Drawings\" (1966) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet].", "opening_date": "1966-01-01T00:00:00"}, {"description": "CMA, French Drawings (Nov. 10, 1965-Feb. 16, 1966; re-opened Mar. 31, 1966) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet].", "opening_date": "1965-11-10T00:00:00"}, {"description": "CMA, France, Italy, Netherlands (Jan. 14-Mar. 24, 1965) [\"Study of a Nude Woman Seated Looking to the Right\" listed on sheet].", "opening_date": "1965-01-14T00:00:00"}, {"description": "CMA, Neo-Classicism: Style and Motif (1964), no. 110, illus.", "opening_date": "1964-01-01T00:00:00"}, {"description": "CMA, The Year in Review for 1962 (Oct. 24-Nov. 25, 1962), cma Bulletin 49 (1962), p. 226 no. 129, illus. recto p. 220.", "opening_date": "1962-10-24T00:00:00"}]}, "provenance": [{"description": "Charles-Boulanger de Boisfremont, Paris (Lugt 353, lower left, in red ink); [his sale, Paris, Hotel Drouot, 9 April 1870, lot 49] (according to letter of 16 Feb. 1981 from Sylvain Laveissi\u00e8re in departmental file).  Walter S.M. Burns, London; [his sale, London, Sotheby's, 6 May 1926, p. 21, lot 134] (photocopy of cat. in departmental file)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pierre-Paul Prud'hon was raised in the Cluny abbey by monks, who recognized and encouraged his artistic talent as a boy.", "description": "This sheet is notable in its presentation of a woman, specifically one of Pierre-Paul Prud\u2019hon\u2019s favorite models, Marguerite\u2014known for her curly hair and striking appearance. Following the artist\u2019s death, more than 100 drawings were discovered in his studio, each portraying a closely studied nude figure like those shown here. The context of these works remains unclear: artists typically sketched from a model early in their training, but Prud\u2019hon did so as a well-established painter. He saw drawing as a solitary practice, working consistently with white and black chalks on a paper described by one critic as \u201cmoonlit blue.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756627"], "internet_archive": ["https://archive.org/details/clevelandart-1961.318.a-study-of-a-nude-woma"]}, "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. 164", "url": "https://archive.org/details/CMAHandbook1966/page/n188"}, {"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. 164", "url": "https://archive.org/details/CMAHandbook1969/page/n188"}, {"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. 203", "url": "https://archive.org/details/CMAHandbook1978/page/n223"}], "url": "https://clevelandart.org/art/1961.318.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.318.a/1961.318.a_web.jpg", "width": "647", "height": "900", "filesize": "258529", "filename": "1961.318.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.318.a/1961.318.a_print.jpg", "width": "2443", "height": "3400", "filesize": "3974895", "filename": "1961.318.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.318.a/1961.318.a_full.tif", "width": "9655", "height": "13437", "filesize": "389230969", "filename": "1961.318.a_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.a/1961.318.a_alt0_web.jpg", "width": "633", "height": "893", "filesize": "408654"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.a/1961.318.a_alt0_print.jpg", "width": "1451", "height": "2048", "filesize": "2426526"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.a/1961.318.a_alt0_full.tif", "width": "1451", "height": "2048", "filesize": "8918404"}}, {"date_created": "2022-01-10T14:55:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.a/1961.318.a_alt1_web.jpg", "width": "642", "height": "900", "filesize": "271484"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.a/1961.318.a_alt1_print.jpg", "width": "2425", "height": "3400", "filesize": "3928265"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.a/1961.318.a_alt1_full.tif", "width": "8745", "height": "12261", "filesize": "321692773"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136823, "creators": [{"id": 1646, "description": "Pierre-Paul Prud'hon (French, 1758\u20131823)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre-Paul Prud'hon studied at the Dijon School of Art under Fran\u00e7ois Devosge (1732-1811), founder and director of one of the most prominent art schools in France. In 1776 Prud'hon met the Baron de Joursanvault, a follower of Jean-Jacques Rousseau and an art lover, who became his first patron. At the age of twenty-two Prud'hon left for Paris, where he attended the Acad\u00e9mie Royale and was introduced to Jean-Baptiste Greuze (1725-1805) and Jean-Georges Wille (1715-1808), an important engraver and collector. Soon after he returned to Dijon in 1784, he won the Prix de Rome and left for Italy, where he would spend four decisive years. He studied the works of Raphael (1483-1520), Leonardo da Vinci (1452--1519), and Correggio (ca. 1489/94-1534) as well as antique sculptures. He was influenced by the artists Anton Raphael Mengs (1728-1779), Antonio Canova (1757-1822), and Angelica Kauffmann (1741-1807) rather than his own countrymen, the pupils of David (q.v.). When he returned to Paris in 1788, Prud'hon endorsed the revolutionary ideals. He attended the meetings of David's Club des Arts and made drawings with political overtones that were to be engraved. After Robespierre's execution, Prud'hon was forced to live in exile in the Franche-Comt\u00e9 (1794-96), where he painted several portraits and made book illustrations. Upon his return to Paris he was elected to the Institut de France and received private and public commissions for decorative projects, including, for example, the ceilings in the Greek sculpture rooms of the Louvre and designs for the celebrations of the emperor's coronation and his marriage to Marie-Louise of Austria. During the First Empire (1805-15) he became equally respected for his imperial portraits and was appointed drawing instructor of the new empress. During the Bourbon restoration (1815-23) he still received several public commissions, even though he did not sympathize with the regime. In 1802 Prud'hon's wife had to be institutionalized, leaving him to care for their five children. He would be supported in this task by his pupil, Constance Mayer (1774-1821), who not only became his mistress but also his first artistic collaborator. (Prud'hon often made the preparatory drawings for her paintings.) His last years were plagued with many problems, and Mayer's suicide in 1821 affected him tremendously. He would survive her only briefly, dying two years later in 1823.", "name_in_original_language": null, "birth_year": "1758", "death_year": "1823", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1961.318", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Acad\u00e9mie of a Nude Woman, Seated Looking to the Right (Acad\u00e9mie de femme)", "Study of a Female Nude Looking to the Right"], "is_highlight": false, "updated_at": "2026-03-27 00:00:00.479000"}, {"id": 163793, "accession_number": "2005.2", "share_license_status": "CC0", "tombstone": "Sculptural Element from a Reliquary Ensemble (mbulu ngulu), probably 1800s. Africa, Central Africa, Gabon, Kota-style maker. Wood, copper alloy, and iron; overall: 61 x 27.5 x 3 cm (24 x 10 13/16 x 1 3/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2005.2", "current_location": "108A African", "title": "Sculptural Element from a Reliquary Ensemble (mbulu ngulu)", "creation_date": "probably 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Gabon, Kota-style maker"], "technique": "Wood, copper alloy, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 61 x 27.5 x 3 cm (24 x 10 13/16 x 1 3/16 in.)", "dimensions": {"overall": {"height": 0.61, "width": 0.275, "depth": 0.03}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": [{"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. 34, p. 117, color repr. p. 11.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Mr. and Mrs. Willem Vranken-Hoet, Brussels, Belgium, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132005", "sortorder": 1}, {"description": "Purchased by the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2005\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The diamond-shaped \"body\" of this sculpture was originally pushed into a container of ancestral relics (bones) up to its \"shoulders.\" Metal covers only areas of the wood that were left visible.", "description": "The ethnic map of eastern Gabon is extremely complicated as a result of continuous migratory movements since the 17th century. Kota is the name of one of three culturally closely related people. All share the tradition of commemorating and honoring ancestors through the preservation and worship of sacred ancestral relics within cylindrical bark containers or bound in fiber packets. Covered with sheets of copper and brass, this abstract wooden human-shaped figure\u2014distilled to a planar surface\u2014served as a guardian set atop a basket container holding the skull, certain bones, and other relics of a deceased man. It belonged to a religious institution that honored the memory of individuals who made major contributions during their lifetime. The luminosity of the copper and brass covering was considered intimidating and spiritually empowered to deflect harm and thus protect the owner and his family.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757903"], "internet_archive": ["https://archive.org/details/clevelandart-2005.2-sculptural-element-f"]}, "citations": [{"citation": "Debbaut, Jan, Dominique Favart, G. van Geertruyen, and Palais des beaux-arts (Brussels, Belgium). 1988. <em>Utotombo : L\u2019art D\u2019afrique Noire Dans Les Collections Prive\u0301es Belges : Socie\u0301te\u0301 Des Expositions Du Palais Des Beaux-Arts, Bruxelles, 25 Mars-5 Juin 1988</em> Ed. franc\u0327aise ed. Bruxelles: Palais des beaux-arts, Illustration of piece on p. 90, catalogue entry on p. 293-4.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". African Arts. (44) No. 1, Spring 2011. Pg. 54; 58-59, Fig. 6.", "page_number": "", "url": ""}, {"citation": "Franklin, David, C. Griffith Mann, and Cleveland Museum of Art. 2012. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, Ohio: Cleveland Museum of Art, p. 236-7.", "page_number": "", "url": ""}, {"citation": "Perrois, Louis. Kota. Milan: 5 Continents Editions; New York : Distributed in the United States and Canada by Harry N. Abrams, 2012. Pg 47, pl 25.", "page_number": "", "url": ""}, {"citation": "Windmuller-Luna, Kristen. \"An Obsession with Heads: The Impact of African Arts, Anthropology, and Photography on the Works of Alberto Giacometti,\" <em>Medium </em>(May 2022).", "page_number": "", "url": "https://medium.com/cma-thinker/an-obsession-with-heads-968e8e8c2d30"}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-17.", "page_number": "Mentioned and reproduced: p. 12", "url": "https://archive.org/details/CMAMM2005-06/page/12/mode/2up"}, {"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": "Reproduced: P. 11, no. 34", "url": ""}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: p. 237, no. 8.10", "url": ""}, {"citation": "Nzewi, Ugochukwu-Smooth C. \"Martin Puryear and Africa.\" In <em>Martin Puryear: Nexus, </em>edited by Emily Liebert, 142-151. Cleveland: The Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 147-148, fig. 61", "url": ""}], "url": "https://clevelandart.org/art/2005.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2005.2/2005.2_web.jpg", "width": "601", "height": "900", "filesize": "176925", "filename": "2005.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2005.2/2005.2_print.jpg", "width": "2270", "height": "3400", "filesize": "1008304", "filename": "2005.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2005.2/2005.2_full.tif", "width": "3316", "height": "4966", "filesize": "49414968", "filename": "2005.2_full.tif"}}, "alternate_images": [{"date_created": "2005-03-02T19:26:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.2/2005.2_alt0_web.jpg", "width": "579", "height": "893", "filesize": "222019"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.2/2005.2_alt0_print.jpg", "width": "2204", "height": "3400", "filesize": "3216871"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.2/2005.2_alt0_full.tif", "width": "3241", "height": "5000", "filesize": "48633916"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163793, "creators": [], "legal_status": "accessioned", "accession_date": "2005-02-28T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "probably 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:06.812000"}, {"id": 143203, "accession_number": "1967.167", "share_license_status": "CC0", "tombstone": "Conversation: Ludovic Hal\u00e9vy and Madame Cardinal (The Conversation) for \"La Famille Cardinal\" by Ludovic Hal\u00e9vy, c. 1880\u201383. Edgar Degas (French, 1834\u20131917). Monotype; platemark: 21.3 x 16 cm (8 3/8 x 6 5/16 in.); sheet: 25.5 x 17.8 cm (10 1/16 x 7 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland in honor of Henry Sayles Francis, 1967.167", "current_location": null, "title": "Conversation: Ludovic Hal\u00e9vy and Madame Cardinal (The Conversation) for \"La Famille Cardinal\" by Ludovic Hal\u00e9vy", "creation_date": "c. 1880\u201383", "creation_date_earliest": 1880, "creation_date_latest": 1883, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "monotype", "support_materials": [{"description": "cream (3) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Platemark: 21.3 x 16 cm (8 3/8 x 6 5/16 in.); Sheet: 25.5 x 17.8 cm (10 1/16 x 7 in.)", "dimensions": {"sheet": {"height": 0.255, "width": 0.178}, "platemark": {"height": 0.213, "width": 0.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 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": 442453, "title": "Degas 1879", "description": "<i>Degas 1879</i>. National Galleries of Scotland, Edinburgh, United Kingdom of Great Britain and Northern Ireland (organizer) (August 13-September 30, 1979).", "opening_date": "1979-08-13T04:00:00"}, {"id": 304540, "title": "Monotypes", "description": "<i>Monotypes</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-July 5, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 338947, "title": "The Private Degas", "description": "<i>The Private Degas</i>. Whitworth Art Gallery, Manchester, United Kingdom of Great Britain and Northern Ireland (January 20-February 28, 1987); Fitzwilliam Museum, Cambridge CB2 1RB (March 17-May 3, 1987).", "opening_date": "1987-01-20T05:00:00"}, {"id": 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": 410857, "title": "Degas Monotypes", "description": "<i>Degas Monotypes</i>. Ordrupgaard (organizer) (October 13, 1994-January 15, 1995).", "opening_date": "1994-10-13T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 208583, "title": "Edgar Degas:  Six Friends at Dieppe", "description": "<i>Edgar Degas:  Six Friends at Dieppe</i>. Museum of Art, Rhode Island School of Design, Providence, RI (organizer) (September 16, 2005-January 15, 2006).", "opening_date": "2005-09-16T00:00:00"}, {"id": 205935, "title": "The Dancer: Degas, Forain, and Toulouse-Lautrec", "description": "<i>The Dancer: Degas, Forain, and Toulouse-Lautrec</i>. Portland Art Museum, Portland, OR (organizer) (February 2-May 11, 2008).", "opening_date": "2008-02-02T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 203146, "title": "Monotypes: Painterly Prints", "description": "<i>Monotypes: Painterly Prints</i>. The Cleveland Museum of Art (organizer) (May 31-October 11, 2015).", "opening_date": "2015-05-31T00:00:00"}, {"id": 320509, "title": "Degas at the Opera", "description": "<i>Degas at the Opera</i>. Mus\u00e9e d'Orsay, Paris, France (organizer) (September 23, 2019-January 19, 2020).", "opening_date": "2019-09-23T04:00:00"}], "legacy": [{"description": "<em>Degas 1879</em>. National Gallery of Scotland, Edinburgh (August 13 - September 30, 1979).", "opening_date": "1979-08-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ludovic Hal\u00e9vy once co-authored a play, <em>La Cigale</em>, in which one of the characters was clearly based on Edgar Degas.", "description": "This print comes from a series of more than 30 monotypes that Degas planned as illustrations for La Famille Cardinal by the artist\u2019s friend Ludovic Hal\u00e9vy. The satirical stories revolve around two young dancers at the Op\u00e9ra, Pauline and Virginie Cardinal, and their procuress mother. In late 19th-century Paris, the ballet was the profession of lower-class girls and young women who were available for sexual hire. Here, in the opening scene, Hal\u00e9vy, the first-person narrator, meets with Madame Cardinal in the coulisses (wings) of the Op\u00e9ra to arrange for a private rendezvous with one of her daughters. The dancers, whose sexual availability is the subtext of the composition, are conspicuously absent.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756671"], "internet_archive": ["https://archive.org/details/clevelandart-1967.167-conversation-ludovic"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 323; Mentioned: p. 344, no. 77", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "Lockhart, Anne I. \u201cThree Monotypes by Edgar Degas.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 9 (November 1977): 299\u2013306.", "page_number": "Mentioned and reproduced: p. 303-304, fig. 4", "url": "http://www.jstor.org/stable/25159549"}, {"citation": "Pickvance, Ronald. <em>Degas 1879</em>. Exh. Cat. Edinburgh: National Gallery of Scotland, 1979.", "page_number": "Mentioned and reproduced: p. 69, no. 80", "url": null}, {"citation": "Sutton, Denys. <em>Edgar Degas: Life and Work</em>. New York: Rizzoli, 1986.", "page_number": "Mentioned: p. 190; Reproduced: p. 191, pl. 175", "url": null}, {"citation": "Brown, Kathryn. \"Intimacy and Exclusion: Degas's Illustrations for Ludovic Hal\u00e9vy's <em>La Famille Cardinal</em>.\" In <em>Perspectives on Degas</em>, ed. Kathryn Brown. New York: Routledge, 2017.", "page_number": "Mentioned: p. 185; Reproduced: p. 186", "url": null}, {"citation": "Brown, Kathryn. \"An \"Anti-spectacular\" Art.\" In <em>Degas: A Strange New Beauty. </em>Jodi Hauptman, 122-135. New York: The Museum of Modern Art, 2016.", "page_number": "Reproduced: p. 124, fig. 1", "url": null}], "catalogue_raisonne": "Janis 46", "url": "https://clevelandart.org/art/1967.167", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.167/1967.167_web.jpg", "width": "676", "height": "893", "filesize": "472333", "filename": "1967.167_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.167/1967.167_print.jpg", "width": "2575", "height": "3400", "filesize": "6476179", "filename": "1967.167_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.167/1967.167_full.tif", "width": "3900", "height": "5150", "filesize": "60289340", "filename": "1967.167_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.167/1967.167_alt0_web.jpg", "width": "672", "height": "893", "filesize": "463958"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.167/1967.167_alt0_print.jpg", "width": "2557", "height": "3400", "filesize": "6630983"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.167/1967.167_alt0_full.tif", "width": "3761", "height": "5000", "filesize": "56434352"}}], "creditline": "Gift of The Print Club of Cleveland in honor of Henry Sayles Francis", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143203, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-10-27T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1880\u201383", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:50.115000"}, {"id": 142759, "accession_number": "1966.464", "share_license_status": "CC0", "tombstone": "Lacquer Box, c. 1890. House of Faberg\u00e9 (Russian, 1842\u20131918), Factory N. Lukutin (Russian). Lacquer, papier-m\u00e2ch\u00e9, gold, diamonds; overall: 1.8 x 14.5 x 5 cm (11/16 x 5 11/16 x 1 15/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.464", "current_location": "211 Faberg\u00e9", "title": "Lacquer Box", "creation_date": "c. 1890", "creation_date_earliest": 1885, "creation_date_latest": 1895, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "lacquer, papier-m\u00e2ch\u00e9, gold, diamonds", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 1.8 x 14.5 x 5 cm (11/16 x 5 11/16 x 1 15/16 in.)", "dimensions": {"overall": {"height": 0.018, "width": 0.145, "depth": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed (inside cover):  Factory N. Lukutine (in Cyrillic script in gold); three double-headed eagles in gold.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}], "legacy": [{"description": "The Metropolitan Museum of Art (2/12/96-4/28/96); The Fine Arts Museums of San Francisco (5/25/96-7/28/96); Virginia Museum of Fine Arts (8/24/96-11/2/96); New Orleans Museum of Art (12/7/96-2/8/97); The Cleveland Museum of Art (3/9/97-5/11/97).  \"Faberg\u00e9 in America,\" exh. cat. no. 73, p. 102; p. 96; color repr. p. 102.", "opening_date": "1996-02-12T00:00:00"}]}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Piotr Lukutin\u2019s workshop employed over 50 skilled painters as well as acted as a school for training apprentices.", "description": "This lacquer box was created by the Lukutin Factory, which was well known for creating boxes such as this one after Piotr Lukutin took charge of production and expanded the factory to include tea caddies and various desk accessories. This particular box from the Lukutin workshop is remarkable in its detailed gold patterns and diamond inlays that create an intentional contrast with the deep red surface.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60748177"], "internet_archive": ["https://archive.org/details/clevelandart-1966.464-lacquer-box"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced:  pp. 116-7, cat. 55.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced in color:  p. 102, cat. 73; Reproduced:  p. 96", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}], "url": "https://clevelandart.org/art/1966.464", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.464/1966.464_web.jpg", "width": "1263", "height": "821", "filesize": "577340", "filename": "1966.464_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.464/1966.464_print.jpg", "width": "3400", "height": "2209", "filesize": "4250632", "filename": "1966.464_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.464/1966.464_full.tif", "width": "5054", "height": "3283", "filesize": "49814128", "filename": "1966.464_full.tif"}}, "alternate_images": [{"date_created": "2008-05-30T15:42:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt0_web.jpg", "width": "1263", "height": "571", "filesize": "345970"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt0_print.jpg", "width": "3400", "height": "1536", "filesize": "2699363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt0_full.tif", "width": "5468", "height": "2470", "filesize": "40553600"}}, {"date_created": "2008-05-30T17:05:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt1_web.jpg", "width": "1263", "height": "585", "filesize": "363874"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt1_print.jpg", "width": "3400", "height": "1574", "filesize": "2857884"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt1_full.tif", "width": "5334", "height": "2470", "filesize": "39557360"}}, {"date_created": "2008-05-30T17:17:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt2_web.jpg", "width": "1263", "height": "786", "filesize": "456753"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt2_print.jpg", "width": "3231", "height": "2011", "filesize": "3741785"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt2_full.tif", "width": "3231", "height": "2011", "filesize": "19526400"}}, {"date_created": "2008-05-30T17:23:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt3_web.jpg", "width": "1263", "height": "883", "filesize": "528674"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt3_print.jpg", "width": "2975", "height": "2079", "filesize": "3551212"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt3_full.tif", "width": "2975", "height": "2079", "filesize": "18589460"}}, {"date_created": "2008-05-30T17:31:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt4_web.jpg", "width": "1263", "height": "612", "filesize": "489910"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt4_print.jpg", "width": "3400", "height": "1647", "filesize": "3715486"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt4_full.tif", "width": "5507", "height": "2667", "filesize": "44097544"}}, {"date_created": "2008-05-30T17:35:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt5_web.jpg", "width": "1263", "height": "605", "filesize": "346567"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt5_print.jpg", "width": "3400", "height": "1630", "filesize": "2711628"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.464/1966.464_alt5_full.tif", "width": "5435", "height": "2606", "filesize": "42523124"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142759, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 8906, "description": "Factory N. Lukutin (Russian)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:48.113000"}, {"id": 142777, "accession_number": "1966.479", "share_license_status": "CC0", "tombstone": "Miniature Teapot, 1886\u201396. Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, bowenite; overall: 5.8 x 10.9 cm (2 5/16 x 4 5/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.479", "current_location": "211 Faberg\u00e9", "title": "Miniature Teapot", "creation_date": "1886\u201396", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, bowenite", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 5.8 x 10.9 cm (2 5/16 x 4 5/16 in.)", "dimensions": {"overall": {"height": 0.058, "width": 0.109}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Impressed marks: 56, crossed anchors [assay mark for St. Petersburg, 1882-96]; initials of workmaster Mikhail Perkhin (in Cyrillic); Faberg\u00e9 (in Cyrillic)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Scratched: 47274", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 443609, "title": "Faberge 1846 - 1920", "description": "<i>Faberge 1846 - 1920</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (June 23-October 23, 1977).", "opening_date": "1977-06-23T04:00:00"}, {"id": 441346, "title": "Faberge, Imperial Jeweler", "description": "<i>Faberge, Imperial Jeweler</i>. St. George Hall of the Hermitage, St. Petersburg, Russian Federation (June 18-August 15, 1993); Mus\u00e9e des arts D\u00e9coratifs, Paris, France (September 24, 1993-January 2, 1994); Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (January 26-April 10, 1994).", "opening_date": "1993-06-16T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sometimes called \"new jade,\" bowenite is actually considered a semiprecious gemstone. Though Faberg\u00e9 obtained his supply from the Ural Mountains of Russia, bowenite is also the state mineral of Rhode Island.", "description": "The House of Faberg\u00e9 specialized in the creation of little treasures intended as opulent personal gifts. In creating luxurious accessories for a desk or tabletop, Faberg\u00e9 often used native hardstones such as multicolored agate and quartz, green nephrite, pink rhodonite, rock crystal, and pale green bowenite found in the Ural Mountains of western Russia. Faberg\u00e9's designers often paired hardstones with gold mounts, particularly in the St. Petersburg workshop where the goldsmiths were concentrated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042894"], "internet_archive": ["https://archive.org/details/clevelandart-1966.479-miniature-teapot"]}, "citations": [{"citation": "Hawley, Henry. <em>Faberg\u00e9 and His Contemporaries: The India Early Minshall Collection of The Cleveland Museum of Art</em>. Cleveland, Cleveland Museum of Art, 1967.", "page_number": "Reproduced: p. 11; mentioned: p. 10, cat. 1;", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 105, cat. 79", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}], "url": "https://clevelandart.org/art/1966.479", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.479/1966.479_web.jpg", "width": "900", "height": "654", "filesize": "154485", "filename": "1966.479_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.479/1966.479_print.jpg", "width": "3400", "height": "2469", "filesize": "1094286", "filename": "1966.479_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.479/1966.479_full.tif", "width": "4753", "height": "3452", "filesize": "49246784", "filename": "1966.479_full.tif"}}, "alternate_images": [{"date_created": "2008-06-06T19:07:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479/1966.479_alt0_web.jpg", "width": "900", "height": "671", "filesize": "94523"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479/1966.479_alt0_print.jpg", "width": "3400", "height": "2533", "filesize": "793864"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479/1966.479_alt0_full.tif", "width": "4698", "height": "3500", "filesize": "49356148"}}, {"date_created": "2008-06-06T18:56:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479/1966.479_alt1_web.jpg", "width": "900", "height": "568", "filesize": "88747"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479/1966.479_alt1_print.jpg", "width": "3400", "height": "2146", "filesize": "688545"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479/1966.479_alt1_full.tif", "width": "5118", "height": "3230", "filesize": "49620392"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142777, "creators": [{"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1886\u201396", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:48.333000"}, {"id": 142809, "accession_number": "1966.500", "share_license_status": "CC0", "tombstone": "Tea Service, 1887\u201396. Attributed to Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917), House of Faberg\u00e9 (Russian, 1842\u20131918). Silver gilt, opaque cloisonn\u00e9 enamel. The Cleveland Museum of Art, The India Early Minshall Collection, 1966.500", "current_location": "211 Faberg\u00e9", "title": "Tea Service", "creation_date": "1887\u201396", "creation_date_earliest": 1887, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "silver gilt, opaque cloisonn\u00e9 enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "dimensions": {"overall": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Various marks.", "inscription_translation": null, "inscription_remark": "All assay marks indicate Moscow between 1882 and 1896 (though that mark continued in use until about 1899), with the exception of the tea caddie, which has a later assay mark of Moscow between 1896 and 1908. All are stamped \"Faberg\u00e9\" in Cyrillic. See component records for exact individual marks.", "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131966", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This tea service still retains its large wooden presentation box.", "description": "Faberg\u00e9\u2019s craftsmen in Moscow, especially under the watchful eye of workmaster Feodor R\u00fcckert, became known for their work in the pan-Slavic or neo-Russian style, hearkening back to 17th-century motifs of Russian folk art. Often on rather conventional shapes, R\u00fcckert and his silversmiths created an explosion of color, achieved through the historic technique of cloisonn\u00e9 enamel in which tiny metal lines are soldered to the surface then filled with glass powders in various colors and fired to create a high gloss finish. The result is a spectacular evocation of the 17th-century originals. Far from mere copies, however, R\u00fcckert's designs, such as this tea service, employ naturalistic or abstract motifs in a thoroughly modern adaptation of a remarkable earlier period of Russian art and decoration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60763171"], "internet_archive": ["https://archive.org/details/clevelandart-1966.500-tea-service"]}, "citations": [{"citation": "Hawley, Henry. <em>Faberg\u00e9 and His Contemporaries: The India Early Minshall Collection of The Cleveland Museum of Art</em>. Cleveland, Cleveland Museum of Art, 1967.", "page_number": "Reproduced and mentioned: pp. 124-125, cat. 59a", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Reproduced and mentioned: pp. 30-31, cat. 91", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.500", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.500/1966.500_web.jpg", "width": "900", "height": "462", "filesize": "173759", "filename": "1966.500_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.500/1966.500_print.jpg", "width": "3400", "height": "1745", "filesize": "1113828", "filename": "1966.500_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.500/1966.500_full.tif", "width": "11755", "height": "6034", "filesize": "212814128", "filename": "1966.500_full.tif"}}, "alternate_images": [{"date_created": "2008-03-04T14:25:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500/1966.500_alt0_web.jpg", "width": "900", "height": "522", "filesize": "103375"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500/1966.500_alt0_print.jpg", "width": "3400", "height": "1973", "filesize": "843693"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500/1966.500_alt0_full.tif", "width": "5440", "height": "3156", "filesize": "51530008"}}, {"date_created": "2007-08-16T15:34:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500/1966.500_alt1_web.jpg", "width": "900", "height": "551", "filesize": "101726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500/1966.500_alt1_print.jpg", "width": "3400", "height": "2080", "filesize": "981798"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500/1966.500_alt1_full.tif", "width": "5000", "height": "3059", "filesize": "45909012"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142809, "creators": [{"id": 8894, "description": "Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917)", "extent": null, "qualifier": "attributed to", "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887\u201396", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:34.235000"}, {"id": 145159, "accession_number": "1970.33", "share_license_status": "CC0", "tombstone": "The Jewish Boy, c. 1892. Medardo Rosso (Italian, 1859\u20131928). Wax on plaster; overall: 23.2 x 18.1 x 14.9 cm (9 1/8 x 7 1/8 x 5 7/8 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1970.33", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Jewish Boy", "creation_date": "c. 1892", "creation_date_earliest": 1892, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["Italy, 19th century"], "technique": "wax on plaster", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 23.2 x 18.1 x 14.9 cm (9 1/8 x 7 1/8 x 5 7/8 in.)", "dimensions": {"overall": {"height": 0.232, "width": 0.181, "depth": 0.149}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on left shoulder:  \"Bolg\u00e9/(M.?) Rosso.\"; inscribed inside:  Danila Rosso Parravicini.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "Rosso Family, Barzio, Italy", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Lords Gallery, Ltd., London, United Kingdom, 1970, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1970", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Like the Impressionist painters of his time, Rosso sought to capture the fleeting and ephemeral qualities of light. However, he did not work directly from nature. His images were created from memory and emotion.", "description": "Medardo Rosso was a highly experimental sculptor who deliberately cultivated coarse, unrefined surfaces in his work. In this head of a boy\u2014which the artist considered one of his most successful works\u2014he effectively utilized the fluid properties of wax to suggest the fleeting movement of a child\u2019s expression as well as the ephemeral nature of childhood.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60741302"], "internet_archive": ["https://archive.org/details/clevelandart-1970.33-the-jewish-boy"]}, "citations": [{"citation": "Hawley, Henry H. \"Sculptures by Jules Danlou, Henry Cros, and Medardo Rosso,\" <em>The Bulletin of The Cleveland Museum of Art LVIII,</em> no 9 (September, 1971):199-209", "page_number": "Reproduced: on cover", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1970.\" <em>The Bulletin of the Cleveland Museum of Art</em> 58, no. 2 (1971): 22-71.", "page_number": "Referenced: cat no. 9, Reproduced: p. 42", "url": "http://www.jstor.org/stable/25152361."}, {"citation": "Cleveland Museum of Art, Gabriel P. Weisberg, and H. W. Janson. <em>Traditions and Revisions: Themes from the History of Sculpture</em>. Cleveland: Cleveland Museum of Art, 1975.", "page_number": "Referenced: cat. no. 61", "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. 217", "url": "https://archive.org/details/CMAHandbook1978/page/n237"}], "url": "https://clevelandart.org/art/1970.33", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1970.33/1970.33_web.jpg", "width": "645", "height": "893", "filesize": "296892", "filename": "1970.33_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.33/1970.33_print.jpg", "width": "2455", "height": "3400", "filesize": "3893250", "filename": "1970.33_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.33/1970.33_full.tif", "width": "3524", "height": "4880", "filesize": "51605880", "filename": "1970.33_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.33/1970.33_alt0_web.jpg", "width": "714", "height": "893", "filesize": "316646"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.33/1970.33_alt0_print.jpg", "width": "2720", "height": "3400", "filesize": "4263596"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.33/1970.33_alt0_full.tif", "width": "3941", "height": "4927", "filesize": "58266432"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.33/1970.33_alt1_web.jpg", "width": "1148", "height": "893", "filesize": "650915"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.33/1970.33_alt1_print.jpg", "width": "2472", "height": "1923", "filesize": "2957526"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.33/1970.33_alt1_full.tif", "width": "2472", "height": "1923", "filesize": "14272420"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145159, "creators": [{"id": 12996, "description": "Medardo Rosso (Italian, 1859\u20131928)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1859", "death_year": "1928", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-05-06T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "c. 1892", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:43.106000"}, {"id": 314406, "accession_number": "2018.121", "share_license_status": "CC0", "tombstone": "Feast where Vishnu decides he will incarnate as King Dasharatha\u2019s sons, from Chapters 14\u201315 of the \"Bala Kanda\" (Book of Childhood) of a Ramayana (Rama\u2019s Journey), c. 1810. Northern India, Pahari kingdoms. Gum tempera and gold on paper; overall: 27.7 x 39.4 cm (10 7/8 x 15 1/2 in.); painting: 23.5 x 34.7 cm (9 1/4 x 13 11/16 in.). The Cleveland Museum of Art, Purchase and partial gift from the Catherine and Ralph Benkaim Collection; Severance and Greta Millikin Purchase Fund, 2018.121", "current_location": "242B Indian Painting", "title": "Feast where Vishnu decides he will incarnate as King Dasharatha\u2019s sons, from Chapters 14\u201315 of the \"Bala Kanda\" (Book of Childhood) of a Ramayana (Rama\u2019s Journey)", "creation_date": "c. 1810", "creation_date_earliest": 1800, "creation_date_latest": 1820, "artists_tags": [], "culture": ["Northern India, Pahari kingdoms"], "technique": "Gum tempera and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 27.7 x 39.4 cm (10 7/8 x 15 1/2 in.); Painting: 23.5 x 34.7 cm (9 1/4 x 13 11/16 in.)", "dimensions": {"overall": {"height": 0.277, "width": 0.394}, "painting": {"height": 0.235, "width": 0.347}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[[verso]] v\u0101la[k\u0101nda] 17", "inscription_translation": "[Chapter] 17 [of] Childhood (First Book of Ramayana)", "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 457592, "title": "Imagining Rama\u2019s Journey", "description": "<i>Imagining Rama\u2019s Journey</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 10-September 17, 2023).", "opening_date": "2023-03-09T05:00:00"}, {"id": 680516, "title": "Pahari Paintings: Art and Stories", "description": "<i>Pahari Paintings: Art and Stories</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 18-August 23, 2026).", "opening_date": "2026-01-18T05:00:00"}], "legacy": [{"description": "<em>Manifestations of Shiva</em>, Philadelphia Museum of Art, Philadelphia, PA (March 29\u2013June 7, 1981) and other museums (August 1, 1981\u2013May 30, 1982)", "opening_date": "1981-06-07T00:00:00"}]}, "provenance": [{"description": "(Antiqarts, Bombay, India, sold to Ralph Benkaim)", "citations": [], "footnotes": null, "date": "?\u20131969", "sortorder": 1}, {"description": "Catherine Glynn Benkaim and Ralph Benkaim Collection", "citations": [], "footnotes": [], "date": "1969\u20132018", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vishnu and Indra have taken off their crowns for the meal; the crowns are being guarded on raised platforms in the background.", "description": "The women\u2019s quarters of a palace occupy the right side of the composition. In the courtyard to the left, gods, including the blue Vishnu, four-headed Brahma, Surya (Sun), Chandra (Moon), Indra with eyes all over his body, and Shiva with snakes in his hair who sits with his minions, feast on food served on plates and bowls of leaves. Vishnu and Indra have taken off their crowns for the meal; the crowns are guarded on raised platforms in the background. The Pahari artist has depicted Dhaam, a local feast prepared by hereditary priest-chefs in accordance with strict Hindu rules of nutritional purity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483096"], "internet_archive": ["https://archive.org/details/clevelandart-2018.121-gods-rishis-and-demo", "https://archive.org/details/clevelandart-2018.121-gods-sages-and-demon", "https://archive.org/details/clevelandart-2018.121-feast-where-vishnu-d"]}, "citations": [{"citation": "Kramrisch, Stella. <em>Manifestations of Siva. </em>Philadelphia: Philadelphia Museum of Art, 1981.", "page_number": "Reproduced: P-28, p. 191", "url": ""}, {"citation": "Bond, Constance. \"India's Divine Art Reveals a God as Savant and Rogue.\" <em>Smithsonian Magazine </em>(May 1981):", "page_number": "reproduced p. 60.", "url": ""}, {"citation": "Bowles, John H. \"Manifestations of Shiva.\" <em>Orientations </em>12, no. 7 (July 1981).", "page_number": "Reproduced: Fig. 18, p. 23.", "url": ""}, {"citation": "Griswold, William, Cameron Kitchin, Chase F. Robinson, Cleveland Museum of Art, Cincinnati Art Museum, and National Museum of Asian Art (Smithsonian Institution). <em>Pahari Paintings: Art and Stories</em>, edited by Sonya Rhie Mace, Sarang Sharma, and Vijay Sharma. Cleveland, Ohio: Cleveland Museum of Art, 2026.", "page_number": "Mentioned and reproduced: p. 243-244, no. 73", "url": ""}], "url": "https://clevelandart.org/art/2018.121", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.121/2018.121_web.jpg", "width": "900", "height": "641", "filesize": "289237", "filename": "2018.121_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.121/2018.121_print.jpg", "width": "3400", "height": "2422", "filesize": "2896417", "filename": "2018.121_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.121/2018.121_full.tif", "width": "7952", "height": "5664", "filesize": "135162152", "filename": "2018.121_full.tif"}}, "alternate_images": [{"date_created": "2016-05-25T12:38:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.121/2018.121_alt0_web.jpg", "width": "900", "height": "648", "filesize": "175258"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.121/2018.121_alt0_print.jpg", "width": "3400", "height": "2447", "filesize": "2329421"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.121/2018.121_alt0_full.tif", "width": "7956", "height": "5727", "filesize": "136728572"}}], "creditline": "Purchase and partial gift from the Catherine and Ralph Benkaim Collection; Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 314406, "creators": [], "legal_status": "accessioned", "accession_date": "2018-09-04T00:00:00-04:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["A Feast for the Gods", "Gods, Rishis, and Demons at the Feast of Rama\u2019s Birth, from a Ramayana", "Gods, sages, and demons feast, as the gods decide that Vishnu will incarnate as King Dasharatha\u2019s sons, from Chapters 14\u201315 of the Bala Kanda (Book of Childhood) of a Ramayana (Rama\u2019s Journey)"], "is_highlight": false, "updated_at": "2026-03-27 16:32:49.689000"}, {"id": 173180, "accession_number": "1915.684", "share_license_status": "CC0", "tombstone": "The Monastery of San Pedro (Our Lady of the Snows), 1879. Frederic Edwin Church (American, 1826\u20131900). Oil on canvas; unframed: 118.8 x 183.2 cm (46 3/4 x 72 1/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.684", "current_location": null, "title": "The Monastery of San Pedro (Our Lady of the Snows)", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 118.8 x 183.2 cm (46 3/4 x 72 1/8 in.)", "dimensions": {"unframed": {"height": 1.188, "width": 1.832}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  F. E. Church / 79", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 316990, "title": "Frederic Edwin Church", "description": "<i>Frederic Edwin Church</i>. Smithsonian Institution, Washington, DC (organizer) (co-organizer) (February 2-March 13, 1966); Albany Institute of History and Art, Albany, NY (March 30-April 30, 1966); M. Knoedler & Co., Inc. (June 1-30, 1966).", "opening_date": "1966-03-30T05:00:00"}, {"id": 442840, "title": "American Paintings 1825 - 1915 from the Cleveland Museum of Art", "description": "<i>American Paintings 1825 - 1915 from the Cleveland Museum of Art</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979).", "opening_date": "1979-07-07T04:00:00"}, {"id": 316995, "title": "American Paintings 1825-1915", "description": "<i>American Paintings 1825-1915</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (co-organizer) (July 7-November 1, 1979); Beck Center for the Arts, Lakewood, OH (September 17-October 13, 1980).", "opening_date": "1979-07-07T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "New York, Century Association (June 7, 1879) (as The Monastery of San Pedro). (Review in Boston Evening Transcript titles the painting \"Our Lady of the Snows.\")", "opening_date": "1879-06-07T04:56:02Z"}, {"description": "Washington, D.C., Smithsonian Institution, Frederic Edwin Church (February 2-March 13, 1966); traveled to Albany, NY, Institute of History and Art (March 30-April 30, 1966); traveled to New York, Knoedler Galleries (June 1-June 30, 1966), cat. No. 140 and p. 80.", "opening_date": "1966-02-02T00:00:00"}, {"description": "Coshocton, OH, Johnson-Humrickhouse Museum, American Paintings 1825-1915 (July 7-November 1, 1979), cat. fig. 7.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Inaugural Exhibition (June 6-September 20, 1916), cat. p. 125, illus. p. 292.", "opening_date": "1916-06-06T00:00:00"}, {"description": "Lakewood, OH, The Kenneth C. Beck Center, American Paintings 1825-1915, from the Cleveland Museum of Art (September 17-October 13, 1980), same as Coshocton, OH exhibition.", "opening_date": "1980-09-17T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Object Lessons: Cleveland Creates an Art Museum (June 6-September 8, 1991), illus. in cat. p.15.", "opening_date": "1991-06-06T00:00:00"}]}, "provenance": [{"description": "H. B. Hurlbut, Cleveland (1880, as \"Monastery Our Lady of the Snows\").", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["363.1915"], "did_you_know": "This painting was commissioned by Cleveland banker and railroad executive Hinman B. Hurlbut (1819\u20131884), who also cofounded the Cleveland Museum of Art.", "description": "Although the location that inspired the painting has been subject to scholarly debate, many believe it derives from Church\u2019s travels through the Ecuadorean Andes nearly a quarter century earlier. The composition reads as an allegory of spiritual salvation: perched atop a dramatic cliff, a brilliantly backlit monastery overlooks a shadowed foreground where a solitary figure navigates a rugged path.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230233", "https://www.wikidata.org/wiki/Q60482605"], "internet_archive": ["https://archive.org/details/clevelandart-1915.684-the-monastery-of-san"]}, "citations": [{"citation": "Coloquio Internacional de Historia del Arte Zacatecas, Zac. 1994, Gustavo Curiel, Renato Gonza\u0301lez Mello, Juana Gutie\u0301rrez Haces, and Universidad Nacional Auto\u0301noma de Me\u0301xico Instituto de Investigaciones Este\u0301ticas. Arte, <em>Historia E Identidad En Ame\u0301rica : Visiones Comparativas : XVII Coloquio Internacional de Historia Del Arte. Me\u0301xico</em>: UNAM, Instituto de Investigaciones Este\u0301ticas, 1994.", "page_number": "Mentioned p. pp. 258-59.", "url": ""}, {"citation": "Carr, Gerald L., \"New Light on Frederic Church's 'Late' Work,\" <em>Magazine Antiques</em> 137 (January 2008).", "page_number": "Mentioned, p. 156.", "url": ""}, {"citation": "\"Report of the Museum's Second Year.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 6/7 (1918): 69-79.", "page_number": "Mentioned: p. 71", "url": "www.jstor.org/stable/25136208"}, {"citation": "Strahan, Edward, ed. <em>The Art Treasures of America: Being the Choicest Works of Art in the Public and Private Collections of North America</em>. vol. 8. Philadelphia: Gebbie &amp; Barrie, 1879.", "page_number": "Mentioned: p. 74", "url": null}, {"citation": "Huntington, David Carew. \"Frederic Edwin Church, 1826-1900: Painter of the Adamic New World Myth.\" Ph.D. dissertation, Yale University, 1960.", "page_number": "Mentioned: p. 211-213", "url": null}, {"citation": "Huntington, David Carew. <em>The Landscapes of Frederic Edwin Church: Vision of an American Er</em>a. New York: G. Braziller, 1966.", "page_number": "Mentioned: p. 96, 129", "url": null}, {"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em>. 60:1 (January, 1973). pp. 1-36.", "page_number": "Mentioned and Reproduced: p. 24, cat. 36", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Kelly, Franklin. <em>Frederic Edwin Church</em>. Washington, D.C.: National Gallery of Art, 1989.", "page_number": "Reproduced: pp. 170-171", "url": null}, {"citation": "Turner, Evan H., ed. <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 15", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 39", "url": null}, {"citation": "Carr, Gerald L. <em>Frederic Edwin Church: Catalogue Raisonn\u00e9 of Works of Art at Olana State Historic Site</em>, 2 vols. Cambridge, U.K.: Cambridge University Press, 1994.", "page_number": "Mentioned: pp. 367, 368, 405, 411, 414, 415, 443; Reproduced: p. 415, fig. 136", "url": null}, {"citation": "Howat, John K. <em>Frederic Church</em>. New Haven, CT: Yale University Press, 2005.", "page_number": "Mentioned and reproduced, p. 174.", "url": null}, {"citation": "Carr, Gerald L. \"Church's Olana: A New Eden.\" In <em>Frederic Edwin Church: Romantic Landscapes and Seascapes</em>. New York, NY: Adelson Galleries, 2007.", "page_number": "Mentioned: pp.122-23; Reproduced: p. 123", "url": null}], "url": "https://clevelandart.org/art/1915.684", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.684/1915.684_web.jpg", "width": "1263", "height": "812", "filesize": "704556", "filename": "1915.684_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.684/1915.684_print.jpg", "width": "3400", "height": "2186", "filesize": "5854279", "filename": "1915.684_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.684/1915.684_full.tif", "width": "6400", "height": "4115", "filesize": "79035720", "filename": "1915.684_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt0_web.jpg", "width": "1263", "height": "819", "filesize": "765903"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt0_print.jpg", "width": "3400", "height": "2204", "filesize": "4758045"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt0_full.tif", "width": "4404", "height": "2855", "filesize": "37727392"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt1_web.jpg", "width": "1263", "height": "819", "filesize": "798439"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt1_print.jpg", "width": "3400", "height": "2204", "filesize": "4859687"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt1_full.tif", "width": "4404", "height": "2855", "filesize": "37743280"}}, {"date_created": "2010-11-12T17:51:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt2_web.jpg", "width": "1205", "height": "893", "filesize": "784104"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt2_print.jpg", "width": "3400", "height": "2520", "filesize": "7147178"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt2_full.tif", "width": "6668", "height": "4944", "filesize": "98926728"}}, {"date_created": "2010-11-12T17:40:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt3_web.jpg", "width": "1263", "height": "818", "filesize": "606060"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt3_print.jpg", "width": "3400", "height": "2203", "filesize": "4886041"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.684/1915.684_alt3_full.tif", "width": "6512", "height": "4220", "filesize": "82468156"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173180, "creators": [{"id": 2697, "description": "Frederic Edwin Church (American, 1826\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:46.272000"}, {"id": 168747, "accession_number": "2010.451", "share_license_status": "CC0", "tombstone": "Male Figure (nkishi), late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo, Songye-style carver and nganga (priest). Wood, glass beads, brass (including upholstery studs), copper alloy, iron alloy, raffia, reedbuck antelope horn, rawhide, animal hair, human teeth, organic material, minerals, and plant fibers; overall: 64 x 24.5 x 24 cm (25 3/16 x 9 5/8 x 9 7/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.451", "current_location": "108A African", "title": "Male Figure (nkishi)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Songye-style carver and nganga (priest)"], "technique": "Wood, glass beads, brass (including upholstery studs), copper alloy, iron alloy, raffia, reedbuck antelope horn, rawhide, animal hair, human teeth, organic material, minerals, and plant fibers", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 64 x 24.5 x 24 cm (25 3/16 x 9 5/8 x 9 7/16 in.)", "dimensions": {"overall": {"height": 0.64, "width": 0.245, "depth": 0.24}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}, {"id": 316953, "title": "Second Careers: Two Tributaries in African Art", "description": "<i>Second Careers: Two Tributaries in African Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1, 2020-March 14, 2021).", "opening_date": "2020-11-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Galerie Moderne, Brussels, Belgium, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "1958", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette [1925-2012] Delenne, Brussels, Belgium", "citations": [], "footnotes": null, "date": "1958-2010", "sortorder": 2}, {"description": "Ren\u00e9 and Odette Delenne, Brussels, Belgium, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Researchers conducted X-ray scanning on this figure, revealing its internal structure and human teeth, an antelope horn, and animal hair.", "description": "This figure's visual impact and workmanship suggest that an extended family\u2013\u2013rather than an individual\u2013\u2013used it. The raffia skirt around the waist and the blue and white beads are indicators of leadership. The metal appliqu\u00e9 covering the face and the metal blades that hedge the headgear refer to the blacksmith, a culture hero celebrated in a Songye myth narrating the formation of the state. The metal strips on the skeletal face are said to relate to lightning, signaling the figure's role as a powerful anti-sorcerer, but the contrast between white iron and red copper symbolically alludes to the ambivalent powers of the figure.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779529"], "internet_archive": ["https://archive.org/details/clevelandart-2010.451-male-figure-nkishi"]}, "citations": [{"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 123.", "page_number": "Reproduced: fig. 9", "url": null}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 05, September/October 2013", "page_number": "Mentioned & reproduced: p. 12", "url": "https://archive.org/details/CMAMM2013-05/page/12"}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, cover, 26, 66, 68-75, 104.", "page_number": "Reproduced: cover, pp.69-71, 74-75; mentioned: pp. 23, 27, 66-73, 108, 114, cat. 24, figs. 36-41", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 35", "url": ""}, {"citation": "\"In Case You Missed It: Fragments of the Invisible.\" The International Review of African American Art 25, no. 1 (2014): p. 10-11.", "page_number": "Reproduced: p. 11.", "url": null}, {"citation": "Neyt, Francois. <em>Songye: The Formidable Statuary of Central Africa</em>. Munich/Berlin/London/New York: Prestel Verlag, 2009, 172-173, 290.", "page_number": "Reproduced: pp. 172-173, no. 133, p. 290, detail; mentioned: pp. 326, 388", "url": null}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Reproduced:  Cover, left (detail); p. 4; p. 59, fig. 5; mentioned:  p. 22, 26, 29.", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}, {"citation": "Nzewi, Ugochukwu-Smooth,  \"Second Careers: Repurposed objects reflect the conceptual strategies connecting historical and contemporary African art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 4 (Fall 2020): 8-9.", "page_number": "Reproduced and Mentioned: P. 8.", "url": ""}], "url": "https://clevelandart.org/art/2010.451", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.451/2010.451_web.jpg", "width": "633", "height": "893", "filesize": "297322", "filename": "2010.451_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.451/2010.451_print.jpg", "width": "2409", "height": "3400", "filesize": "5281054", "filename": "2010.451_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.451/2010.451_full.tif", "width": "4331", "height": "6111", "filesize": "79466128", "filename": "2010.451_full.tif"}}, "alternate_images": [{"date_created": "2011-05-06T18:24:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt0_web.jpg", "width": "611", "height": "893", "filesize": "283470"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt0_print.jpg", "width": "2328", "height": "3400", "filesize": "5001622"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt0_full.tif", "width": "4283", "height": "6253", "filesize": "80399348"}}, {"date_created": "2011-05-06T17:49:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt1_web.jpg", "width": "613", "height": "893", "filesize": "288793"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt1_print.jpg", "width": "2335", "height": "3400", "filesize": "5016497"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt1_full.tif", "width": "4107", "height": "5978", "filesize": "73706960"}}, {"date_created": "2011-05-06T18:42:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt2_web.jpg", "width": "622", "height": "893", "filesize": "298437"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt2_print.jpg", "width": "2367", "height": "3400", "filesize": "5179835"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt2_full.tif", "width": "4405", "height": "6326", "filesize": "83647352"}}, {"date_created": "2011-05-06T18:50:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt3_web.jpg", "width": "717", "height": "893", "filesize": "328908"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt3_print.jpg", "width": "2731", "height": "3400", "filesize": "5447017"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt3_full.tif", "width": "4807", "height": "5984", "filesize": "86325504"}}, {"date_created": "2011-05-09T12:22:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt4_web.jpg", "width": "918", "height": "893", "filesize": "506369"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt4_print.jpg", "width": "3400", "height": "3307", "filesize": "7441484"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.451/2010.451_alt4_full.tif", "width": "3903", "height": "3797", "filesize": "44493668"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168747, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "Previous scientific studies of Songye <em>mankishi</em> indicated that, like humans, they had internal pathways linking their open mouths to their interiors, and that these contained <em>bishimba</em>, or secret ingredients placed there by the ritual priest to help connect the figure to spiritual powers. Since it is hard to tell from the outside whether the mouth is fully open, the figure was taken to a hospital for a CT scan for noninvasive imaging. The object was carefully packed lying on his back in a travel box with soft pillows to protect the fragile, woven raffia skirt. The detachable coiffure (hairstyle) made from twisted raffia was removed to minimize potential damage to it and was not scanned. The travel box was constructed to fit within the circular opening of the X-ray source and detectors, and the object stayed inside during the entire process. The scanner laser traveled down the length of the figure as if it were a human patient; the head, mouth, neck, arms, stomach, legs, and feet materialized one-by-one as over 800 images were compiled by the computer. This scan helped visualize the network of internal channels filled with precious materials, including the horn, mouth, stomach, and even the figure\u2019s belts. While the scan confirmed for us that there are channels inside this figure, it cannot identify the ritually significant materials within it.", "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:09:02.016000"}, {"id": 115160, "accession_number": "1935.307", "share_license_status": "CC0", "tombstone": "Head of a Hobbyhorse (kor\u00e8dugaso), late 1800s\u2013early 1900s. Africa, West Africa, Mali, Bamana blacksmith. Wood and iron; overall: 14 x 13.8 x 40.8 cm (5 1/2 x 5 7/16 x 16 1/16 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1935.307", "current_location": null, "title": "Head of a Hobbyhorse (kor\u00e8dugaso)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Bamana blacksmith"], "technique": "Wood and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 14 x 13.8 x 40.8 cm (5 1/2 x 5 7/16 x 16 1/16 in.)", "dimensions": {"overall": {"height": 0.14, "width": 0.138, "depth": 0.408}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 355424, "title": "Exhibition of the Month: Design in Sculpture", "description": "<i>Exhibition of the Month: Design in Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 31, 1946-February 10, 1947).", "opening_date": "1946-12-31T05:00:00"}, {"id": 301168, "title": "Primitive to Contemporary Sculpture", "description": "<i>Primitive to Contemporary Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 6-October 31, 1956).", "opening_date": "1956-09-06T04:00:00"}, {"id": 207289, "title": "Perfect Documents: Walker Evans and African Art", "description": "<i>Perfect Documents: Walker Evans and African Art</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 1-September 3, 2000).", "opening_date": "2000-02-01T00:00:00"}, {"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935-1936: African Negro Art, cat. no. 10, repr. pl. 10, (also to CMA 9/27 - 10/27, 1935), and tour.", "opening_date": "1927-09-01T00:00:00"}, {"description": "Flint, MI, Flint Institute of Arts, 1941: Art Marches On!, November 14-December 31, 1941, cat. no. 43, repr.", "opening_date": "1941-11-14T00:00:00"}, {"description": "Toledo, OH, Toledo Museum of Art, 1959: The African Image, cat. no. 25, repr. p. 30.", "opening_date": "1959-01-01T00:00:00"}, {"description": "NY: Museum of Primitive Art, 1960: Bambara Sculpture from the Western Sudan, cat. no. 53, repr. pl. 37.", "opening_date": "1960-01-01T00:00:00"}, {"description": "NY: The Metropolitan Museum of Art. Perfect Documents: Walker Evans and African Art, 2/1/00 - 9/3/00, exh. cat. no. 18, p. 68.", "opening_date": "2000-02-01T00:00:00"}]}, "provenance": [{"description": "(Louis Carr\u00e9, Paris, France, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->White sticker marked \"Louis Carr\u00e9 No. 14\" on interior of object neck; white sticker marked \"imported from France\"</div>"], "date": "by 1935", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1935-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2359.35"], "did_you_know": "This is one of the best-known examples of a <em>kor\u00e8dugaso</em>. It was featured on the catalogue cover for a 1935 exhibition at the Museum of Modern Art, one of the first on African arts in the US. It traveled to the CMA that same year.", "description": "Pertaining to the male initiation society called Kor\u00e8, this sculpture from the Koulikoro region represents the head of an aardvark and is part of a wooden hobbyhorse that is mounted by a ritual buffoon. The Kor\u00e8 initiates are divided into different classes, each having a designated mask. The ritual buffoons appear in pantomimes on different public occasions and poke fun at village authorities and other high-ranking individuals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761359"], "internet_archive": ["https://archive.org/details/clevelandart-1935.307-head-of-a-hobbyhorse"]}, "citations": [{"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art</em>. New York: Museum of Modern Art, 1935.", "page_number": "Mentioned p. 31; Reproduced pl. 10", "url": null}, {"citation": "Flint Institute of Arts. <em>Art Marches on!</em>: The Opening and Dedicating Exhibition of the New Flint Institute of Arts, Flint, Michigan, November 14-December 13, 1941. Flint, Mich: The Institute, 1941.", "page_number": "Mentioned and Reproduced: p. 25", "url": null}, {"citation": "Radin, Paul, and James Johnson Sweeney. <em>African Folktales &amp; Sculpture.</em> New York: Pantheon Books, 1952.", "page_number": "Mentioned p. 343; Reproduced pl. 36", "url": null}, {"citation": "Radin, Paul, and James Johnson Sweeney. <em>African Folktales &amp; Sculpture.</em> New York: Pantheon Books, 1952.", "page_number": "Mentioned: p. 343; Reproduced: pl. 36", "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. 385", "url": "https://archive.org/details/CMAHandbook1958/page/n72"}, {"citation": "Plass, Margaret. <em>The African Image: A New Selection of Tribal Art : the Toledo Museum of Art ... February 1 Through 22, 1959 : Introduction and Catalogue</em>. [Toledo, Ohio]: The Museum, 1959.", "page_number": "Reproduced: p. 10, no. 25", "url": null}, {"citation": "New York (N.Y.), and Robert Goldwater.<em> Bambara Sculpture from the Western Sudan.</em> New York: distributed by University Publishers, 1960.", "page_number": "Mentioned p. 20; Reproduced p. 33, pl. 37", "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. 302", "url": "https://archive.org/details/CMAHandbook1966/page/n326"}, {"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. 302", "url": "https://archive.org/details/CMAHandbook1969/page/n326"}, {"citation": "Sweeney, James Johnson.<em> African Sculpture</em>. [Princeton, N.J.]: Princeton University Press, 1970.", "page_number": "Mentioned: p. 186; Reproduced: pl. 36", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 410", "url": "https://archive.org/details/CMAHandbook1978/page/n430"}, {"citation": "Webb, Virginia-Lee, and Walker Evans. <em>Perfect Documents: Walker Evans and African Art, 1935</em>. New York: Metropolitan Museum of Art, 2000.", "page_number": "Reproduced p. 95, no. 57", "url": null}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: p. 12; cat. 4, p. 38 - 39", "url": ""}, {"citation": "Petridis, Constantine, \"Celebrating Bamanaya\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 02, February 2006", "page_number": "Mentioned & reproduced: p. 10-11", "url": "https://archive.org/details/CMAMM2006-02/page/10"}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 111-112; Reproduced: p. 112, fig. 5.6", "url": null}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1935.307", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.307/1935.307_web.jpg", "width": "631", "height": "900", "filesize": "143981", "filename": "1935.307_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.307/1935.307_print.jpg", "width": "2382", "height": "3400", "filesize": "767150", "filename": "1935.307_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.307/1935.307_full.tif", "width": "6698", "height": "9562", "filesize": "192163572", "filename": "1935.307_full.tif"}}, "alternate_images": [{"date_created": "2009-06-10T15:41:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.307/1935.307_alt0_web.jpg", "width": "1263", "height": "858", 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(fali)", "Mule's Head"], "is_highlight": false, "updated_at": "2026-03-26 23:59:24.268000"}, {"id": 147393, "accession_number": "1973.142", "share_license_status": "CC0", "tombstone": "Leaping Trout, 1889. Winslow Homer (American, 1836\u20131910). Watercolor over graphite; sheet: 35 x 50.6 cm (13 3/4 x 19 15/16 in.). The Cleveland Museum of Art, Anonymous Gift, 1973.142", "current_location": null, "title": "Leaping Trout", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor over graphite", "support_materials": [{"description": "cream(2) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 35 x 50.6 cm (13 3/4 x 19 15/16 in.)", "dimensions": {"sheet": {"height": 0.35, "width": 0.506}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black watercolor: Homer '89\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}, {"id": 361522, "title": "Winslow Homer Watercolors", "description": "<i>Winslow Homer Watercolors</i>. Amon Carter Museum, Fort Worth, TX (June 6-July 27, 1986); Yale University Art Gallery, New Haven, CT (September 11-November 2, 1986).", "opening_date": "1986-03-02T05:00:00"}, {"id": 361410, "title": "Winslow Homer", "description": "<i>Winslow Homer</i>. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996); The Metropolitan Museum of Art, New York, NY (June 20-September 22, 1996).", "opening_date": "1995-10-15T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 216800, "title": "Watercolors by Winslow Homer: The Color of Light", "description": "<i>Watercolors by Winslow Homer: The Color of Light</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 16-May 11, 2008).", "opening_date": "2008-02-16T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": [{"description": "<em>Winslow Homer</em>. Whitney Museum of American Art (organizer) (April 3- June 3, 1973); Los Angeles County Museum of Art (July 3- August 15, 1973); The Art Institute of Chicago (September 8- October 21, 1973).", "opening_date": "1973-04-03T00:00:00"}, {"description": "<em>Exhibition of American Painting from 1860 until Today</em>. Cleveland, OH: The Cleveland Museum of Art (June 23, 1937 - October 4, 1937).", "opening_date": "1937-06-23T00:00:00"}, {"description": "<em>Fourth Exhibition of Water Colors and Pastels,</em> Cleveland, OH: The Cleveland Museum of Art (February 17 \u2013 March 13, 1927).", "opening_date": "1927-03-13T00:00:00"}, {"description": "<em>Thirty-two Watercolors Conceived in the Adirondacks</em>. Reichard &amp; Co, New York (February, 1890).", "opening_date": null}]}, "provenance": [{"description": "(F.W. Bayley & Son, Boston, MA.)", "citations": [], "footnotes": [], "date": "c. 1925", "sortorder": null}, {"description": "(Macbeth Gallery, New York, New York, sold to Ralph T. King, Sr. on 5/21/1925.)", "citations": [], "footnotes": [], "date": "2/10/1925-5/21/1925", "sortorder": 2}, {"description": "Mr. and Mrs. Ralph T. King, Cleveland, OH.", "citations": [], "footnotes": null, "date": "1925-?", "sortorder": 3}, {"description": "Anonymous donor, purchased from the Ralph T. King, Sr. Collection.", "citations": [], "footnotes": null, "date": "After 1937-1973", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH, gift of anonymous donor.", "citations": [], "footnotes": null, "date": "1973-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["349.27", "2333.37"], "did_you_know": "Noted for his technical variety in watercolors, Homer used a technique called scraping\u2014removing softened paint and paper fibers by taking a blunt or sharp object to the paper\u2019s wet surface\u2014to produce the pond\u2019s two glistening white highlights.", "description": "In 1886, Winslow Homer began to produce oil paintings and watercolors of subjects in the Adirondack Mountains, where he and his brother Charles had fished and hunted since the 1870s. In <em>Leaping Trout</em>, a silvery trout propels itself from the water in pursuit of a hapless insect or a fisherman\u2019s fly. Homer\u2019s choice to adopt the fish\u2019s perspective, rather than a fisherman\u2019s, is quite unconventional and heightens the drama and immediacy of the scene. His technique, influenced by the free brushwork of French Impressionism, similarly animates his still-life subject. Luminous washes of transparent blue and grey watercolor suggest the fish\u2019s iridescent skin, while opaque pricks of bright red on its body lend a decorative effect reminiscent of Japanese prints. On the water\u2019s surface, Homer uses scraping to create two brilliant white highlights, and dry brushing to produce the impression of a reflective surface. Although the overall effect is mysterious and dreamlike, the color and movement of the fish is carefully studied, suggesting Homer\u2019s desire to appeal to the sportsmen who might buy his works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926401"], "internet_archive": ["https://archive.org/details/clevelandart-1973.142-leaping-trout"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 Until Today</em>. Cleveland, OH: Printed by the Artcraft Printing Co., 1937.", "page_number": "Mentioned: no. 92, p. 26", "url": null}, {"citation": "Whitney Museum of American Art and Lloyd Goodrich. <em>Winslow Homer</em>. New York: Whitney Museum of American Art, 1973.", "page_number": "Mentioned: p. 139, no. 119", "url": null}, {"citation": "\"Annual Report for 1973.\" <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 6 (1974): 179-213.", "page_number": "Mentioned: p. 186", "url": null}, {"citation": "\"The Year in Review for 1973.\" <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 2 (1974): 31-78.", "page_number": "Mentioned and Reproduced: p. 52, p. 74, no. 36", "url": null}, {"citation": "Hendricks, Gordon. <em>The Life and Work of Winslow Homer</em>. New York: Harry N. Abram, 1979.", "page_number": "Reproduced: Plate CL-561, p. 318", "url": null}, {"citation": "Cooper, Helen A. <em>Winslow Homer Watercolors</em>. Washington: National Gallery of Art, 1986.", "page_number": "Mentioned and Reproduced: no. 154, p. 166, p. 252", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1991</em>. Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 134", "url": null}, {"citation": "Cikovsky, Nicolai. <em>Winslow Homer Watercolors</em>. Southport, Conn.: Hugh Lauter Levin Associates, 1991.", "page_number": "Mentioned and Reproduced: p. 24, color pl. 8", "url": null}, {"citation": "Cikovsky, Nicolai, Franklin Kelly, and Winslow Homer. <em>Winslow Homer. </em>Washington: National Gallery of Art, 1995.", "page_number": "Mentioned and Reproduced: pp. 266-67, no. 165", "url": null}, {"citation": "Tatham, David, Hallie Bond, and Tom Rosenbauer.<em> Fishing in the North Woods: Winslow Homer</em>. Boston: Museum of Fine Arts, 1995.", "page_number": "Reproduced: p. 47", "url": null}, {"citation": "Tatham, David. <em>Winslow Homer in the Adirondacks</em>. Syracuse: Syracuse University Press, 1996.", "page_number": "Mentioned: Appendix B, p. 140", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned and Reproduced: cat. no. 87, pp. 210-211, p. 295; Reproduced: p. 211", "url": null}, {"citation": "Gerdts, Abigail Booth and Lloyd Goodrich. <em>Record of Works by Winslow Homer</em>, vol. 4.2. New York: City University of New York, 2005-2014.", "page_number": "Mentioned and Reproduced: p. 488, no. 1418.", "url": null}, {"citation": "Griffin, Randall C. <em>Winslow Homer: An American Vision. </em>New York: Phaidon Press, Inc., 2006.", "page_number": "Mentioned and Reproduced: pp. 147-148", "url": null}, {"citation": "Tedeschi, Martha, Kristi Dahm, Judith Walsh, and Karen Huang. <em>Watercolors by Winslow Homer: The Color of Light.</em> Chicago: Art Institute of Chicago, 2008.", "page_number": "Mentioned and Reproduced: pp. 138-139, no. 56", "url": null}, {"citation": "Glaubinger, Jane and Lemonedes, Heather. \u201cTreasures on Paper: The Cr\u00e8me de la cr\u00e8me of the museum\u2019s prints and drawings collection is now on view.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 6-9.", "page_number": "Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2014-02"}], "url": "https://clevelandart.org/art/1973.142", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.142/1973.142_web.jpg", "width": "1263", "height": "887", "filesize": "729442", "filename": "1973.142_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.142/1973.142_print.jpg", "width": "3400", "height": "2388", "filesize": "5801974", "filename": "1973.142_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.142/1973.142_full.tif", "width": "5984", "height": "4203", "filesize": "75484912", "filename": "1973.142_full.tif"}}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147393, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-08-06T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:49.540000"}, {"id": 149396, "accession_number": "1978.51", "share_license_status": "CC0", "tombstone": "The Artist in His Room at the Villa Medici, Rome, 1817. L\u00e9on Cogniet (French, 1794\u20131880). Oil on canvas; framed: 58 x 51 x 7.5 cm (22 13/16 x 20 1/16 x 2 15/16 in.); unframed: 44.5 x 37 cm (17 1/2 x 14 9/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1978.51", "current_location": null, "title": "The Artist in His Room at the Villa Medici, Rome", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 58 x 51 x 7.5 cm (22 13/16 x 20 1/16 x 2 15/16 in.); Unframed: 44.5 x 37 cm (17 1/2 x 14 9/16 in.)", "dimensions": {"framed": {"height": 0.58, "width": 0.51, "depth": 0.075}, "unframed": {"height": 0.445, "width": 0.37}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 208350, "title": "In the Light of Italy: Corot and Early Plein-air Painting", "description": "<i>In the Light of Italy: Corot and Early Plein-air Painting</i>. National Gallery of Art (May 26-September 2, 1996); The Brooklyn Museum (October 11, 1996-January 12, 1997); Saint Louis Art Museum (February 21-May 18, 1997).", "opening_date": "1996-05-26T00:00:00"}, {"id": 219163, "title": "Paysages d'Italie. Les peintres du plein air 1780-1830", "description": "<i>Paysages d'Italie. Les peintres du plein air 1780-1830</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (April 3-July 9, 2001).", "opening_date": "2001-04-03T00:00:00"}, {"id": 224507, "title": "\"un paese incantato\" Italia dipinta da Thomas Jones a Corot", "description": "<i>\"un paese incantato\" Italia dipinta da Thomas Jones a Corot</i>. Museo Civico di Palazzo Te, Mantua, Italy (September 1-December 9, 2001).", "opening_date": "2001-09-01T00:00:00"}, {"id": 227961, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres \u00e0 Degas. Les artistes fran\u00e7ais \u00e0 Rome", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres \u00e0 Degas. Les artistes fran\u00e7ais \u00e0 Rome</i>. Dahesh Museum of Art, New York, NY (September 9-November 9, 2003).", "opening_date": "2003-03-05T00:00:00"}, {"id": 207363, "title": "Rooms with Views: The Open Window in the 19th Century", "description": "<i>Rooms with Views: The Open Window in the 19th Century</i>. The Metropolitan Museum of Art, New York, NY (organizer) (March 28-July 4, 2011).", "opening_date": "2011-03-28T00:00:00"}, {"id": 304986, "title": "Viva Roma!", "description": "<i>Viva Roma!</i>. La Boverie Museum, Li\u00e8ge, Belgium (organizer) (April 24-August 26, 2018).", "opening_date": "2018-04-24T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "London, Hazlitt, Gooden &amp; Fox. From Revolution to Second Republic (1978), no. 24 (repr.).", "opening_date": "1978-01-01T00:00:00"}, {"description": "Washington, D.C., National Gallery of Art; Brooklyn Museum; Saint Louis Art Museum. In the Light of Italy: Corot and Early Open-Air Painting (1996-97), no. 59 (repr.).", "opening_date": "1996-01-01T00:00:00"}, {"description": "Paris: Galeries nationales du Grand Palais (4/3/01 - 7/9/01); Mantova, Italy: Palazzo Te (9/1/01 - 12/9/01) \"Paysages d'Italie. Les peintres du plein air (1780-1830), exh. cat. no. 6, pp 14-15.", "opening_date": "2001-04-03T00:00:00"}, {"description": "French Academy in Rome, Villa Medici (3/5/2003 - 6/29/2003): \"Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres a Degas: Les artistes francais a Rome\", exh. cat. no. 50, p. 219.", "opening_date": "2003-03-05T00:00:00"}, {"description": "New York, Dahesh Museum of Art (September 3 - November 2, 2003): \"French Artists in Rome: Ingres to Degas, 1803 - 1873\"", "opening_date": "2003-09-03T00:00:00"}]}, "provenance": [{"description": "Hazlitt, Gooden & Fox, London. Purchased by the CMA in 1978.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1817, L\u00e9on Cogniet won the Prix de Rome for history painting, allowing him to live and work in the city for five years. The helmet, shield, and swords seen at left refer to the expectation that Cogniet would produce a history painting each year to send back to Paris for review.", "description": "L\u00e9on Cogniet was one of many artists who traveled from across Europe to Rome during the early 19th century, drawing upon the city\u2019s ancient past and its surrounding landscape for inspiration. In this formally composed scene, the artist stands within his studio, its walls bare and colorless in contrast to the dramatic light cast through his open window.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q19963612"], "internet_archive": ["https://archive.org/details/clevelandart-1978.51-the-artist-in-his-ro"]}, "citations": [{"citation": "Talbot, William S. \"Cogniet and Vernet at the Villa Medici.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 5 (1980): 135-49.", "page_number": "Reproduced: cover, p. 134; Mentioned: p. 135-49", "url": "https://www.jstor.org/stable/25159675"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 154-157, Vol. I, no. 51", "url": ""}, {"citation": "Miller, Peter Benson. <em>Studio Systems</em>. New York, NY: American Academy in Rome, 2016.", "page_number": null, "url": null}, {"citation": "E\u0301pistolaire 37 (2011)", "page_number": "Reproduced: Cover", "url": null}, {"citation": "Ozvald, Serenella Rolfi. \"L'artista allo Scrittoio. Un'immagine Controversa.\" <em>Ricerche di Storia dell'arte. </em>125 (2018) 4-16.<em><br></em>", "page_number": "Reproduced: p. 7, fig. 1; p.[97], fig. 1", "url": null}, {"citation": "Miller, Peter Benson. <em>Studio Systems.</em> New York; Rome: American Academy in Rome, 2016. p. 49", "page_number": "Reproduced: P.49, fig. 6", "url": null}, {"citation": "Groom, Gloria Lynn. \"The Empty Room.\" In <em>Van Gogh's Bedrooms</em>. Gloria Lynn Groom, ed., 28-35. Chicago: Art Institute of Chicago, 2016.", "page_number": "Reproduced: P. 30, fig. 1; Mention: P. 29, 35 n. 8", "url": null}, {"citation": "Pomare\u0300de, Vincent. \"The Villa Medici, the Villa Malta, the Darchis Foundation . . .\" In <em>Viva Roma!: Artists and the Trip to Rome. </em>Vincent Pomare\u0300de, et al., 100-113. Ghent: Snoeck Publishers, 2018.", "page_number": "Reproduced: p. 105", "url": null}], "url": "https://clevelandart.org/art/1978.51", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.51/1978.51_web.jpg", "width": "740", "height": "900", "filesize": "237544", "filename": "1978.51_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.51/1978.51_print.jpg", "width": "2797", "height": "3400", "filesize": "1939993", "filename": "1978.51_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.51/1978.51_full.tif", "width": "4936", "height": "6000", "filesize": "88879348", "filename": "1978.51_full.tif"}}, "alternate_images": [{"date_created": "2007-07-10T14:11:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.51/1978.51_alt0_web.jpg", "width": "735", "height": "893", "filesize": "378349"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.51/1978.51_alt0_print.jpg", "width": "2797", "height": "3400", "filesize": "5566343"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.51/1978.51_alt0_full.tif", "width": "4936", "height": "6000", "filesize": "88879348"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149396, "creators": [{"id": 1585, "description": "L\u00e9on Cogniet (French, 1794\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": "L\u00e9on Cogniet came to painting just as the pictures by Th\u00e9odore G\u00e9ricault (1791-1824) challenged the established neo-classical style and academic hierarchies. Straddling these two worlds, Cogniet experimented with different subjects and composition but generally retained a relatively traditional technique. He entered the \u00c9cole des Beaux-Arts in 1812 and studied with Baron Pierre-Narcisse Gu\u00e9rin (1774-1833), but he was friendly with Delacroix (q.v.), G\u00e9ricault, and other romantics. Aiming for the most esteemed rank of history painter, Cogniet won the Grand Prix de Rome in 1817 (Helen Freed by Castor and Pollux, \u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts, Paris) and made his Salon debut while studying in Rome (Metabus, King of the Volscians, Mus\u00e9e des Beaux-Arts, Chartres). The French state first bought his paintings at the 1824 Salon (Marius on the Ruins of Carthage, Mus\u00e9e des  Augustins, Toulouse), and three years later he was commissioned for a series of the life of St. Stephen for the church of St. Nicolas-des-Champs in Paris (in situ). Around the late 1820s Cogniet became especially enamored of subjects from contemporary British literature, by Sir Walter Scott for example, an interest shared by many French romantic artists. He seems to have been open to different styles and fluctuated between a conventional neoclassicism and more personally inflected romanticism. After 1831 Cogniet became regularly engaged on prestigious public commissions under the regime of Louis-Philippe. He painted Bonaparte's Expedition to Egypt (1833-35), a ceiling in the Louvre palace for the newly created Mus\u00e9e d'Egypte, then several large canvases for the new Mus\u00e9e Historique at Versailles. For these official paintings Cogniet combined his early neoclassical style of clearly organized pictorial space and forms, crisp modeling in light and shade, and smooth surface finish with greater attention to natural-istic details, a looser or more casual composition. The artists adopting this style were called the juste milieu (loosely, \"middle of the road\"), a term first used in the political arena to identify politicians who espoused neither conservative nor radical ideas but those that, rather, benefited the bourgeoisie, the same class that most admired these paintings. In 1843 Cogniet enjoyed a huge success with Tintoretto Painting His Dead Daughter (Mus\u00e9e des Beaux-Arts, Bordeaux), an invented scene of the great Venetian painter at the deathbed of his beloved daughter. In spite of its popularity, Cogniet exhibited only portraits at the following Salons, and his production fell off after the mid-1850s. He received the highest titles given to painters: Academician (1840), Legion of Honor (1846), and professor at the \u00c9cole des Beaux-Arts (1851). \r\nTeaching became an important aspect of Cogniet's later life. Besides the atelier for men that he established by 1830, he was also responsible for another for women, which his sister Marie-Am\u00e9lie directed. He served as drawing instructor at the Lyc\u00e9e Louis-le-Grand from 1831 to 1876, where Degas (q.v.) was his student. He also taught at the \u00c9cole Polytechnique for sixteen years, which may have contributed to his interest in such new technologies as drawing machines and photography that he later integrated into his painting. Nevertheless, after the administrative and curricular reforms of 1863 were passed to reorganize the Acad\u00e9mie and \u00c9cole des Beaux-Arts, Cogniet resigned from his teaching position there in protest. Among his hundreds of pupils were Bonnat (q.v.), Meissonier (q.v.), and Jean-Paul Laurens (1838-1921).", "name_in_original_language": null, "birth_year": "1794", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:36.945000"}, {"id": 105769, "accession_number": "1923.854", "share_license_status": "CC0", "tombstone": "Pierrot, c. 1850\u201360. Paul Gavarni (French, 1804\u20131866). Watercolor heightened with white gouache on off-white wove paper; sheet: 31.8 x 21 cm (12 1/2 x 8 1/4 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1923.854", "current_location": null, "title": "Pierrot", "creation_date": "c. 1850\u201360", "creation_date_earliest": 1845, "creation_date_latest": 1865, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "watercolor heightened with white gouache on off-white wove paper", "support_materials": [{"description": "off-white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 31.8 x 21 cm (12 1/2 x 8 1/4 in.)", "dimensions": {"sheet": {"height": 0.318, "width": 0.21}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed, lower right, in red wash: Gavarni; lower left, in red wash: Les femmes sont farces!", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 344612, "title": "Miscellaneous Prints and Drawings from the Museum Collections", "description": "<i>Miscellaneous Prints and Drawings from the Museum Collections</i>. The Cleveland Museum of Art, Cleveland, OH (June 23-October 23, 1924).", "opening_date": "1924-06-23T04:00:00"}, {"id": 350090, "title": "Drawings in the Classic and Romantic Tradition before 1830", "description": "<i>Drawings in the Classic and Romantic Tradition before 1830</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 1932-January 8, 1933).", "opening_date": "1932-12-07T05:00:00"}, {"id": 361204, "title": "Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections", "description": "<i>Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-September 15, 1935).", "opening_date": "1935-07-12T04:00:00"}, {"id": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-December 9, 1937).", "opening_date": "1937-05-28T04:00:00"}, {"id": 346109, "title": "Old Master Drawings from the Museum Collection", "description": "<i>Old Master Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 4-March 26, 1939).", "opening_date": "1939-01-04T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 347343, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 27, 1941).", "opening_date": "1941-03-04T05:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 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": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 515773, "title": "French Watercolors", "description": "<i>French Watercolors</i>. University of Michigan Museum of Art, Ann Arbor, MI (organizer) (September 29-October 10, 1965).", "opening_date": "1965-09-29T04:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 304539, "title": "Brush Drawings", "description": "<i>Brush Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-May 10, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>French Watercolors, 1760\u20131860</em>. University of Michigan Museum of Art, Ann Arbor (September 29\u2013October 24, 1965).", "opening_date": "1965-10-24T00:00:00"}]}, "provenance": [{"description": "(Keppel & Co., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1923", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1923-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Around the time that Paul Gavarni made this drawing, he also created a series of prints called <em>School of the Pierrots </em>(1851\u201353), which chronicled the character's misadventures.", "description": "This drawing, by caricaturist Paul Gavarni, presents a character from pantomime and festival culture. Called Pierrot, he is recognizable by his comically ill-fitting clothes and was popular in performances during Gavarni's lifetime. The artist drew Pierrot several times late in his career, often adding humorous captions, which likely related to his work in printmaking and illustration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79891724"], "internet_archive": ["https://archive.org/details/clevelandart-1923.854-pierrot"]}, "citations": [{"citation": "T. S. \"An Exhibition of Drawings.\" <em>The Bulletin of the Cleveland Museum of Art</em> 11, no. 7 (1924): 140-44.", "page_number": "Mentioned: p. 124; Reproduced: on cover", "url": "http://www.jstor.org/stable/25136780"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 45", "url": "https://archive.org/details/CMAHandbook_80839/page/n47"}, {"citation": "<em>French Watercolors, 1760\u20131860</em>. Exh. cat. Ann Arbor: University of Michigan, 1965.", "page_number": "Mentioned: no. 50", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 96-97, no. 9", "url": ""}], "url": "https://clevelandart.org/art/1923.854", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.854/1923.854_web.jpg", "width": "596", "height": "893", "filesize": "328041", "filename": "1923.854_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.854/1923.854_print.jpg", "width": "2269", "height": "3400", "filesize": "5759014", "filename": "1923.854_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.854/1923.854_full.tif", "width": "4136", "height": "6196", "filesize": "76907188", "filename": "1923.854_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105769, "creators": [{"id": 6851, "description": "Paul Gavarni (French, 1804\u20131866)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gavarni captured the private lives of Parisians in the over 4,000 illustrations he produced for journals and magazines.", "name_in_original_language": null, "birth_year": "1804", "death_year": "1866", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-10-22T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "c. 1850\u201360", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:13.574000"}, {"id": 142664, "accession_number": "1966.387", "share_license_status": "CC0", "tombstone": "July, 1893. Otto H. Bacher (American, 1856\u20131909). Oil on canvas; unframed: 90 x 57.5 cm (35 7/16 x 22 5/8 in.). The Cleveland Museum of Art, Gift of Will Low Bacher, 1966.387", "current_location": null, "title": "July", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 90 x 57.5 cm (35 7/16 x 22 5/8 in.)", "dimensions": {"unframed": {"height": 0.9, "width": 0.575}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Otto H. Bacher 93", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616764, "title": "Etchings by Otto H. Bacher", "description": "<i>Etchings by Otto H. Bacher</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1921).", "opening_date": "1921-03-04T00:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 444996, "title": "American Impressionistic Painting", "description": "<i>American Impressionistic Painting</i>. National Gallery of Art, Washington, DC (organizer) (July 1-August 12, 1973); Whitney Museum of American Art, New York, NY (September 18-November 12, 1973); The Cincinnati Art Museum, Cincinnati, OH (December 15, 1973-January 31, 1974); North Carolina Museum of Art, Raleigh, NC (March 8-April 29, 1974).", "opening_date": "1973-07-01T04:00:00"}, {"id": 443983, "title": "Currents of Expansion: Painting in the Midwest, 1820 - 1940", "description": "<i>Currents of Expansion: Painting in the Midwest, 1820 - 1940</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (February 18-April 10, 1977).", "opening_date": "1977-02-18T05:00:00"}, {"id": 442546, "title": "American Impressionism", "description": "<i>American Impressionism</i>. Henry Art Gallery, University of Washington, Seattle, WA (organizer) (January 3-March 2, 1980); Frederick S. Wight Art Gallery, UCLA, Los Angeles, CA (March 9-May 4, 1980); Terra Museum of American Art, Evanston, IL (May 16-June 22, 1980); The Institute of Contemporary Art, Boston, Boston, MA (July 1-August 31, 1980).", "opening_date": "1980-01-03T05:00:00"}], "legacy": [{"description": "New York, Sixteenth Exhibition of the Society of American Artists (1894).", "opening_date": null}, {"description": "Buffalo, Pan-American Exposition (1901) cat. no. 256, listed p. 24, under title July.", "opening_date": "1901-01-01T00:00:00"}, {"description": "San Francisco, Palace of Fine Arts, Panama-Pacific Internation Exposition: Department of Fine Arts (1915), cat. no. 2619, listed p. 285.", "opening_date": "1915-01-01T00:00:00"}, {"description": "New York, The Walpole Galleries, Exhibition and Sale of Paintings of the Late Otto H. Bacher (13, 22-23, January 1917), cat. no.25; listed p. 7.", "opening_date": "1917-01-01T00:00:00"}, {"description": "Washington, D.C., The Corcoran Gallery of Art, Commemorative Exhibition by Members of the National Academy of Design, 1825-1925 (17 October-15 November 1925); traveled to New York, The Grand Central Art Galleries (1 December 1925-3 January 1926), cat. no. 187; title given: Figure in Sunlight.", "opening_date": "1925-10-17T00:00:00"}, {"description": "Washington, National Gallery of Art, American Impressionist Painting (1 July-26 August 1973); traveled to New York, The Whitney Museum of American Art (18 September-2 November 1973); to Cincinnati, Cinncinnati Art Museum (15 December 1973-31 January 1974); to Raleigh, The North Carolina Museum of Art (8 March-29 April 1974); cat. no. 2, illus. p. 54.", "opening_date": "1973-07-01T00:00:00"}, {"description": "St. Louis, The St. Louis Art Museum, Currents of Expansion: Painting in the Midwest, 1820-1940 (18 February-10 April 1977), cat. no. 75, illus. p. 37.", "opening_date": "1977-02-18T00:00:00"}, {"description": "Seattle, Henry Art Gallery, University of Washington, American Impressionism (3 January-2 March 1980); traveled to Los Angeles, The Frederick S. Wight Gallery, University of California at Los Angeles (9 March-4 May 1980); to Evanston, IL, The Terra Museum of American Art (16 May-22 June 1980); to Boston, The Institute of Contemporary Art (1 July-31 August 1980); no cat. number, illus p. 24 in section 3 entitled \"Landscape and Light in American Painting of the 1880's.\"", "opening_date": "1980-01-03T00:00:00"}, {"description": "Cleveland, One Cleveland Center Gallery, The Cleveland Museum Presents Four Cleveland Artists: George Adomeit, Otto Bacher, Frederick Gottwald, and Walter Sinz (15 October-2 November 1984).", "opening_date": "1984-10-15T00:00:00"}, {"description": "Madison, WI, Madison Art Center, The Seasons: American Impressionist Painting (8 December 1984-2 February 1985), cat. no. 1, not illus.", "opening_date": "1984-12-08T00:00:00"}, {"description": "Jacksonville, Fl, The Cummer Gallery of Art, Artistic Transitions: From the Academy to Impressionism in American Art, Twenty-Fifth Anniversary Exhibition (24 October 1986-11 January 1987), cat. no. 1, illus. p. 18.", "opening_date": "1986-10-24T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Fraternit\u00e9: Artistic Relations between France &amp; America (21 July-18 October 1987), no catalogue.", "opening_date": "1987-07-21T00:00:00"}]}, "provenance": [{"description": "Will Low Bacher, the artist's son.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Several decades ago, a man stole a truck transporting this painting, but he was apprehended by police approximately seven minutes later.", "description": "Cleveland-born and New York City-based Otto Bacher painted <em>July</em> during a visit to East Hampton, Long Island, NY. The sun-dazzled composition features a nude model seated upon a lawn. Her name was not recorded.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469709"], "internet_archive": ["https://archive.org/details/clevelandart-1966.387-july"]}, "citations": [{"citation": "Francis, Henry S. \"Annual Report for 1966: Paintings.\" <em>The Bulletin of The Cleveland Museum of Art </em>(June 1967) pp. 168-170.", "page_number": "168-170", "url": null}, {"citation": "Dijkstra, Bram. <em>Naked: The Nude in America.</em> New York: Rizzoli, 2010.", "page_number": "Reproduced, p. 200.", "url": ""}, {"citation": "DeKay,Charles. \"The Quarter's Art.\" <em>The Quarterly Illustrator</em> 2, no. 6 (April, May, June 1894) p. 206-207.", "page_number": "206-207", "url": null}], "url": "https://clevelandart.org/art/1966.387", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.387/1966.387_web.jpg", "width": "563", "height": "893", "filesize": "467248", "filename": "1966.387_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.387/1966.387_print.jpg", "width": "2145", "height": "3400", "filesize": "5968905", "filename": "1966.387_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.387/1966.387_full.tif", "width": "3155", "height": "5000", "filesize": "47355496", "filename": "1966.387_full.tif"}}, "alternate_images": [], "creditline": "Gift of Will Low Bacher", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142664, "creators": [{"id": 3002, "description": "Otto H. Bacher (American, 1856\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Otto Bacher was the first artist from Cleveland to earn international renown in the art world. Born in Cleveland, Bacher grew up in a neighborhood bordering the east bank of the Cuyahoga River near the mouth of Lake Erie. A childhood pastime of sketching shipping activities in the busy port eventually led to a job painting inscriptions on commercial vessels. He became interested in art during his teen years and studied with De Scott Evans and also learned from Willis Seaver Adams and Sion Wenban. In 1876 Bacher helped found the Art Club and had a solo show at the Kemmer and Kushman Decorating Company. The following year he had his second solo exhibition, at J. W. Sargeant\u2019 s Art Shop. He traveled to Europe in 1878, attended the Munich Royal Academy, and studied with Cincinnati native Frank Duveneck in Munich, Florence, and Venice. A chance meeting in Venice with James A. McNeill Whistler in 1880 led to a long friendship that had a decisive effect on Bacher\u2019 s etching style. In 1883 Bacher returned to Cleveland and began teaching at the Cleveland Academy of Art and privately at a summer retreat he organized in Richfield, Ohio. He returned to Europe in 1885, hoping to stay for an extended period, but his financial situation forced him to come back to America. After a brief visit to Cleveland, Bacher settled in New York City. To support himself, he did illustrations for <em>Century Magazine</em> in 1888. In 1895 he moved to Bronxville, New York, and by that time his artistic style revealed a strong debt to impressionism. During the last two decades of his life, he exhibited in New York, London, Paris, St. Louis, Philadelphia, and Cleveland. Bacher died in Bronxville.<br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 222.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:35.536000"}, {"id": 118157, "accession_number": "1939.267", "share_license_status": "CC0", "tombstone": "A Rishi Stirring Up a Storm, 1897. John La Farge (American, 1835\u20131910). Watercolor and gouache over graphite; sheet: 27.3 x 38.9 cm (10 3/4 x 15 5/16 in.); image: 25 x 33.7 cm (9 13/16 x 13 1/4 in.); secondary support: 28 x 40.8 cm (11 x 16 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1939.267", "current_location": null, "title": "A Rishi Stirring Up a Storm", "creation_date": "1897", "creation_date_earliest": 1892, "creation_date_latest": 1902, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor and gouache over graphite", "support_materials": [{"description": "cream(2) wove paper laid down on beige(1) cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 27.3 x 38.9 cm (10 3/4 x 15 5/16 in.); Image: 25 x 33.7 cm (9 13/16 x 13 1/4 in.); Secondary Support: 28 x 40.8 cm (11 x 16 1/16 in.)", "dimensions": {"sheet": {"height": 0.273, "width": 0.389}, "image": {"height": 0.25, "width": 0.337}, "secondary support": {"height": 0.28, "width": 0.408}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312462, "title": "Exhibition of American Painting from 1860 Until Today", "description": "<i>Exhibition of American Painting from 1860 Until Today</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-October 4, 1937).", "opening_date": "1937-06-23T04:00:00"}, {"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": 311945, "title": "The Sea", "description": "<i>The Sea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 25, 1950).", "opening_date": "1950-09-23T04:00:00"}, {"id": 361349, "title": "John La Farge", "description": "<i>John La Farge</i>. Smithsonian American Art Museum, Washington, DC (organizer) (July 10-October 12, 1987); Carnegie Museum of Art (November 7, 1987-January 3, 1988); Museum of Fine Arts, Boston, Boston, MA (February 24-April 24, 1988).", "opening_date": "1987-07-10T04:00:00"}, {"id": 355393, "title": "John La Farge: Watercolors and Drawings", "description": "<i>John La Farge: Watercolors and Drawings</i>. Munson Museum of Art, Utica, NY (February 9, 1990-April 21, 1991); Terra Museum of American Art (June 15-August 11, 1991).", "opening_date": "1990-02-09T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}], "legacy": [{"description": "<em>Exhibition of Works by Winslow Homer and John La Farge</em>. Museum of Fine Arts, Boston, MA (organizer) (June - August 1936).", "opening_date": "1936-06-01T00:00:00"}, {"description": "<em>Exhibition of Works by Winslow Homer and John La Farge</em>. Museum of Fine Arts, Boston, MA (organizer) (June - August 1936).", "opening_date": "1936-06-01T00:00:00"}, {"description": "<em>Exhibition and Private Sale of Paintings in Water Color Chiefly from South Sea Islands and Japan by Mr. John La Farge</em>. Doll and Richards Gallery, Boston, MA (March 18 - March 30 1898).", "opening_date": "2018-03-01T00:00:00"}]}, "provenance": [{"description": "(Doll and Richards Gallery (est. 1866), Boston, MA.)", "citations": [], "footnotes": null, "date": "1898-?", "sortorder": null}, {"description": "The Wheelwright family, Boston, MA.\nMary C. Wheelwright [1878-1958], Boston, MA, sold to The Cleveland Museum of Art, 1939.", "citations": [], "footnotes": [], "date": "?-1939", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": null, "date": "1939-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2319.37"], "did_you_know": "The spots of paint on the bottom left corner of this sheet show where the artist tested colors before applying them to his composition.", "description": "In the late 19th century, John La Farge was one of the first American artists to take a serious interest in Japanese art. This watercolor was produced after La Farge visited Japan in 1886, where he studied Daoism and painting with the writer Okakura Kakuz\u014d (1862\u20131913). Here, he employed Western modeling and depth, building the water\u2019s mass through transparent washes of light and dark blue, but also simulated the asymmetrical composition, lyrical tone, and bright blue color palette of contemporary Japanese woodblock prints. Hinting at the relationship between humans and the natural world, the ocean\u2019s tempestuous curls echo the swirls of dense gouache in the imaginary figure\u2019s robes, merging the figure of the \u201crishi\u201d with the surging waters behind him. According to the artist's writings, \u201crishi\u201d designates a powerful being who has reached immortality by following Daoist teachings. However, it is possible that La Farge misunderstood the term <em>rishi</em>: <em>Resshi</em>\u2014the Japanese pronunciation of Liezi (\u5217\u5b50), is a legendary Daoist philosopher who could ride the wind.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012924"], "internet_archive": ["https://archive.org/details/clevelandart-1939.267-a-rishi-stirring-up"]}, "citations": [{"citation": "Doll and Richards Gallery. <em>Exhibition and Private Sale of Paintings in Water Color Chiefly from South Sea Islands and Japan by Mr. John La Farge</em>. Boston: Doll and Richards Gallery, 1898.", "page_number": "Mentioned: no. 17.", "url": null}, {"citation": "Metropolitan Museum of Art, Herbert E. Winlock, and Royal Cortissoz. <em>An Exhibition of the Work of John La Farge, New York, March 23 to April 26, 1936.</em> New York: Blanchard Press and The Metropolitan Museum of Art, 1936.", "page_number": "Mentioned: no. 47", "url": null}, {"citation": "United States. <em>Review of Withheld Reimbursements of Rights-of-Way Costs of the Federal-Aid Highway Program; Report to the Congress of the United States [on the] District of Columbia Government</em>. 1967.", "page_number": "Mentioned: cat. no. 119, p. 31", "url": null}, {"citation": "Cleveland Museum of Art. <em>Catalogue of an Exhibition of American Painting from 1860 Until Today</em>. Cleveland: Artcraft Printing Co. and Cleveland Museum of Art, 1937.", "page_number": "Mentioned: p. 31, no. 119", "url": null}, {"citation": "Burchfield, Louise. \"Rishi Calling up a Storm\" by John La Farge.\"<em> The Bulletin of the Cleveland Museum of Art</em> 26, no. 10 (1939): 159-60.", "page_number": "Mentioned and Reproduced: pp.159-160", "url": "http://www.jstor.org/stable/25138054"}, {"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. 562", "url": "https://archive.org/details/CMAHandbook1958/page/n105"}, {"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. 188", "url": "https://archive.org/details/CMAHandbook1966/page/n212"}, {"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. 188", "url": "https://archive.org/details/CMAHandbook1969/page/n212"}, {"citation": "\"A Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\" <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (1973): 21-35.", "page_number": "Mentioned: p. 30, no. 123", "url": "http://www.jstor.org/stable/25152465"}, {"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. 233", "url": "https://archive.org/details/CMAHandbook1978/page/n253"}, {"citation": "Lefor, Patricia Joan. \u201cJohn La Farge\u2019s Japan: An instance of Oriental influence in American Art.\u201d PhD, diss. Northwestern University, 1978.", "page_number": "Mentioned: pp. 156-157", "url": null}, {"citation": "Kuwabara, Sumio. <em>John La Farge and Okakura Kakuzo: On their ideological relationship</em>. \u7b51\u6ce2\u5927\u5b66\u82b8\u8853\u5b66\u7cfb\u7814\u7a76\u5831\u544a \u7b2c 1 \u8f2f<em> Journal of the Institute of Art and Design of the University of Tsukuba</em>, no.1 (1980).", "page_number": "Mentioned and Reproduced: pp. 7-10, 29,  no. 1", "url": null}, {"citation": "Foster, Kathleen A., Henry A. La Farge, H. Barbara Weinberg, Linnea H. Wren, James L. Yarnall, and Henry Adams. <em>John La Farge: Essays</em>. New York: Abbeville Press, 1987.", "page_number": "Mentioned and Reproduced: pp. 53-54, p. 265, cat. no. 69, fig. 35", "url": null}, {"citation": "Henry Adams. \u201cFirst \u2018a marvel,\u2019 then out of fashion, a fine artist returns.\u201d <em>Smithsonian Magazine</em> 18, no. 4 (July 1987): 46-59.", "page_number": "Reproduced: p. 50", "url": null}, {"citation": "Yarnall, James L., and John La Farge. <em>John La Farge, Watercolors and Drawings</em>. Yonkers, N.Y.: Hudson River Museum of Westchester, 1990.", "page_number": "Mentioned: cat. no. 152, p. 132", "url": null}, {"citation": "Yarnall, James L., and John La Farge. <em>John La Farge: Watercolors and Drawings.</em> Yonkers, N.Y.: Hudson River Museum of Westchester, 1990.", "page_number": "Mentioned and Reproduced: pp. 14, 64, 117, 132, no. 152, pl 14.", "url": null}, {"citation": "Westgeest, Helen. <em>Zen in the fifties: Interaction in art between East and West</em>. Zwolle: Waanders Publishers, 1997.", "page_number": "Mentioned: p. 43; Reproduced: p. 42, no. 22", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 91, pp. 218-219, p. 296; Reproduced: p. 219", "url": null}, {"citation": "Furuta, Ry\u014d, ed., \u5ca1\u5009\u5929\u5fc3: \u8fd1\u4ee3\u7f8e\u8853\u306e\u5e2b<em> Okakura Tenshin: kindai bijutsu no shi, </em>Bessatsu Taiyo\u0304 Nihon no kokoro, vol. 209. Tokyo: Heibonsha, 2013.", "page_number": "Reproduced.", "url": null}], "url": "https://clevelandart.org/art/1939.267", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1939.267/1939.267_web.jpg", "width": "1263", "height": "868", "filesize": "214686", "filename": "1939.267_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1939.267/1939.267_print.jpg", "width": "3400", "height": "2338", "filesize": "1755402", "filename": "1939.267_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1939.267/1939.267_full.tif", "width": "7654", "height": "5265", "filesize": "120916920", "filename": "1939.267_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118157, "creators": [{"id": 4047, "description": "John La Farge (American, 1835\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1835", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-05-29T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Rishi Calling up a Storm"], "is_highlight": false, "updated_at": "2026-03-27 00:00:37.907000"}, {"id": 147840, "accession_number": "1974.201", "share_license_status": "CC0", "tombstone": "Figure (kiteki), late 1800s\u2013mid-1900s. Africa, Central Africa, Democratic Republic of Congo, Yaka-style carver. Wood, lizard skin, leopard tooth, pods, cloth, and natural fiber; overall: 23 cm (9 1/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1974.201", "current_location": "108A African", "title": "Figure (kiteki)", "creation_date": "late 1800s\u2013mid-1900s", "creation_date_earliest": 1880, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Yaka-style carver"], "technique": "Wood, lizard skin, leopard tooth, pods, cloth, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 23 cm (9 1/16 in.)", "dimensions": {"overall": {"height": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 232, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1975: \"Year in Review 1974,\" CMA Bulletin LXII (March, 1975), p. 97, no. 23, repr. p. 96.", "opening_date": "1975-03-01T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1965\u20131974", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1974\u2013", "sortorder": 2}, {"description": "Harry Franklin, Los Angeles, CA", "citations": [], "footnotes": ["<ul><li><!--block-->Memorandum from William D. Wixom to Ursula Korneitchouk and Del Gutridge. 12/13/74. CMA Archives</li></ul><div><!--block--><br></div>"], "date": "by at least 1965", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["910.68"], "did_you_know": "The sculptures and the specially selected materials inside assist the prayers of owners for protection from harm, sickness, or loss.", "description": "<em>Biteki</em> is the generic name for Yaka figures used as containers for magical ingredients. After being charged by a ritual specialist, they become <em>minkisi</em>, or power objects, and gain the power to either cure or harm. This example, with various leadership accouterments, likely belongs to the category called <em>phuungu</em>. Placed inside a house, the statuette would have protected against witches and other evil.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758118"], "internet_archive": ["https://archive.org/details/clevelandart-1974.201-figure-kiteki"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, no. 232.", "page_number": "", "url": ""}, {"citation": "Wixon, William D., \"African Art in The Cleveland Museum of Art,\" African Arts, Vol. X, no. 3 (April 1977), pp. 16-24, fig. 6.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>1974 Year in Review</em>, Bulletin of the Cleveland Museum of Art 62, no. 3, cat. 23.", "page_number": "", "url": ""}, {"citation": "Drewal, Henry John. African Art: A Brief Guide to the Collection. Cleveland: Cleveland Museum of Art, 1989, fig. 9.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art, \"CMA Handbook\", 1991b, p. 141.", "page_number": "", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1974.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 3 (March 1975): 62\u2013102.", "page_number": "Reproduced: p. 96; Mentioned: p. 97, no. 23", "url": "http://www.jstor.org/stable/25152580"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 40, p. 110 - 111", "url": ""}], "url": "https://clevelandart.org/art/1974.201", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.201/1974.201_web.jpg", "width": "563", "height": "893", "filesize": "278453", "filename": "1974.201_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.201/1974.201_print.jpg", "width": "2144", "height": "3400", "filesize": "4079952", "filename": "1974.201_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.201/1974.201_full.tif", "width": "3707", "height": "5880", "filesize": "65424268", "filename": "1974.201_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T15:56:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt0_web.jpg", "width": "531", "height": "893", "filesize": "274570"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt0_print.jpg", "width": "2021", "height": "3400", "filesize": "3922312"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt0_full.tif", "width": "3515", "height": "5914", "filesize": "62396172"}}, {"date_created": "2009-10-27T15:59:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt1_web.jpg", "width": "540", "height": "893", "filesize": "282280"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt1_print.jpg", "width": "2055", "height": "3400", "filesize": "4097309"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt1_full.tif", "width": "3584", "height": "5930", "filesize": "63792440"}}, {"date_created": "2009-10-27T16:01:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt2_web.jpg", "width": "537", "height": "893", "filesize": "289208"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt2_print.jpg", "width": "2046", "height": "3400", "filesize": "4096178"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt2_full.tif", "width": "3600", "height": "5982", "filesize": "64638600"}}, {"date_created": "2009-10-27T16:02:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt3_web.jpg", "width": "553", "height": "893", "filesize": "285673"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt3_print.jpg", "width": "2106", "height": "3400", "filesize": "4148526"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.201/1974.201_alt3_full.tif", "width": "3660", "height": "5910", "filesize": "64924684"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147840, "creators": [], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:48.788000"}, {"id": 107520, "accession_number": "1925.21", "share_license_status": "CC0", "tombstone": "Parsifal, 1892. Odilon Redon (French, 1840\u20131916), printed by Becquet (French). Lithograph; image: 32.2 x 24.2 cm (12 11/16 x 9 1/2 in.). The Cleveland Museum of Art, Gift of Ralph King, 1925.21", "current_location": null, "title": "Parsifal", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["France, 19th-20th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 32.2 x 24.2 cm (12 11/16 x 9 1/2 in.)", "dimensions": {"image": {"height": 0.322, "width": 0.242}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 50", "copyright": null, "inscriptions": [{"inscription": "signed on stone, lower left: ODILON REDON; inscribed lower left below image, in graphite: Od. R.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616624, "title": "Fifty Years of French Art", "description": "<i>Fifty Years of French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29-November 29, 1926).", "opening_date": "1926-10-29T05:00:00"}, {"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"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": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1925", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1925", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When Redon was working on this lithograph, he discovered a flaw in the stone and started over. He reused rather than discarding the original stone for <em>The Druidess</em>, another print.", "description": "Like many artists of the time, Odilon Redon drew inspiration from 19th-century German composer Richard Wagner and explored his music throughout various media. Here, Redon depicted Parsifal, the heroic knight after whom Wagner titled an 1882 opera centered on a search for the Holy Grail. The print\u2019s murky tones combine with Parsifal\u2019s vacant stare to create an aura of mystery. The print was the first given to the museum by Ralph King, a founding trustee and a Redon enthusiast known among New York City gallerists in the 1920s for his tendency to purchase their entire inventories of the artist\u2019s work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80055636"], "internet_archive": ["https://archive.org/details/clevelandart-1925.21-parsifal"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949.", "page_number": "Mentioned: p. 58", "url": "https://archive.org/details/Lithography/page/n65"}], "catalogue_raisonne": "Mellerio 116", "url": "https://clevelandart.org/art/1925.21", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.21/1925.21_web.jpg", "width": "676", "height": "893", "filesize": "513464", "filename": "1925.21_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.21/1925.21_print.jpg", "width": "2575", "height": "3400", "filesize": "8005247", "filename": "1925.21_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.21/1925.21_full.tif", "width": "2898", "height": "3826", "filesize": "33296328", "filename": "1925.21_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107520, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1925-01-15T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:31.401000"}, {"id": 108403, "accession_number": "1926.140.8", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: And He Had in His Right Hand Seven Stars; and Out of His Mouth Went a Sharp Two-Edged Sword, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph on China paper laid on wove paper; image: 29.2 x 20.9 cm (11 1/2 x 8 1/4 in.); sheet: 56.1 x 42.4 cm (22 1/16 x 16 11/16 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.8", "current_location": null, "title": "And He Had in His Right Hand Seven Stars; and Out of His Mouth Went a Sharp Two-Edged Sword", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 29.2 x 20.9 cm (11 1/2 x 8 1/4 in.); Sheet: 56.1 x 42.4 cm (22 1/16 x 16 11/16 in.)", "dimensions": {"image": {"height": 0.292, "width": 0.209}, "sheet": {"height": 0.561, "width": 0.424}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "signed in stone, lower left: ODILON REDON; printed at lower left, below image: Et il avait en sa main droite sept \u00e9toiles, et de sa bouche / sortait une \u00e9p\u00e9e aigu\u00eb a deux tranchants.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 357312, "title": "Prints of the Fifteenth to Twentieth Century from the Museum Collection", "description": "<i>Prints of the Fifteenth to Twentieth Century from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (June 5-September 12, 1934).", "opening_date": "1934-06-05T04:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": [{"description": "<em>\"La R\u00eaverie esth\u00e9tique\": Symbolist Works on Paper</em>. Allen Memorial Art Museum (March 29 - May 22, 1988).", "opening_date": "1988-03-29T00:00:00"}]}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.134"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723655"], "internet_archive": ["https://archive.org/details/clevelandart-1926.140.8-and-he-had-in-his-ri"]}, "citations": [{"citation": "\"'La R\u00eaverie esth\u00e9tique': Symbolist Works on Paper.\" <em>Allen Memorial Art Museum Bulletin</em>43, no. 1 (Summer 1988): 3-47.", "page_number": "Mentioned: p. 34, no. 39", "url": null}], "catalogue_raisonne": "Mellerio 174", "url": "https://clevelandart.org/art/1926.140.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.8/1926.140.8_web.jpg", "width": "634", "height": "893", "filesize": "410933", "filename": "1926.140.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.8/1926.140.8_print.jpg", "width": "2412", "height": "3400", "filesize": "6127911", "filename": "1926.140.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.8/1926.140.8_full.tif", "width": "2586", "height": "3646", "filesize": "28318152", "filename": "1926.140.8_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108403, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67505, "description": "Blanchard", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Apocalypse of Saint John: And He Had in His Right Hand Seven Stars; and Out of His Mouth Went a Sharp Two-Edged Sword"], "is_highlight": false, "updated_at": "2026-03-27 00:07:32.046000"}, {"id": 142798, "accession_number": "1966.494", "share_license_status": "CC0", "tombstone": "Pair of Candelabra, 1887\u201390. House of Faberg\u00e9 (Russian, 1842\u20131918), Julius Alexandrovitch Rappoport (Russian, 1864\u20131916). Silver; overall: 28.5 x 25.1 x 12 cm (11 1/4 x 9 7/8 x 4 3/4 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.494", "current_location": "211 Faberg\u00e9", "title": "Pair of Candelabra", "creation_date": "1887\u201390", "creation_date_earliest": 1887, "creation_date_latest": 1890, "artists_tags": ["gender unknown", "male"], "culture": ["Russia, St. Petersburg"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 28.5 x 25.1 x 12 cm (11 1/4 x 9 7/8 x 4 3/4 in.)", "dimensions": {"overall": {"height": 0.285, "width": 0.251, "depth": 0.12}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The design reflects the resurgence of the neoclassical style in the late 1800s.", "description": "This pair of candelabra demonstrates Faberg\u00e9\u2019s commitment to a commercial balance between decorative and functional design. The pair was made by Faberg\u00e9\u2019s chief silversmith, German-born Julius Rappoport, in Moscow, where the majority of gold and silver objects were crafted. Small in size, the pair may have been used in more intimate settings, as opposed to larger banquets or public gathering areas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758864"], "internet_archive": ["https://archive.org/details/clevelandart-1966.494-pair-of-candelabra"]}, "citations": [{"citation": "Hawley, Henry. <em>Faberg\u00e9 and His Contemporaries: The India Early Minshall Collection of The Cleveland Museum of Art</em>. Cleveland, Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 60, cat. 26; one of the pair reproduced, p. 61", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Reproduced and mentioned: p. 101, cat. 72", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008", "page_number": "p. 206, cat. 79", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/1966.494", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.494/1966.494_web.jpg", "width": "675", "height": "900", "filesize": "93910", "filename": "1966.494_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.494/1966.494_print.jpg", "width": "2550", "height": "3400", "filesize": "844906", "filename": "1966.494_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.494/1966.494_full.tif", "width": "4080", "height": "5440", "filesize": "66609476", "filename": "1966.494_full.tif"}}, "alternate_images": [{"date_created": "2006-12-19T19:37:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt0_web.jpg", "width": "900", "height": "720", "filesize": "111683"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt0_print.jpg", "width": "3400", "height": "2720", "filesize": "1231172"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt0_full.tif", "width": "4333", "height": "3466", "filesize": "45078776"}}, {"date_created": "2006-12-19T20:12:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt1_web.jpg", "width": "900", "height": "720", "filesize": "101859"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt1_print.jpg", "width": "3400", "height": "2720", "filesize": "859345"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt1_full.tif", "width": "4830", "height": "3864", "filesize": "56013604"}}, {"date_created": "2007-07-17T17:43:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt2_web.jpg", "width": "900", "height": "720", "filesize": "116683"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt2_print.jpg", "width": "3400", "height": "2720", "filesize": "930546"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt2_full.tif", "width": "4385", "height": "3508", "filesize": "46172396"}}, {"date_created": "2006-12-19T20:48:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt3_web.jpg", "width": "1189", "height": "893", "filesize": "452438"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt3_print.jpg", "width": "3400", "height": "2553", "filesize": "3392472"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt3_full.tif", "width": "5184", "height": "3892", "filesize": "60558384"}}, {"date_created": "2006-12-19T20:48:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt4_web.jpg", "width": "900", "height": "676", "filesize": "98179"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt4_print.jpg", "width": "3400", "height": "2553", "filesize": "784381"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt4_full.tif", "width": "5184", "height": "3892", "filesize": "60552708"}}, {"date_created": "2007-07-17T19:42:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt5_web.jpg", "width": "720", "height": "900", "filesize": "113879"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt5_print.jpg", "width": "2720", "height": "3400", "filesize": "939923"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.494/1966.494_alt5_full.tif", "width": "3839", "height": "4799", "filesize": "55294852"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142798, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 8897, "description": "Julius Alexandrovitch Rappoport (Russian, 1864\u20131916)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887\u201390", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:45.957000"}, {"id": 148156, "accession_number": "1975.155", "share_license_status": "CC0", "tombstone": "Mask (Kple Kple or Kouassi Gbe), late 1800s-early 1900s. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood, resin, and paint; overall: 40.7 cm (16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.155", "current_location": "108A African", "title": "Mask (Kple Kple or Kouassi Gbe)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood, resin, and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 40.7 cm (16 in.)", "dimensions": {"overall": {"height": 0.407}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 80, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1976: \"Year in Review 1975,\" CMA Bulletin LXIII Feb., 1976), p. 66, no. 28", "opening_date": "1976-02-01T00:00:00"}]}, "provenance": [{"description": "Metal Blast, Inc.; Katherine White Reswick", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["956.68"], "did_you_know": "The wearer of this mask would secure it on his face by biting onto a (now-missing) piece of rope attached to the back.", "description": "This <em>kple kple</em> mask belongs to the first of four pairs of masks that entertain as part of a performance sequence in the <em>goli</em> dance. The male in each pair dances first. The masks are worn by young boys in a rapid stamping dance. The masqueraders alternate with each other and watch their partners perform. The head of the male kple kple is painted red, whereas the female, like this example, is colored black.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1975.155-mask-kple-kple-or-ko"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, no. 80.", "page_number": "", "url": ""}, {"citation": "CMA 1976, \"1975 Year in Review.\" Bulletin of The Cleveland Museum of Art 63, no. 3, cat. 22.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1975.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.155/1975.155_web.jpg", "width": "608", "height": "900", "filesize": "172964", "filename": "1975.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.155/1975.155_print.jpg", "width": "2298", "height": "3400", "filesize": "1258050", "filename": "1975.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.155/1975.155_full.tif", "width": "3916", "height": "5795", "filesize": "68103220", "filename": "1975.155_full.tif"}}, "alternate_images": [{"date_created": "2009-10-28T14:10:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.155/1975.155_alt0_web.jpg", "width": "582", "height": "893", "filesize": "256577"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.155/1975.155_alt0_print.jpg", "width": "2215", "height": "3400", "filesize": "4064055"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.155/1975.155_alt0_full.tif", "width": "3775", "height": "5794", "filesize": "65651944"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148156, "creators": [], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Face Mask (Kple Kple)", "Mask (Goli kple kple)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:53.282000"}, {"id": 142768, "accession_number": "1966.472", "share_license_status": "CC0", "tombstone": "Bell Push, c. 1895\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver gilt, enamel, bowenite, cabochon sapphire; diameter: 3.5 x 5.8 cm (1 3/8 x 2 5/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.472", "current_location": "211 Faberg\u00e9", "title": "Bell Push", "creation_date": "c. 1895\u20131915", "creation_date_earliest": 1890, "creation_date_latest": 1910, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "silver gilt, enamel, bowenite, cabochon sapphire", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Diameter: 3.5 x 5.8 cm (1 3/8 x 2 5/16 in.)", "dimensions": {"diameter": {"height": 0.035, "width": 0.058}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "88; Faberg\u00e9 (in Cyrillic); another illegible mark.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}], "legacy": [{"description": "The Metropolitan Museum of Art (2/12/96-4/28/96); The Fine Arts Museums of San Francisco (5/25/96-7/28/96); Virginia Museum of Fine Arts (8/24/96-11/2/96); New Orleans Museum of Art (12/7/96-2/8/97); The Cleveland Museum of Art (3/9/97-5/11/97).  \"Faberg\u00e9 in America,\" exh. cat. no. 15, p. 42; p. 30; color repr. p. 42.", "opening_date": "1996-02-12T00:00:00"}]}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The advent of electricity in the 1880s made systems of buttons and bell pushes to call servants more efficient than the old lever and pully system within the wall that often broke with a vigorous tug.", "description": "This bell push sat on a dressing table in a wealthy household to summon a servant during the Gilded Age around 1900. Life \"below stairs\" wasn't as easy as movies and television have portrayed it. Servants could be summoned at all hours of the day and night, interrupting their work, and causing disruption at the whim of the wealthy owners or their guests. The House of Faberg\u00e9 became the most celebrated Russian supplier of such luxury goods as servant bell pushes. As court jeweler to the Russian imperial family, the Faberg\u00e9 firm created jewels and luxurious accessories both for the tsar and the Russian state as well as other European royalty and aristocrats.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760670"], "internet_archive": ["https://archive.org/details/clevelandart-1966.472-bell-push"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced:  pp. 82-3, cat. 40", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}], "url": "https://clevelandart.org/art/1966.472", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.472/1966.472_web.jpg", "width": "868", "height": "893", "filesize": "456897", "filename": "1966.472_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.472/1966.472_print.jpg", "width": "3303", "height": "3400", "filesize": "6092477", "filename": "1966.472_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.472/1966.472_full.tif", "width": "3377", "height": "3476", "filesize": "35250332", "filename": "1966.472_full.tif"}}, "alternate_images": [{"date_created": "2008-06-06T19:15:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.472/1966.472_alt0_web.jpg", "width": "1263", "height": "862", "filesize": "494103"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.472/1966.472_alt0_print.jpg", "width": "3400", "height": "2320", "filesize": "3510688"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.472/1966.472_alt0_full.tif", "width": "3686", "height": "2515", "filesize": "27843768"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142768, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895\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": "2026-03-26 23:59:23.358000"}, {"id": 143819, "accession_number": "1968.242", "share_license_status": "CC0", "tombstone": "Covered Tureen on Stand, 1812. Paul Storr (British, 1771\u20131844). Silver; overall: 35.2 x 43.2 cm (13 7/8 x 17 in.). The Cleveland Museum of Art, Gift of Thomas F. Grasselli in memory of Thomas S. and Emilie S. Grasselli, 1968.242", "current_location": "203A British Painting and Decorative Arts", "title": "Covered Tureen on Stand", "creation_date": "1812", "creation_date_earliest": 1812, "creation_date_latest": 1812, "artists_tags": ["male"], "culture": ["England, London, 19th century"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 35.2 x 43.2 cm (13 7/8 x 17 in.)", "dimensions": {"overall": {"height": 0.352, "depth": 0.432}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Coat of arms: Hutton impaling Chaytor; crest: Hutton. (Arms of Timothy Hutton (1779-1863) of Marske and Clifton Castle, Yorkshire, and his wife Elizabeth Chaytor of Spennithorne Hall, who were married in 1804.)", "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": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "No legacy exhibitions.", "opening_date": null}]}, "provenance": [{"description": "Thomas F. Grasselli [1907-1970], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1968", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "While the word \u201ctureen\u201d was derived from the Latin word <em>terrine</em>, the name has also long been associated with the Marshal of France, Vicomte de Turenne (1611\u20131675), who according to legend once drank soup from his helmet.", "description": "Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this tureen, with its lionhead finials, acanthus leaves, and fluted detailing, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. The arms of the High Sheriff of Yorkshire, Timothy Hutton and his wife Elizabeth Chaytor of Spennithorne Hall in northern England are engraved on this tureen and stand by Paul Storr, one of the most prominent London silversmiths of the period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781092"], "internet_archive": ["https://archive.org/details/clevelandart-1968.242-covered-tureen-on-st"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1968.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 1 (January 1969)", "page_number": "Reproduced: p. 19, pl. 25", "url": "https://www.jstor.org/stable/25152250"}], "url": "https://clevelandart.org/art/1968.242", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.242/1968.242_web.jpg", "width": "900", "height": "700", "filesize": "182472", "filename": "1968.242_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.242/1968.242_print.jpg", "width": "3400", "height": "2646", "filesize": "1295032", "filename": "1968.242_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.242/1968.242_full.tif", "width": "10846", "height": "8441", "filesize": "274678516", "filename": "1968.242_full.tif"}}, "alternate_images": [{"date_created": "2008-01-24T20:34:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242/1968.242_alt0_web.jpg", "width": "900", "height": "726", "filesize": "155150"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242/1968.242_alt0_print.jpg", "width": "3400", "height": "2741", "filesize": "1257255"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242/1968.242_alt0_full.tif", "width": "4807", "height": "3875", "filesize": "55918604"}}], "creditline": "Gift of Thomas F. Grasselli in memory of Thomas S. and Emilie S. Grasselli", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143819, "creators": [{"id": 8523, "description": "Paul Storr (British, 1771\u20131844)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1771", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1812, "date_added_to_oa": null, "date_text": "1812", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:56"}, {"id": 147842, "accession_number": "1974.203", "share_license_status": "CC0", "tombstone": "Portrait Mask (mblo), early to mid-1900s. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood and paint; overall: 41.2 cm (16 1/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1974.203", "current_location": "108A African", "title": "Portrait Mask (mblo)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1960, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 41.2 cm (16 1/4 in.)", "dimensions": {"overall": {"height": 0.412}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 78, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1975: \"Year in Review 1974,\" CMA Bulletin LXII (March, 1975), p. 97, no. 26", "opening_date": "1975-03-01T00:00:00"}, {"description": "CMA 1975: \"Traditions and Revisions,\" cat. no. 110.", "opening_date": "1975-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["623.68"], "did_you_know": "This may be a portrait mask of a respected female elder.", "description": "Male and female mblo masks, highly valued by the Baule people, are used in a variety of entertainment dances. Wearing elaborate coiffures and delicate facial scars, they are seen as portraits of known individuals. Their idealized rendering embodies core traits of Baule aesthetics, including lustrous skin, a high forehead, and downcast eyes, signs of good health, intelligence, and admiration, respectively.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1974.203-portrait-mask-mblo"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, no. 78.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1974.203", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.203/1974.203_web.jpg", "width": "550", "height": "893", "filesize": "235121", "filename": "1974.203_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.203/1974.203_print.jpg", "width": "2476", "height": "3400", "filesize": "3341191", "filename": "1974.203_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.203/1974.203_full.tif", "width": "2983", "height": "4096", "filesize": "36668980", "filename": "1974.203_full.tif"}}, "alternate_images": [{"date_created": "2009-11-02T16:50:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt0_web.jpg", "width": "574", "height": "893", "filesize": "266454"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt0_print.jpg", "width": "2184", "height": "3400", "filesize": "3862543"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt0_full.tif", "width": "3816", "height": "5940", "filesize": "68033660"}}, {"date_created": "2009-11-02T16:51:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt1_web.jpg", "width": "569", "height": "893", "filesize": "261433"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt1_print.jpg", "width": "2167", "height": "3400", "filesize": "3895530"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt1_full.tif", "width": "3755", "height": "5892", "filesize": "66405652"}}, {"date_created": "2009-11-02T16:53:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt2_web.jpg", "width": "581", "height": "893", "filesize": "262101"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt2_print.jpg", "width": "2213", "height": "3400", "filesize": "3678611"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.203/1974.203_alt2_full.tif", "width": "3738", "height": "5742", "filesize": "64423192"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147842, "creators": [], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Female Face Mask (Mblo)", "Female Mask (ngblo gbagba)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:27.180000"}, {"id": 93173, "accession_number": "2018.289", "share_license_status": "CC0", "tombstone": "Poppy Inkwell, c. 1898\u20131906. Attributed to Clara Wolcott Driscoll (American, 1861\u20131944), Tiffany Glass & Decorating Company (America, New York, 1892\u20131902), Tiffany Studios (United States, New York, 1902\u201332). Favrile glass mosaic, bronze; overall: 8 x 10.5 cm (3 1/8 x 4 1/8 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.289", "current_location": null, "title": "Poppy Inkwell", "creation_date": "c. 1898\u20131906", "creation_date_earliest": 1898, "creation_date_latest": 1906, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "gender unknown"], "culture": ["America, New York"], "technique": "favrile glass mosaic, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 8 x 10.5 cm (3 1/8 x 4 1/8 in.)", "dimensions": {"overall": {"height": 0.08, "width": 0.105}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped on underside: 28289/Tiffany Studios/New York/TGDCo", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "engraved on underside of insert: L.C.T. Favrile", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 358650, "title": "Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany", "description": "<i>Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 20, 2019-October 4, 2020).", "opening_date": "2019-10-20T04:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Maurer [1929-2016], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20132018", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2018\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "More than a thousand tiny pieces of glass form the mosaic design of this inkwell.", "description": "By 1900 Louis Comfort Tiffany had expanded his empire by increasing the firm\u2019s production of \u201cfancy goods,\u201d including inkstands, candlesticks, clocks, small boxes, desk sets, tea screens, and other functional objects. Along with the array of artistic glass designs from his factory in Corona, Queens, works in ceramic, bronze, other metals, and even jewelry abounded. These smaller, more affordable luxury items were designed with as much thought to artistry as the great stained glass windows and lamps through which the firm enjoyed unrivaled success.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780005"], "internet_archive": ["https://archive.org/details/clevelandart-2018.289-poppy-inkwell"]}, "citations": [{"citation": "Bifano, Wayne Thomas, and Timothy Lachina. <em>The Wade Chapel: A Story of Art, Spirit, and Family. </em>Cleveland, Ohio: Lake View Cemetery Association, 2019.", "page_number": "Reproduced: P. 95", "url": null}, {"citation": "\"Cleveland Arts Prize Celebrates Greatness in the Garden.\" <em>CAN Journal </em>(Summer 2021): 44-45.", "page_number": "Mentioned and reproduced: p. 44", "url": ""}], "url": "https://clevelandart.org/art/2018.289", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.289/2018.289_web.jpg", "width": "900", "height": "689", "filesize": "131403", "filename": "2018.289_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.289/2018.289_print.jpg", "width": "3400", "height": "2601", "filesize": "1431858", "filename": "2018.289_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.289/2018.289_full.tif", "width": "7534", "height": "5764", "filesize": "130306424", "filename": "2018.289_full.tif"}}, "alternate_images": [{"date_created": "2007-12-14T19:10:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt0_web.jpg", "width": "742", "height": "900", "filesize": "242910"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt0_print.jpg", "width": "2804", "height": "3400", "filesize": "1819953"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt0_full.tif", "width": "3896", "height": "4724", "filesize": "55239744"}}, {"date_created": "2007-12-14T19:38:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt1_web.jpg", "width": "739", "height": "900", "filesize": "288281"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt1_print.jpg", "width": "2793", "height": "3400", "filesize": "2161420"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt1_full.tif", "width": "3189", "height": "3882", "filesize": "37165192"}}, {"date_created": "2007-12-14T20:10:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt2_web.jpg", "width": "900", "height": "640", "filesize": "214591"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt2_print.jpg", "width": "3400", "height": "2418", "filesize": "1491160"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.289/2018.289_alt2_full.tif", "width": "5484", "height": "3900", "filesize": "64187500"}}], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93173, "creators": [{"id": 356976, "description": "Clara Wolcott Driscoll (American, 1861\u20131944)", "extent": null, "qualifier": "attributed to", "role": "designer", "biography": "Cleveland Institute of Art alumni.", "name_in_original_language": null, "birth_year": "1861", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "retailer", "biography": "American jewelry and glass manufactory, 1902-1932", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "c. 1898\u20131906", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-01 19:07:10.609000"}, {"id": 84371, "accession_number": "2020.106", "share_license_status": "CC0", "tombstone": "The Pink Cloud, c. 1896. Henri-Edmond Cross (French, 1856\u20131910). Oil on canvas; unframed: 54.6 x 61 cm (21 1/2 x 24 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.106", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Pink Cloud", "creation_date": "c. 1896", "creation_date_earliest": 1891, "creation_date_latest": 1901, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 54.6 x 61 cm (21 1/2 x 24 in.)", "dimensions": {"unframed": {"height": 0.546, "width": 0.61}, "framed": {"height": 0.789, "width": 0.86, "depth": 0.089}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: henri Edmond Cross", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Societe des artistes independen</em>ts. Paris, France (April-May 1897).", "opening_date": null}]}, "provenance": [{"description": "(Hotel Drouot, Paris, France,  posthumous Atelier Henri-Edmond Cross sale, October 28, 1921, lot 25, purchased from the artist's estate)", "citations": [], "footnotes": ["<div><!--block-->Sold as \u201cNuages Rouges\u201d (Red Clouds), 60 x 54.&nbsp;</div>"], "date": "October 28, 1921", "sortorder": 1}, {"description": "(Christie's New York, NY, November 9, 2000, lot 160, sold to Harry Krampf)", "citations": [], "footnotes": ["<div><!--block-->According to documentation provided by Galerie Hopkins-Custot in the curatorial file.&nbsp;</div>"], "date": "November 9, 2000", "sortorder": 2}, {"description": "(Harry Krampf Collection, Paris, France)", "citations": [], "footnotes": [], "date": "2000-?", "sortorder": 3}, {"description": "(Galerie Hopkins-Custot, Paris, France, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH,  given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-2020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Drawn to the beauty of the landscape and the climate that improved his chronic rheumatism from its state in Paris, Cross moved to the south of France where he made a home with his wife, Irma Clare, in Saint-Clair, a small village near the coast.", "description": "Due to his diagnosis of persistent rheumatism, Henri-Edmond Cross left Paris in 1891 and settled in the seaside village of Saint-Clair on the Mediterranean coast where the climate was more temperate. He expressed his enthusiasm for the French Riveria to his mother, \u201cIn the distance, the blue silhouette of the Maures and the Est\u00e9rel\u2014I have enough here to keep me busy all of life\u2014I have just discovered happiness.\u201d Once he had settled in the south, Cross adopted the Neo-Impressionist technique of Pointillism\u2014applying paint in small dots or dashes of complementary colors that mix in the beholder\u2019s eye to create an intense sensation of color and light. Here, a spectacular cloud is illuminated by the sunset. A pair of cypress trees link the garden landscape below to the vivid sky above.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480863"], "internet_archive": ["https://archive.org/details/clevelandart-2020.106-the-rose-cloud", "https://archive.org/details/clevelandart-2020.106-the-pink-cloud"]}, "citations": [{"citation": "Compin, Isabelle. <em>H.E. Cross</em>. Paris, France: Quatre Chemins, 1964.", "page_number": "Reproduced: p. 151, no. 60", "url": null}, {"citation": "Mettais, Vale\u0301rie. <em>Histoire vivante de l'impressionnisme</em>. Paris : Hazan, 2021.", "page_number": "Reproduced, P. 162", "url": ""}, {"citation": "Robinson, William H. \"Modern European Painting.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 132-139, 142-149. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 132-133; Mentioned: p. 261", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cColor, Sensation, and Memory: Themes in the Keithleys\u2019 gift and promised gift.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 3, 2022: Cover, 4-7.", "page_number": "Reproduced and Mentioned: P. 5; Reproduced: P. 12.", "url": ""}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Reproduced: p. 49; Mentioned: p. 52", "url": ""}, {"citation": "Cross, Henri Edmond. <em>Henri-Edmond Cross</em>. Lyon: Fage Editions, 2023.", "page_number": "Reproduced: p. 34-35", "url": ""}], "url": "https://clevelandart.org/art/2020.106", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.106/2020.106_web.jpg", "width": "900", "height": "800", "filesize": "621939", "filename": "2020.106_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.106/2020.106_print.jpg", "width": "3400", "height": "3023", "filesize": "6885782", "filename": "2020.106_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.106/2020.106_full.tif", "width": "11431", "height": "10162", "filesize": "348515020", "filename": "2020.106_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 84371, "creators": [{"id": 28953, "description": "Henri-Edmond Cross (French, 1856\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1856", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "c. 1896", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:38.551000"}, {"id": 95275, "accession_number": "1916.1047", "share_license_status": "CC0", "tombstone": "Willows and Farmhouse at Sainte-Catherine-l\u00e8s-Arras, 1871. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; framed: 59.4 x 72.1 x 9 cm (23 3/8 x 28 3/8 x 3 9/16 in.); unframed: 36.3 x 44.4 cm (14 5/16 x 17 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1047", "current_location": null, "title": "Willows and Farmhouse at Sainte-Catherine-l\u00e8s-Arras", "creation_date": "1871", "creation_date_earliest": 1871, "creation_date_latest": 1871, "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: 59.4 x 72.1 x 9 cm (23 3/8 x 28 3/8 x 3 9/16 in.); Unframed: 36.3 x 44.4 cm (14 5/16 x 17 1/2 in.)", "dimensions": {"framed": {"height": 0.594, "width": 0.721, "depth": 0.09}, "unframed": {"height": 0.363, "width": 0.444}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: corot\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 518443, "title": "Work of Camille Corot", "description": "<i>Work of Camille Corot</i>. The Art Institute of Chicago, Chicago, IL (organizer) (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 518777, "title": "Impressionists and their Forebears from Barbizon", "description": "<i>Impressionists and their Forebears from Barbizon</i>. Dallas Museum for Contemporary Arts, Dallas, TX (organizer) (March 8-April 2, 1961).", "opening_date": "1961-03-08T05:00:00"}, {"id": 304646, "title": "Barbizon School", "description": "<i>Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-March 3, 1963).", "opening_date": "1963-01-24T05:00:00"}, {"id": 380187, "title": "Jean-Baptiste Camille Corot", "description": "<i>Jean-Baptiste Camille Corot</i>. R\u00e9union des mus\u00e9es nationaux - Grand Palais (organizer) (February 27-May 27, 1996); National Gallery of Canada (June 20-September 22, 1996); The Metropolitan Museum of Art (October 21, 1996-January 19, 1997).", "opening_date": "1996-02-27T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Probably Goupil Gallery, New York, NY) ca. 1871-72, sold to Bernhard Stern)", "citations": [], "footnotes": [], "date": "?1871-1872", "sortorder": 1}, {"description": "Bernhard Stern, New York, NY", "citations": [], "footnotes": [], "date": "by 1872-1890", "sortorder": 2}, {"description": "(American Art Galleries, New York, NY, Stern and Evans collections, March 6. 1890, lot 125, sold  to Knoedler & Co.)", "citations": [], "footnotes": [], "date": "1890", "sortorder": 3}, {"description": "(Knoedler & Co., New York, NY, April 12, 1890, sold to Jeptha Homer Wade Jr.)", "citations": [], "footnotes": [], "date": "1890", "sortorder": 4}, {"description": "Mr. J.H. Wade, Jr. [1957-1926] and Mrs. J. H.Wade, Jr. [1859-1917], Cleveland, OH, by gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1890-1916", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Corot began his career as a draper and his exposure to the colors and textures of fabrics helped him develop an astute aesthetic sense.", "description": "With its quiet water and sky, fluffy trees, and other foliage flecked with light, this picture exemplifies the style that won Corot success with a wide public. It was painted during the artist's stay at Arras (about 100 miles north of Paris) in 1871.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q41516307"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1047-willows-and-farmhous"]}, "citations": [{"citation": "Robaut, Alfred, Jean-Baptiste-Camille Corot, and Etienne Moreau-Ne\u0301laton. <em>L'\u0152uvre de Corot</em>. Paris, France: H. Floury, 1905.", "page_number": "Reproduced: no. 2013, vol. 3", "url": null}, {"citation": "Warner, Langdon. \"The Wade Collection.\" <em>The Bulletin of The Cleveland Museum of Art IV, </em>no. 1 (January, 1917)<em>:</em>3-8.", "page_number": "Mentioned: p. 3", "url": null}, {"citation": "Milliken, William. \"The 20th Anniversary Exhibition of the Cleveland Museum of Art.\" <em>ARTnews </em>34 (June 13, 1936): 7-14.", "page_number": "Mentioned: P. 13", "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. 1955.", "page_number": "Reproduced: p. 248, vol. 2", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America. </em>New York, NY: Rand McNally, 1955.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Morse, John D. <em>Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists</em>. New York, NY: Abbeville Press, 1979.", "page_number": "Reproduced: p. 66", "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. 44", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 58", "url": null}, {"citation": "Horbez, Dominique. <em>Corot et les peintres de l'e\u0301cole d'Arras</em>. Tournai, Belgium: La Renaissance du Livre, 2004.", "page_number": "Reproduced: p. 115", "url": null}, {"citation": "<em>Corot: natura, emozione, ricordo : Madrid, Museo Thyssen-Bornemisza, 7 giugno-11 settembre 2005, Ferrara, Palazzo dei Diamanti, 9 ottobre 2005-8 gennaio 2006</em>. Ferrara, Spain: Ferrara arte, 2005.", "page_number": "Reproduced: p. 153, fig. 67", "url": null}], "url": "https://clevelandart.org/art/1916.1047", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1047/1916.1047_web.jpg", "width": "900", "height": "742", "filesize": "339428", "filename": "1916.1047_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1047/1916.1047_print.jpg", "width": "3400", "height": "2803", "filesize": "4464928", "filename": "1916.1047_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1047/1916.1047_full.tif", "width": "12000", "height": "9894", "filesize": "356211724", "filename": "1916.1047_full.tif"}}, "alternate_images": [{"date_created": "2013-03-12T19:10:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt0_web.jpg", "width": "1075", "height": "893", "filesize": "200477"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt0_print.jpg", "width": "3400", "height": "2825", "filesize": "2173236"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt0_full.tif", "width": "6773", "height": "5629", "filesize": "114397540"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt1_web.jpg", "width": "1072", "height": "893", "filesize": "817915"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt1_print.jpg", "width": "1844", "height": "1536", "filesize": "2450326"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt1_full.tif", "width": "1844", "height": "1536", "filesize": "8500404"}}, {"date_created": "2013-03-12T19:17:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt2_web.jpg", "width": "1080", "height": "893", "filesize": "283577"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt2_print.jpg", "width": "3400", "height": "2811", "filesize": "2667183"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt2_full.tif", "width": "7207", "height": "5959", "filesize": "128861452"}}, {"date_created": "2021-01-08T12:42:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt3_web.jpg", "width": "900", "height": "748", "filesize": "266842"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt3_print.jpg", "width": "3400", "height": "2824", "filesize": "3521329"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt3_full.tif", "width": "12600", "height": "10466", "filesize": "395638496"}}, {"date_created": "2020-12-31T16:28:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt4_web.jpg", "width": "900", "height": "817", "filesize": "372461"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt4_print.jpg", "width": "3400", "height": "3088", "filesize": "4213970"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1047/1916.1047_alt4_full.tif", "width": "11151", "height": "10129", "filesize": "338873964"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95275, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1871, "date_added_to_oa": null, "date_text": "1871", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:40.977000"}, {"id": 173665, "accession_number": "1915.461", "share_license_status": "CC0", "tombstone": "Orchid Blossoms, 1873. Martin Johnson Heade (American, 1819\u20131904). Oil on canvas; framed: 47.6 x 40 x 7 cm (18 3/4 x 15 3/4 x 2 3/4 in.); unframed: 38.1 x 30.6 cm (15 x 12 1/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.461", "current_location": null, "title": "Orchid Blossoms", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 47.6 x 40 x 7 cm (18 3/4 x 15 3/4 x 2 3/4 in.); Unframed: 38.1 x 30.6 cm (15 x 12 1/16 in.)", "dimensions": {"framed": {"height": 0.476, "width": 0.4, "depth": 0.07}, "unframed": {"height": 0.381, "width": 0.306}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  M.J. Heade / 1873", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355660, "title": "Exhibition of the Month: Flowers in Art", "description": "<i>Exhibition of the Month: Flowers in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 6-June 5, 1952).", "opening_date": "1952-05-06T04:00:00"}, {"id": 300822, "title": "Horticulture Motifs in Art", "description": "<i>Horticulture Motifs in Art</i>. The Cleveland Museum of Art, Cleveland, OH (March 9-April 24, 1955).", "opening_date": "1955-03-09T05:00:00"}, {"id": 444609, "title": "Near-Looking: A Close-Focus Look at a Basic Thread of American Art", "description": "<i>Near-Looking: A Close-Focus Look at a Basic Thread of American Art</i>. Northern Illinois University Art Gallery, DeKalb, IL (organizer) (October 27-November 22, 1974).", "opening_date": "1974-10-27T04:00:00"}, {"id": 442840, "title": "American Paintings 1825 - 1915 from the Cleveland Museum of Art", "description": "<i>American Paintings 1825 - 1915 from the Cleveland Museum of Art</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979).", "opening_date": "1979-07-07T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 229969, "title": "The Unity of Nature: Alexander von Humboldt and the Americas", "description": "<i>The Unity of Nature: Alexander von Humboldt and the Americas</i>. The Americas Society, New York, NY (organizer) (April 29-July 26, 2014).", "opening_date": "2014-04-29T00:00:00"}], "legacy": [{"description": "<em>Near-Looking.</em> Northern Illinois University Art Gallery, Dekalb, IL (October 27-November 22, 1974).", "opening_date": "1974-10-27T00:00:00"}, {"description": "<em>American Paintings, 1825-1915, from the Cleveland Museum of Art</em>. Johnson-Humrickhouse Museum, Coshocton, OH (July 7-November 1, 1979).", "opening_date": "1979-07-07T00:00:00"}, {"description": "<em>A Nation's Legacy, 150 Years of American Art from Ohio Collections. </em>Columbus Museum of Art, Columbus, OH (organizer) (January 19-March 15, 1992); the Isetan Museum, Tokyo (April 9-May 5, 1992); the Yamaguchi Prefectural Museum of Art, Yamaguchi, Japan (May 12- June 21, 1992); the Fukushima Prefectural Museum of Ar, Fukushima, Japan, (June 27-August 2, 1992); the Takamatsu City Museum of Art, Takamatsu, Japan (August 7-September 6, 1992); Daimaru Museum Umeda, Osaka, Japan (September 23-October 5, 1992).", "opening_date": "1992-01-19T00:00:00"}]}, "provenance": [{"description": "Hinman B. Hurlbut, Cleveland, OH, by 1878; his bequest to CMA, 1915.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["461.1915"], "did_you_know": "Ten years after painting <em>Orchid Blossoms</em>, artist Martin Johnson Heade married at the age of 64.", "description": "At the time he created this work, Martin Johnson Heade had made three trips to Central and South America. As an outgrowth of these experiences, he made a large number of paintings of birds and flowers, especially orchids, in a tropical setting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230262", "https://www.wikidata.org/wiki/Q60482724"], "internet_archive": ["https://archive.org/details/clevelandart-1915.461-orchid-blossoms"]}, "citations": [{"citation": "Northern Illinois University. <em>Near-Looking, A Close-Focus Look at a Basic Thread of American Art</em>. [Catalogue of the Exhibition] Oct. 27-Nov. 22, 1974. DeKalb, Ill: Northern Illinois University, 1974.", "page_number": "no. 10, p. 29, ill. p. 30", "url": null}, {"citation": "Johnson-Humrickhouse Memorial Museum, Coshocton, Ohio. American Paintings, 1825-1915, from the Cleveland Museum of Art, the Inaugural Exhibition at the New Home of the Johnson-Humrickhouse Museum, July 7 - Nov. 1, 1979. 1979.", "page_number": "cat. no. 13", "url": null}, {"citation": "Maciejunes, Nannette V., and Norma J. Roberts. <em>A Nation's Legacy: 150 Years of American Art from Ohio Collections.</em> [Columbus, Ohio]: Columbus Museum of Art, 1992.", "page_number": "cat. no 10, color pl. p. 35", "url": null}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, Jeannine J Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, Ohio: Cleveland Museum of Art in association with New Haven; London: Yale University Press, 2008.", "page_number": "Reproduced: P. 266, fig. 104", "url": ""}, {"citation": "McIntyre, Robert G. <em>Martin Johnson Heade, 1819-1904</em>. New York, NY: Pantheon Press, 1948.", "page_number": "Mentioned: p. 34, 61", "url": null}, {"citation": "Stebbins, Theodore E. <em>The Life and Works of Martin Johnson Heade</em>. New Haven, CT: Yale University Press, 1975.", "page_number": "Reproduced: cat. 193", "url": null}, {"citation": "Foshay, Ella Milbank. \"Nineteenth Century American Flower Painting and the Botanical Sciences.\" Ph.D. dissertation, Columbia University, 1979.", "page_number": "Reproduced: p. 299, fig. 9-8; Mentioned: p. 469", "url": null}, {"citation": "Turner, Evan H. <em>Object Lessons: Cleveland Creates an Art Museum</em>. Cleveland, OH: Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Stebbins, Theodore E., Janet L. Comey, and Karen E. Quinn. <em>The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonne\u0301</em>. New Haven, CT: Yale University Press, 2000.", "page_number": "Reproduced: p. 257, cat. 221; p. 331, fig. 441", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 103", "url": null}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with Yale University Press, 2008.", "page_number": "Reproduced: p. 266, fig. 104", "url": null}, {"citation": "De Havenon, Georgia Riley, Christina De Leo\u0301n, Alicia Lubowski-Jahn, Gabriela Rangel, and Christopher Winks. <em>Unity of Nature: Alexander von Humboldt and the America</em>s. New York, NY: Americas Society, New York; Bielefeld, Germany: Kerber Verlag, 2014.", "page_number": "Reproduced: p. 139", "url": null}], "url": "https://clevelandart.org/art/1915.461", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.461/1915.461_web.jpg", "width": "720", "height": "893", "filesize": "510379", "filename": "1915.461_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.461/1915.461_print.jpg", "width": "2742", "height": "3400", "filesize": "6038129", "filename": "1915.461_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.461/1915.461_full.tif", "width": "3486", "height": "4322", "filesize": "45206608", "filename": "1915.461_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt0_web.jpg", "width": "717", "height": "893", "filesize": "495677"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt0_print.jpg", "width": "1536", "height": "1912", "filesize": "2364563"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt0_full.tif", "width": "1536", "height": "1912", "filesize": "8813740"}}, {"date_created": "2010-11-10T18:38:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt1_web.jpg", "width": "717", "height": "893", "filesize": "466075"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt1_print.jpg", "width": "2728", "height": "3400", "filesize": "7542101"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt1_full.tif", "width": "4458", "height": "5556", "filesize": "74333604"}}, {"date_created": "2010-11-10T18:45:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt2_web.jpg", "width": "722", "height": "893", "filesize": "500834"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt2_print.jpg", "width": "2748", "height": "3400", "filesize": "7899830"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.461/1915.461_alt2_full.tif", "width": "4644", "height": "5744", "filesize": "80054068"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173665, "creators": [{"id": 2813, "description": "Martin Johnson Heade (American, 1819\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1819", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Orchid in a Landscape"], "is_highlight": false, "updated_at": "2026-03-27 00:00:02.331000"}, {"id": 159836, "accession_number": "1997.148", "share_license_status": "CC0", "tombstone": "Tiger Family (\ud638\ub791\uc774 \uac00\uc871\ub3c4 [\u864e\u5bb6\u5716]), late 1800s. Korea, Joseon dynasty (1392\u20131910). Hanging scroll; ink and color on paper; image: 170 x 90.4 cm (66 15/16 x 35 9/16 in.); overall: 262.5 x 115.1 cm (103 3/8 x 45 5/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.148", "current_location": null, "title": "Tiger Family", "title_in_original_language": "\ud638\ub791\uc774 \uac00\uc871\ub3c4 [\u864e\u5bb6\u5716]", "creation_date": "late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "hanging scroll; ink and color on paper", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Image: 170 x 90.4 cm (66 15/16 x 35 9/16 in.); Overall: 262.5 x 115.1 cm (103 3/8 x 45 5/16 in.)", "dimensions": {"image": {"height": 1.7, "width": 0.904}, "overall": {"height": 2.625, "width": 1.151}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300680, "title": "Japanese and Korean Gallery Rotation", "description": "<i>Japanese and Korean Gallery Rotation</i>. The Cleveland Museum of Art (July 6, 2015-January 4, 2016).", "opening_date": "2015-07-06T04:00:00"}, {"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art, Cleveland, OH (June 13, 2013-January 28, 2014).", "opening_date": "2013-06-13T00:00:00"}]}, "provenance": [{"description": "(Kozo Yabumoto \u85ea\u672c\u516c\u4e09, Amagasaki, Hy\u014dgo Prefecture, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131997", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A great number of tigers used to have live in the Korean peninsula. An old Chinese proverb says: \u201cKorean people hunt tigers half of the year, and tigers hunt people other half of the year.\u201d", "description": "In deep mountains, a tigress, two cubs, and a leopard welcome the early morning sun. This is not merely a playful scene but a well calculated image with symbols of longevity (pine trees), prosperity (tigress and cubs), and good fortune (leopard). Traditionally, on New Year\u2019s Eve, the image of a fearsome-looking tiger was pasted on entrance doors to ward off evil spirits. Conventional Korean tiger paintings often include frolicking magpies, but here, the crimson sun is placed behind a majestic pine. Through the sunrise and the details of the felines\u2019 skin shines the artist\u2019s keen interest in creating a realistic atmosphere.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477445"], "internet_archive": ["https://archive.org/details/clevelandart-1997.148-tiger-family"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMajor African Sculpture, Recent Mark Tansey Painting, and Other Works of Art Enter CMA Collection,\u201d September 16, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4152"}, {"citation": "Cunningham, Michael R., \"Year of the Tiger\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 04, April 1998.", "page_number": "Mentioned and Reproduced: pp. 8\u20139", "url": "https://archive.org/details/CMAMM1998-04/page/8"}, {"citation": "Sung, Hou-mei. <em>Decoded Messages: The Symbolic Language of Chinese Animal Painting</em>. New Haven: Yale University Press, 2009.", "page_number": null, "url": null}, {"citation": "Yun, Jin-young. \"Study on the Types and Images of Tiger Paintings Dated to the Mid-and-Late Joseon Period [\uc870\uc120\uc911\u00b7\ud6c4\uae30 \u864e\u5716\uc758 \uc720\ud615\uacfc \ub3c4\uc0c1].\" <em>Jangseogak</em> (2012): 192\u2013234.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE02001999"}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 03, May/June 2013.", "page_number": "Mentioned and Reproduced: cover and p. 2", "url": "https://archive.org/details/CMAMM2013-03"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Tigers in East Asian Art</em> [\ub3d9 \uc544\uc2dc\uc544 \uc758 \ud638\ub791\uc774 \ubbf8\uc220 ]. Seoul: National Museum of Korea, 2018.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1997.148", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.148/1997.148_web.jpg", "width": "478", "height": "893", "filesize": "124125", "filename": "1997.148_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.148/1997.148_print.jpg", "width": "1820", "height": "3400", "filesize": "1625656", "filename": "1997.148_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.148/1997.148_full.tif", "width": "4223", "height": "7885", "filesize": "99918396", "filename": "1997.148_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt0_web.jpg", "width": "464", "height": "893", "filesize": "392117"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt0_print.jpg", "width": "1064", "height": "2048", "filesize": "2039773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt0_full.tif", "width": "1064", "height": "2048", "filesize": "6539740"}}, {"date_created": "2012-08-06T17:43:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt1_web.jpg", "width": "412", "height": "893", "filesize": "86372"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt1_print.jpg", "width": "1570", "height": "3400", "filesize": "1132010"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt1_full.tif", "width": "3545", "height": "7675", "filesize": "81646996"}}, {"date_created": "2012-08-06T18:10:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt2_web.jpg", "width": "1191", "height": "893", "filesize": "304937"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "2463975"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.148/1997.148_alt2_full.tif", "width": "8000", "height": "6000", "filesize": "144023120"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159836, "creators": [], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-09 19:34:58.285000"}, {"id": 171588, "accession_number": "2014.373", "share_license_status": "CC0", "tombstone": "The Life of Buckingham, c. 1855. Augustus Leopold Egg (British, 1816-c. 1863). Oil on board ; framed: 54.1 x 64.5 x 10.2 cm (21 5/16 x 25 3/8 x 4 in.); unframed: 30.5 x 40.5 cm (12 x 15 15/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2014.373", "current_location": "203B British Painting and Decorative Arts", "title": "The Life of Buckingham", "creation_date": "c. 1855", "creation_date_earliest": 1850, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["England, 19th century, Victorian"], "technique": "oil on board ", "support_materials": [], "department": "European Painting and Sculpture", "collection": "Paintings", "type": "Painting", "measurements": "Framed: 54.1 x 64.5 x 10.2 cm (21 5/16 x 25 3/8 x 4 in.); Unframed: 30.5 x 40.5 cm (12 x 15 15/16 in.)", "dimensions": {"framed": {"height": 0.541, "width": 0.645, "depth": 0.102}, "unframed": {"height": 0.305, "width": 0.405}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": []}, "provenance": [{"description": "by 1865 - 1876: James Dugdale (1813-1876), Wroxall Abbey, Warwick", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "1876 - \t1927: by descent to his son James Broughton Dugdale (1855-1927)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "1927: James Broughton Dugdale sale, Christie's, June 24, 1927, (lot 133 with 134)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "1927 -\t?: \"bt. Martin and Sampson, respectively The Toast of the King and The Death Chamber, both for total price of \u00a325 4s [Christie's notes say 24 gns to Harrison with lot 134; research ongoing]", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "?: with Anthony Hordern, Sydney, Australia [research ongoing]", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "? - 2014:hitherto undisclosed American private collection [research ongoing]", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "2014: bought in at Christie's London \"Victorian, Pre-Raphaelite & British Impressionist Art\" sale on June 17, 2014 (lot 13)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2014-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "<br>Augustus Leopold Egg\u2019s The Life of Buckingham depicts a fictional moment in the debauched, roguish life of George Villiers (1628\u20131687), 2nd Duke of Buckingham (seated at the center, wearing white). Although the scene is invented, <br>the merrymakers and courtesans depicted around the table (among them King Charles II, to Buckingham\u2019s right) were characters the duke would have personally known and were familiar to Victorian audiences who delighted in the <br>cautionary tale of excess.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482435"], "internet_archive": ["https://archive.org/details/clevelandart-2014.373-the-life-of-buckingh"]}, "citations": [{"citation": "\"Selected Pictures. In the Collection of James Dugdale, Esq., Wroxall Abbey, Warwickshire. 'The Life of Buckingham'.\" <em>The Art Journal [...] Illustrated Catalogue of the International Exhibition </em>4, no. 46 (October 1, 1865): 296.", "page_number": "Mentioned and reproduced: p. 296", "url": ""}, {"citation": "\"Minor Topics of the Month: Egg's Paintings of the 'Life and Death of Buckingham'. <em>The Art Journal [...] Illustrated Catalogue of the International Exhibition </em>5, no. 51 (March 1, 1866): 93-95.", "page_number": "Mentioned: p. 95", "url": ""}, {"citation": "Temple, A. G. <em>The Art of Painting in the Queen's Reign; Being a Glance at Some of the Painters and Paintings of the British School During the Last Sixty Years. </em>London, United Kingdom: Chapman and Hall, 1897.", "page_number": "Mentioned: p. 54-55", "url": null}, {"citation": "Faberman, Hilarie. <em>Augustus Leopold Egg, R.A. (1816-1863)</em>. Thesis PhD Cambridge, MA:Yale University, 1983, 1985.", "page_number": "Mentioned: p. 488-489", "url": null}, {"citation": "Korkow, Cory. \u201cAcquisition Highlights 2014: European Painting.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 16.", "page_number": "Reproduced and Mentioned: p. 16", "url": "https://archive.org/details/CMAMM2015-02"}], "url": "https://clevelandart.org/art/2014.373", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.373/2014.373_web.jpg", "width": "900", "height": "650", "filesize": "186087", "filename": "2014.373_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.373/2014.373_print.jpg", "width": "3400", "height": "2457", "filesize": "1851712", "filename": "2014.373_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.373/2014.373_full.tif", "width": "7402", "height": "5350", "filesize": "118834032", "filename": "2014.373_full.tif"}}, "alternate_images": [{"date_created": "2014-10-17T11:41:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.373/2014.373_alt0_web.jpg", "width": "900", "height": "673", "filesize": "154440"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.373/2014.373_alt0_print.jpg", "width": "3400", "height": "2541", "filesize": "1684637"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.373/2014.373_alt0_full.tif", "width": "7559", "height": "5649", "filesize": "128133680"}}, {"date_created": "2014-10-16T15:19:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.373/2014.373_alt1_web.jpg", "width": "900", "height": "765", "filesize": "271989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.373/2014.373_alt1_print.jpg", "width": "3400", "height": "2890", "filesize": "3073938"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.373/2014.373_alt1_full.tif", "width": "6450", "height": "5482", "filesize": "106111460"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 171588, "creators": [{"id": 63387, "description": "Augustus Leopold Egg (British, 1816-c. 1863)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1816", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-08-19T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "c. 1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:29.882000"}, {"id": 149421, "accession_number": "1978.73", "share_license_status": "CC0", "tombstone": "The Farm at the Entrance of the Wood, 1860\u201380. Rosa Bonheur (French, 1822\u20131899). Oil on fabric; unframed: 28.4 x 40.3 cm (11 3/16 x 15 7/8 in.). The Cleveland Museum of Art, Gift of Mrs. John B. Dempsey, 1978.73", "current_location": "220 19th Century European", "title": "The Farm at the Entrance of the Wood", "creation_date": "1860\u201380", "creation_date_earliest": 1860, "creation_date_latest": 1880, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 28.4 x 40.3 cm (11 3/16 x 15 7/8 in.)", "dimensions": {"unframed": {"height": 0.284, "width": 0.403}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Georges Petit Galerie, Paris, France,  May 30, 1900, Artist's estate sale (lot 884), sold to Homer H. Johnson)", "citations": [], "footnotes": null, "date": "1900", "sortorder": null}, {"description": "Homer H. Johnson, [1862-1960] Cleveland, OH, by descent to his daughter, Mrs. John B. Dempsey", "citations": [], "footnotes": null, "date": "1900-1960", "sortorder": 2}, {"description": "Mrs. John B. Dempsey [1902-2005] Cleveland, OH, given to the the Cleveland Museum of Art on 20 November 20,1978.", "citations": [], "footnotes": null, "date": "1960-1978", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1978-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bonheur's artistic work led her to pastures, fairs, and even slaughterhouses\u2014unlikely places for a proper 19th- century lady. Long dresses were too cumbersome for her rugged lifestyle; in order to wear trousers on the job she had to seek permission from the local government.", "description": "One of the most celebrated female artists of the 19th century, Bonheur established an international reputation by exhibiting at the Paris Salons. Empress Eug\u200b\u00e9\u200bnie, wife of Napoleon III, visited her studio to personally confer the Legion of Honor, making Bonheur the first woman to receive the award. This painting may have been inspired by the rustic houses in the vicinity of the Forest of Fontainebleau, where Bonheur lived for more than 40 years.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473635"], "internet_archive": ["https://archive.org/details/clevelandart-1978.73-the-farm-at-the-entr"]}, "citations": [{"citation": "Roger-Mile\u0300s, L. <em>Rosa Bonheur, sa vie--son \u0153uvre; ouvrage orne\u0301 de 22 gravures hors texte et de 54 gravures dans le texte</em>. Paris, France: Socie\u0301te\u0301 d'e\u0301dition artistique, 1900.", "page_number": null, "url": null}, {"citation": "Klumpke, Anna. <em>Rosa Bonheur; sa vie, son \u0153uvre</em>. Paris, France: E. Flammarion, 1909.", "page_number": null, "url": null}, {"citation": "Stanton, Theodore. <em>Reminiscences of Rosa Bonheur</em>. New York, NY: Hacker Art Books, 1976.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1978.\" <em>The Bulletin of The Cleveland Museum of Art LXVI</em>, no. 1 (January, 1979): 2-47.", "page_number": "Mentioned: p. 43, no. 30", "url": null}, {"citation": "Shriver, Rosalia. <em>Rosa Bonheur: With a Checklist of Works in American Collections</em>. Philadelphia, PA: Art Alliance Press, 1982.", "page_number": "Mentioned: p. 56; Reproduced: p. 71", "url": null}, {"citation": "Miquel, Pierre. <em>Le paysage franc\u0327ais au XIXe sie\u0300cle, 1840-1900: l'e\u0301cole de la nature</em>. E\u0301cole De La Nature. Maurs-la-Jolie, France: Editions de la Martinelle, 1985.", "page_number": null, "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. 15", "url": null}, {"citation": "Klumpke, Anna. <em>Rosa Bonheur: The Artist's (Auto)Biography</em>. Ann Arbor, MI: University of Michigan Press, 1997.", "page_number": null, "url": null}, {"citation": "Bonheur, Rosa. <em>Rosa Bonheur: All Nature's Children</em>. New York, NY: Dahesh Museum, 1998.", "page_number": null, "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Bonheur, Rosa. Rosa Bonheur. 2020.", "page_number": "Reproduced; p. 25", "url": ""}], "url": "https://clevelandart.org/art/1978.73", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.73/1978.73_web.jpg", "width": "1263", "height": "873", "filesize": "851884", "filename": "1978.73_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.73/1978.73_print.jpg", "width": "3400", "height": "2349", "filesize": "6241047", "filename": "1978.73_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.73/1978.73_full.tif", "width": "6000", "height": "4146", "filesize": "74660464", "filename": "1978.73_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. John B. Dempsey", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 149421, "creators": [{"id": 1557, "description": "Rosa Bonheur (French, 1822\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": "The eldest of four children, Rosa Bonheur received drawing lessons in the studio of her father, Raymond Bonheur (1796-1849). From early on she pre-ferred to draw animals and went to the Jardin des Plantes in Paris to study and draw them. She first exhibited at the Salon of 1841. The family moved to the suburbs where Bonheur had an even more easy access to animals, and she visited slaughterhouses in order to study their anatomy. Her Salon submissions became increasingly successful, but her first major breakthrough occurred with Plowing in the Nivernais (Salon 1849, Mus\u00e9e National du Ch\u00e2teau, Fontainebleau). Based on Sand's rustic novel La mare au Diable (1846), the work represents a heroic depiction of rural life that Bonheur had elevated to the standards of a history painting. Her international reputation was established with The Horse Fair (Metropolitan Museum of Art, New York), presented at the Salon of 1853. She celebrated her final triumph at the 1855 Salon with Haymaking in the Auvergne (R. W. Norton Art Gallery, Shreveport, La.), after which she increasingly withdrew from public life. She mostly worked on her many commissions and shared her life with Nathalie Micas. The couple traveled extensively, and in 1859 Bonheur bought the Ch\u00e2teau de By in Thomery near Fontainebleau, where they lived in relative solitude. Bonheur had also little contact with the nearby group of Barbizon painters. The widespread appreciation for her work did not diminish, however, and in 1865 Empress Eug\u00e9nie visited her studio in order to award her a knighthood in the Legion of Honor, making her the first woman to carry that title. Nathalie Micas died in 1889, to Bonheur's great distress, but she soon befriended the American painter Anna Klumpke (1856-1942), with whom she would eventually live and who became her biographer. Even though Bonheur was appreciated in France, her principal collectors were in England and the United States. According to Albert Wolff, she was \"one of the three most highly priced French painters in America . . . the other two [were] Jules Breton [q.v.] and Meissonier [q.v.]\"1 Bonheur was one of the foremost animaliers, or animal painters, of her time and was also active as a sculptor. Her painting style changed little throughout her career, and her work found little esteem with more pro-gressive artists and critics. However, her unorthodox life as an independent and successful woman in a male-dominated society has recently generated great interest, especially among feminist art historians.\r\n1. Le Figaro (11 July 1890), 1.", "name_in_original_language": null, "birth_year": "1822", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "1860\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:13.040000"}, {"id": 146107, "accession_number": "1971.294", "share_license_status": "CC0", "tombstone": "Face Mask (Tehe gla), early 1900s. Africa, West Africa, C\u00f4te d'Ivoire or Liberia, W\u00e8-style carver. Wood, boar tusks, pelt, cloth, human hair, probably aluminum, reeds, iron alloy, copper alloy, plant fiber, and paint; overall: 38.1 cm (15 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.294", "current_location": "108A African", "title": "Face Mask (Tehe gla)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire or Liberia, W\u00e8-style carver"], "technique": "Wood, boar tusks, pelt, cloth, human hair, probably aluminum, reeds, iron alloy, copper alloy, plant fiber, and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 38.1 cm (15 in.)", "dimensions": {"overall": {"height": 0.381}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 60, repr.; also to University Museum, Philadelphia.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 37", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Harry Franklin, Los Angeles", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Katherine White Reswick", "citations": [], "footnotes": null, "date": "?\u20131971", "sortorder": null}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1971\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["830.68"], "did_you_know": "The masquerader who wore this mask also had a body costume of layers of raffia and matching anklets; cloth covered their head.", "description": "Tubular eyes and the fringe of carved leopard canine teeth identify this mask as male. Such masks appeared only during very important moments. The dancer wore a leopard skin over his head and shoulders, held an elephant's tusk in his hand, and had his face painted white. The masks function as peacemakers; they led soldiers into battle, and administered justice.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1971.294-face-mask"]}, "citations": [{"citation": "Boyer, Alain-Michel. We. Milano: 5 Continents Editions, 2020.", "page_number": "p. 28, ill. pl. 10 and p. 109", "url": ""}, {"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection</em>. [Cleveland]: Cleveland Museum of Art, 1968.", "page_number": "Mentioned and reproduced: no. 60", "url": ""}, {"citation": "\u201cNew Acquisitions.\u201d <em>African Arts</em> 5, no. 4 (Summer 1972): 77\u201378.", "page_number": "Reproduced: P. 78", "url": "http://www.jstor.org/stable/3334598"}, {"citation": "Cleveland Museum of Art, and Henry John Drewal. <em>African Art: A Brief Guide to the Collection: the Cleveland Museum of A</em>rt. [Cleveland]: The Museum, 1989.", "page_number": "Mentioned and reproduced: P. 6, fig. 8", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: Selected Works of African Art.</em> [Cleveland]: Cleveland Museum of Art, 2003.", "page_number": "Mentioned and reproduced: P. 58-59, no. 14", "url": ""}], "url": "https://clevelandart.org/art/1971.294", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.294/1971.294_web.jpg", "width": "712", "height": "893", "filesize": "415737", "filename": "1971.294_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.294/1971.294_print.jpg", "width": "2326", "height": "3000", "filesize": "4239604", "filename": "1971.294_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.294/1971.294_full.tif", "width": "2326", "height": "3000", "filesize": "20946800", "filename": "1971.294_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.294/1971.294_alt0_web.jpg", "width": "692", "height": "893", "filesize": "392345"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.294/1971.294_alt0_print.jpg", "width": "2326", "height": "3000", "filesize": "4239604"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.294/1971.294_alt0_full.tif", "width": "2326", "height": "3000", "filesize": "20946800"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.294/1971.294_alt1_web.jpg", "width": "706", "height": "893", "filesize": "390593"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.294/1971.294_alt1_print.jpg", "width": "2687", "height": "3400", "filesize": "4864272"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.294/1971.294_alt1_full.tif", "width": "2700", "height": "3416", "filesize": "27688864"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146107, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mask (gela)"], "is_highlight": false, "updated_at": "2026-03-27 00:06:44.162000"}, {"id": 147854, "accession_number": "1974.212", "share_license_status": "CC0", "tombstone": "Figure (Nkishi), late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo, Luba-style maker. Wood, organic materials (including resin and soil), plant fiber, and glass beads; overall: 22.4 x 10.7 x 12.4 cm (8 13/16 x 4 3/16 x 4 7/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Alvin N. Haas, 1974.212", "current_location": "108A African", "title": "Figure (Nkishi)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1820, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luba-style maker"], "technique": "Wood, organic materials (including resin and soil), plant fiber, and glass beads", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 22.4 x 10.7 x 12.4 cm (8 13/16 x 4 3/16 x 4 7/8 in.)", "dimensions": {"overall": {"height": 0.224, "width": 0.107, "depth": 0.124}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 229166, "title": "Art and Power in the Central African Savanna", "description": "<i>Art and Power in the Central African Savanna</i>. Menil Collection, Houston, TX (September 26, 2008-January 4, 2009); The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 31, 2009).", "opening_date": "2008-09-18T00:00:00"}], "legacy": []}, "provenance": [{"description": "Loed van Bussel (1936\u20132018) and Mia van Bussel, The Hague, the Netherlands", "citations": [], "footnotes": ["<div><!--block-->Original object card, CMA curatorial files; \"Census of Cleveland Private Collections,\" notes purchase by Haas from van Bussel, December 4, 1973</div>"], "date": "?\u20131973", "sortorder": null}, {"description": "Mr. and Mrs. Alvin N. Haas (Alvin, 1918\u20131996, Barbara, ?\u20132017), Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1973\u20131974", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1974\u2013", "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Unlike most Luba arts, this figure is not connected to the royal court.", "description": "The substances contained in its cloth-covered cranial cavity indicate that this half-figure belongs to the broad category of charms or \u201cpower objects\u201d that the Luba call <em>mankishi</em>. It was used by a ritual expert and functioned in a variety of rituals dealing with healing, protection, divination, or jurisdiction. Often such power figures were carved by the ritual experts rather than by professional artists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762684"], "internet_archive": ["https://archive.org/details/clevelandart-1974.212-figure-nkishi"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1974.\" <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 3 (1975): 62-102.", "page_number": "p. 97, cat. no. 16, repr. p. 96", "url": "http://www.jstor.org/stable/25152580"}, {"citation": "Petridis, Constantin. Art et Pouvoir dans la Savane d'Afrique Centrale (Bruxelles: Fonds Mercator, 2008), p. 50, fig. 29.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>1974 Year in Review</em>. Bulletin of the Cleveland Museum of Art 62, no. 3, cat. 16.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 33, p. 96 - 97", "url": ""}, {"citation": "Petridis, Constantine. \"Art and Power.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 49, no. 2 (February 2009): 3-4.", "page_number": "Mentioned and reproduced: p. 4", "url": "https://archive.org/details/CMAMM2009-02/page/4/mode/2up"}], "url": "https://clevelandart.org/art/1974.212", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.212/1974.212_web.jpg", "width": "608", "height": "900", "filesize": "136233", "filename": "1974.212_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.212/1974.212_print.jpg", "width": "2295", "height": "3400", "filesize": "1283364", "filename": "1974.212_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.212/1974.212_full.tif", "width": "3831", "height": "5676", "filesize": "65266956", "filename": "1974.212_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt0_web.jpg", "width": "603", "height": "893", "filesize": "304048"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt0_print.jpg", "width": "2491", "height": "3400", "filesize": "4510501"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt0_full.tif", "width": "3663", "height": "5000", "filesize": "54960760"}}, {"date_created": "2009-11-02T15:35:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt1_web.jpg", "width": "619", "height": "893", "filesize": "313081"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt1_print.jpg", "width": "2355", "height": "3400", "filesize": "4510301"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt1_full.tif", "width": "3889", "height": "5614", "filesize": "65531392"}}, {"date_created": "2009-11-02T15:38:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt2_web.jpg", "width": "581", "height": "893", "filesize": "314457"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt2_print.jpg", "width": "2212", "height": "3400", "filesize": "4434608"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt2_full.tif", "width": "3622", "height": "5568", "filesize": "60534768"}}, {"date_created": "2009-11-02T15:40:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt3_web.jpg", "width": "587", "height": "893", "filesize": "291432"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt3_print.jpg", "width": "2235", "height": "3400", "filesize": "4125437"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1974.212/1974.212_alt3_full.tif", "width": "3786", "height": "5760", "filesize": "65454748"}}], "creditline": "Gift of Mr. and Mrs. Alvin N. Haas", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147854, "creators": [], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Female Half Figure"], "is_highlight": false, "updated_at": "2026-03-27 00:08:28.659000"}, {"id": 129226, "accession_number": "1952.118", "share_license_status": "CC0", "tombstone": "Pendant: Face in Crescent, 1900s. Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith. Gold; overall: 7 x 7.4 cm (2 3/4 x 2 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1952.118", "current_location": "108C African Jewelry and Metalwork", "title": "Pendant: Face in Crescent", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 7 x 7.4 cm (2 3/4 x 2 15/16 in.)", "dimensions": {"overall": {"height": 0.07, "width": 0.074}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 205336, "title": "Baule:  African Art/Western Eyes", "description": "<i>Baule:  African Art/Western Eyes</i>. Yale University Art Gallery (organizer) (August 30, 1997-January 4, 1998); The Art Institute of Chicago (February 14-May 10, 1998).", "opening_date": "1997-08-30T00:00:00"}, {"id": 221090, "title": "Baule:  African Art/Western Eyes", "description": "<i>Baule:  African Art/Western Eyes</i>. Museum for African Art, NY (September 11, 1998-January 3, 1999); National Museum of African Art, Washington, DC (February 9-May 16, 1999).", "opening_date": "1998-09-11T00:00:00"}], "legacy": [{"description": "New Haven, CT: Yale University Art Gallery, 8/30/97 - 1/4/98. Art Institute of Chicago, 2/14/98 - 5/19/98. NY: The Museum for African Art, 9/11/98 - 1/3/99. Washington, DC: National Museum for African Art, 2/9/99 - 5/16/99, Baule: African Art: Western Eyes. color repr. p. 201.", "opening_date": "1997-08-30T00:00:00"}]}, "provenance": [{"description": "Ren\u00e9 Rasmussen, Paris, France", "citations": [], "footnotes": null, "date": "1951    ", "sortorder": null}, {"description": "Nasli Heeramaneck, New York", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although the surface of this pendant was likely enriched (worked to enhance the surface level of gold) at the time of manufacture, the dark spots on the face show us where this enriched layer has worn away.", "description": "This pendant was cast in gold using the lost-wax method. Gold objects are the only Baule art forms associated with ancestor spirits. Usually hidden in pots or suitcases, gold adornments are displayed on important occasions such as funerals. They are laid out around the corpse before burial. A widow will wear them on a chain around her neck or attached to her hair at the ceremony signaling the end of mourning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760407"], "internet_archive": ["https://archive.org/details/clevelandart-1952.118-pendant-face-in-cres"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 390", "url": "https://archive.org/details/CMAHandbook1958/page/n72"}, {"citation": "Vogel, Susan Mullin. <em>Baule: African Art, Western Eyes</em>. New Haven, Conn: Yale University Press, 1997.", "page_number": "Mentioned: p. 299; Reproduced: p. 201", "url": null}], "url": "https://clevelandart.org/art/1952.118", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.118/1952.118_web.jpg", "width": "907", "height": "893", "filesize": "476569", "filename": "1952.118_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.118/1952.118_print.jpg", "width": "3400", "height": "3348", "filesize": "1632332", "filename": "1952.118_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.118/1952.118_full.tif", "width": "3536", "height": "3482", "filesize": "36958776", "filename": "1952.118_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129226, "creators": [], "legal_status": "accessioned", "accession_date": "1952-04-28T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:46.905000"}, {"id": 142728, "accession_number": "1966.438", "share_license_status": "CC0", "tombstone": "Flower Study of a Pansy, c. 1885\u20131915. House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, jade, enamel, rock crystal; overall: 11.8 x 4.8 cm (4 5/8 x 1 7/8 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.438", "current_location": "211 Faberg\u00e9", "title": "Flower Study of a Pansy", "creation_date": "c. 1885\u20131915", "creation_date_earliest": 1885, "creation_date_latest": 1915, "artists_tags": ["gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, jade, enamel, rock crystal", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 11.8 x 4.8 cm (4 5/8 x 1 7/8 in.)", "dimensions": {"overall": {"height": 0.118, "width": 0.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The stems of Faberg\u00e9\u2019s flower studies are set into little basins carved from rock crystal to resemble pots of water.", "description": "This flower study depicts a pansy in bloom. Faberg\u00e9\u2019s inspiration for his flower studies is said to have come from the floral brooches of precious stones that were made in the 1700s for Catherine the Great as well as from the Japanese art of flower arranging, known as ikebana. Small and delicate, Faberg\u00e9\u2019s flower studies were given as intimate gifts to friends by the tsarina and others in the court. She also liked to take them around to wherever the imperial family was residing as a reminder of spring during the harsh Russian winters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60748499"], "internet_archive": ["https://archive.org/details/clevelandart-1966.438-flower-study-of-a-pa"]}, "citations": [{"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Mentioned and reproduced: pp. 180-181, cat. 81.", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}, {"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 112-113, cat. 53.", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}], "url": "https://clevelandart.org/art/1966.438", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.438/1966.438_web.jpg", "width": "805", "height": "900", "filesize": "168123", "filename": "1966.438_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.438/1966.438_print.jpg", "width": "3041", "height": "3400", 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Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\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": "2026-03-27 00:10:14.925000"}, {"id": 146930, "accession_number": "1972.331", "share_license_status": "CC0", "tombstone": "Face Mask, possibly early 1900s. Africa, West Africa, C\u00f4te d'Ivoire or Liberia, Dan-style maker. Wood, metal, leather, and organic materials; overall: 22.9 cm (9 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.331", "current_location": "108A African", "title": "Face Mask", "creation_date": "possibly early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire or Liberia, Dan-style maker"], "technique": "Wood, metal, leather, and organic materials", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 22.9 cm (9 in.)", "dimensions": {"overall": {"height": 0.229}}, "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"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 55, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 107, no. 37", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Katherine White Reswick", "citations": [], "footnotes": null, "date": "?\u20131972", "sortorder": null}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1972\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["682.68"], "did_you_know": "The eyes of this mask were altered from slits to circles; the original shape is most visible on the right eye.", "description": "A Dan face mask's use and the costume that accompanied it are important elements that contribute to the name it receives. While we don't know those details, we can say it originally had an elaborate fiber hairstyle attached through the holes around the edge. Based on its appearance and other similar examples, this face mask with a high forehead in northern Dan style may have been called either <em>sagbwe</em> or <em>gunyege</em>. As a \"runner mask,\" it was engaged in running competitions once organized every Sunday during the dry season. As a \"fire-watcher,\" its main task was to protect the village from fire when the dangerous desert wind called Harmattan blew during the dry season.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1972.331-face-mask"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, no. 55.", "page_number": "", "url": ""}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: pp. 100-101, no. 4.12", "url": ""}], "url": "https://clevelandart.org/art/1972.331", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.331/1972.331_web.jpg", "width": "707", "height": "893", "filesize": "349107", "filename": "1972.331_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.331/1972.331_print.jpg", "width": "2692", "height": "3400", "filesize": "5272880", "filename": "1972.331_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.331/1972.331_full.tif", "width": "4069", "height": "5139", "filesize": "62764652", "filename": "1972.331_full.tif"}}, "alternate_images": [{"date_created": "2009-07-21T17:23:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.331/1972.331_alt0_web.jpg", "width": "640", "height": "893", "filesize": "371653"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.331/1972.331_alt0_print.jpg", "width": "2437", "height": "3400", "filesize": "5235415"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.331/1972.331_alt0_full.tif", "width": "3944", "height": "5503", "filesize": "65145572"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146930, "creators": [], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Face Mask (Sagbwe or Gunyege)", "Racing Mask (gunyega) or Fire-Fighter Mask (zakpai ga)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:54.051000"}, {"id": 149359, "accession_number": "1978.22", "share_license_status": "CC0", "tombstone": "Sir H. C. Englefield, Bart., 1818. Francis Legatt Chantrey (British, 1781\u20131841). Marble; overall: 55.3 x 35.1 x 26.7 cm (21 3/4 x 13 13/16 x 10 1/2 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1978.22", "current_location": "203B British Painting and Decorative Arts", "title": "Sir H. C. Englefield, Bart.", "creation_date": "1818", "creation_date_earliest": 1818, "creation_date_latest": 1818, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 55.3 x 35.1 x 26.7 cm (21 3/4 x 13 13/16 x 10 1/2 in.)", "dimensions": {"overall": {"height": 0.553, "width": 0.351, "depth": 0.267}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed left side: Chantrey/Sculptor/1818; rear:  Sir H. C. Englefield, Bart.", "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": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "Royal Academy, London, United Kingdom (1818).", "opening_date": null}]}, "provenance": [{"description": "(Michael Hall Fine Arts,  New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1978", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1978-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Initially, Chantrey tried to establish himself as a portrait painter. After 1805, he painted only on occasion and from 1811\u201320, he became the leading portrait sculptor in Regency Era Great Britain.", "description": "To modern eyes, a bare-chested portrait of a man in his mid-60s might seem undignified. However, it was fashionable for gentlemen of Englefield\u2019s generation to be portrayed in this manner, deliberately referencing the antique sculptures of Roman statesmen they admired. As a Catholic, Englefield was barred from taking part in politics in England; however, he was a member of several clubs devoted to the amateur study of art, science, and history. Among these were the Society of Dilettanti, which championed the works of antiquity and promoted the creation of modern art in the same spirit\u2014like this marble bust by celebrated sculptor Francis Legatt Chantrey.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930471"], "internet_archive": ["https://archive.org/details/clevelandart-1978.22-sir-h-c-englefield-b"]}, "citations": [{"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": "Mentioned: p. 42, no. 9; Reproduced: p. 18", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Boyd, Bentley. \u201cLaser Treatment: A new cleaning tool in the conservation laboratories applies technology originally developed for tattoo removal and cosmetic skin treatments.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>60, no. 1 (January/February 2020): 12-13.", 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"width": "3400", "height": "2405", "filesize": "7026054"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.22/1978.22_alt11_full.tif", "width": "6265", "height": "4432", "filesize": "83329308"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 149359, "creators": [{"id": 9038, "description": "Francis Legatt Chantrey (British, 1781\u20131841)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1781", "death_year": "1841", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-05-08T00:00:00", "sortable_date": 1818, "date_added_to_oa": null, "date_text": "1818", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:52.096000"}, {"id": 155819, "accession_number": "1991.133", "share_license_status": "CC0", "tombstone": "Portrait of Hugh Hope, c. 1810. Henry Raeburn (Scottish, 1756\u20131823). Oil on canvas; framed: 94.5 x 82 x 8 cm (37 3/16 x 32 5/16 x 3 1/8 in.); unframed: 75 x 61 cm (29 1/2 x 24 in.). The Cleveland Museum of Art, Gift in honor of Jane Taft Ingalls on the occasion of the Museum's Seventy-fifth Anniversary, 1991.133", "current_location": "203B British Painting and Decorative Arts", "title": "Portrait of Hugh Hope", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["Scotland"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 94.5 x 82 x 8 cm (37 3/16 x 32 5/16 x 3 1/8 in.); Unframed: 75 x 61 cm (29 1/2 x 24 in.)", "dimensions": {"framed": {"height": 0.945, "width": 0.82, "depth": 0.08}, "unframed": {"height": 0.75, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "<em>English Decorative Arts</em>. The Cleveland Museum of Art, Cleveland, OH (1980).", "opening_date": "1980-01-01T00:00:00"}]}, "provenance": [{"description": "the sitter (1782-1822)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "by inheritance to Sir Alexander Hope, Pinkie House, Scotland (sale: Sotheby's, London, 16 May, 1928, Lot B)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "I. D. Levy (1930)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Knoedler)", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Jane Taft Ingalls [1874-1962], Cleveland, OH", "citations": [], "footnotes": [], "date": "1945", "sortorder": null}, {"description": "David S. Ingalls, Sr. [1899-1985], Cleveland, OH", "citations": [], "footnotes": [], "date": "1945-1985", "sortorder": null}, {"description": "Francis W. Ingalls", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1991-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1742.1945", "2051.1947", "945.1980"], "did_you_know": "Sir Henry Raeburn was the portrait painter for King George IV of Scotland.", "description": "Henry Raeburn created this likeness of fellow Edinburgh native Hugh Hope before Hope departed for India, where he worked as a civil servant for the renowned East India Company (a British joint-stock company founded in 1600 to trade in the Indian Ocean). This painting hung in the drawing room of Hope\u2019s estate, Pinkie House in Scotland, until 1928. Although greatly influenced by his English predecessor Joshua Reynolds, Raeburn worked in a looser style, more like the work of his younger contemporary Thomas Lawrence. This portrait is painted directly on the canvas without any preliminary drawing, giving it an informal, spontaneous air.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476601"], "internet_archive": ["https://archive.org/details/clevelandart-1991.133-portrait-of-hugh-hop"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1992.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (1993): 38-79.", "page_number": "Reproduced: p. 58; Mentioned: p. 66", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "Herries, Amanda. <em>Henry Raeburn: The Mirror of Scotland</em>. Kirkcudbright, Scotland: Kirkcudbright 2000 Ltd., 2024.", "page_number": "Reproduced: p. 2", "url": ""}], "url": "https://clevelandart.org/art/1991.133", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.133/1991.133_web.jpg", "width": "765", "height": "900", "filesize": "", "filename": "1991.133_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.133/1991.133_print.jpg", "width": "2889", "height": "3400", "filesize": "", "filename": "1991.133_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.133/1991.133_full.tif", "width": "8388", "height": "9870", "filesize": "", "filename": "1991.133_full.tif"}}, "alternate_images": [{"date_created": "2007-02-08T16:27:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.133/1991.133_alt0_web.jpg", "width": "745", "height": "893", "filesize": "304394"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.133/1991.133_alt0_print.jpg", "width": "2838", "height": "3400", "filesize": "4852673"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.133/1991.133_alt0_full.tif", "width": "4173", "height": "5000", "filesize": "62624784"}}], "creditline": "Gift in honor of Jane Taft Ingalls on the occasion of the Museum's Seventy-fifth Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 155819, "creators": [{"id": 2611, "description": "Henry Raeburn (Scottish, 1756\u20131823)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1756", "death_year": "1823", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:12.583000"}, {"id": 163456, "accession_number": "2004.35", "share_license_status": "CC0", "tombstone": "Harbor of Boston, with the City in the Distance, c. 1846\u20131847. Fitz Henry Lane (American, 1804\u20131865). Oil on canvas; framed: 66 x 104.8 x 14 cm (26 x 41 1/4 x 5 1/2 in.); unframed: 43.2 x 68.6 cm (17 x 27 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund and partial gift of Travers Newton, Joanna Newton Riccardi and Georgia Newton Pulos, 2004.35", "current_location": "206 American Landscape", "title": "Harbor of Boston, with the City in the Distance", "creation_date": "c. 1846\u20131847", "creation_date_earliest": 1846, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 66 x 104.8 x 14 cm (26 x 41 1/4 x 5 1/2 in.); Unframed: 43.2 x 68.6 cm (17 x 27 in.)", "dimensions": {"framed": {"height": 0.66, "width": 1.048, "depth": 0.14}, "unframed": {"height": 0.432, "width": 0.686}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Albany Gallery of Fine Arts Catalogue of Second Exhibition. </em>Albany, NY (1847). cat. no. 136.", "opening_date": "1847-01-01T04:56:02Z"}, {"description": "<em>Painting and Sculpture Exhibited at Palmer's Studio in Aid of the United States Sanitary Commission.</em> Albany, NY (February 22, 1864) cat. no. 2.", "opening_date": "1864-02-22T04:56:02Z"}, {"description": "<em>Santa Barbara Collects; Part One: European and American Art. </em>Santa Barbara Museum of Art, CA<em> </em>(January 26--March 24, 1985) illus; listed p. 30; cat. not numbered.", "opening_date": "1985-01-26T00:00:00"}]}, "provenance": [{"description": "Dr. James H. Armsby, Albany, NY, acquired 1847; Joanna Perry Armsby March, sister of Dr. J.H. Armsby, Albany, NY; Joanna Armsby March Boyd, daughter of Joanna March, Albany, NY; Alden March Boyd, son of Joanna Armsby March Boyd, Santa Barbara, CA; Joanna March Boyd Bard, daugher of Alden March, Santa Barbara, CA; Henry Travers Newton, Jr, Joanna Newton Riccardi, and Georgia Newton Pulos, grandchildren of J.M.B. Bard, Santa Barbara, CA", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["5.2003"], "did_you_know": "For a long time, art historians mistakenly thought the artist\u2019s middle name was Hugh.", "description": "In this late afternoon view of Boston Harbor, Lane masterfully evoked the diffuse quality of sunlight reflecting off water. The artist was a son of a shipbuilder, so perhaps it is not surprising that his renderings of ships and their intricate riggings are painstakingly accurate. On the far left side of the painting, evolving technology appears in the guise of a steamboat, which ferried passengers between Boston and Gloucester.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480259"], "internet_archive": ["https://archive.org/details/clevelandart-2004.35-harbor-of-boston-wit"]}, "citations": [{"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-17.", "page_number": "Mentioned and reproduced: p. 14", "url": "https://archive.org/details/CMAMM2005-06/page/14/mode/2up"}, {"citation": "Adams, Henry. <em>What's American about American art?: a gallery tour in the Cleveland Museum of Art. </em>Cleveland: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 58 - 59", "url": ""}], "url": "https://clevelandart.org/art/2004.35", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.35/2004.35_web.jpg", "width": "900", "height": "555", "filesize": "207725", "filename": "2004.35_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.35/2004.35_print.jpg", "width": "3400", "height": "2097", "filesize": "2130372", "filename": "2004.35_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.35/2004.35_full.tif", "width": "13155", "height": "8115", "filesize": "320286228", "filename": "2004.35_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt0_web.jpg", "width": "1263", "height": "780", "filesize": "673896"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt0_print.jpg", "width": "3400", "height": "2101", "filesize": "4965191"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt0_full.tif", "width": "5000", "height": "3090", "filesize": "46371420"}}, {"date_created": "2008-08-13T15:32:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt1_web.jpg", "width": "1242", "height": "893", "filesize": "876599"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt1_print.jpg", "width": "3400", "height": "2444", "filesize": "6522702"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt1_full.tif", "width": "4412", "height": "3172", "filesize": "42025220"}}, {"date_created": "2023-05-01T11:04:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt2_web.jpg", "width": "900", "height": "683", "filesize": "296123"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt2_print.jpg", "width": "3400", "height": "2580", "filesize": "2812746"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.35/2004.35_alt2_full.tif", "width": "11147", "height": "8459", "filesize": "282907120"}}], "creditline": "Leonard C. Hanna Jr. Fund and partial gift of Travers Newton, Joanna Newton Riccardi and Georgia Newton Pulos", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Baker & Hostetler LLP Gallery", "athena_id": 163456, "creators": [{"id": 31109, "description": "Fitz Henry Lane (American, 1804\u20131865)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1804", "death_year": "1865", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-06-07T00:00:00", "sortable_date": 1846, "date_added_to_oa": null, "date_text": "c. 1846\u20131847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Boston Harbor"], "is_highlight": false, "updated_at": "2026-03-27 00:05:59.017000"}, {"id": 142356, "accession_number": "1966.177", "share_license_status": "CC0", "tombstone": "Est\u00e9rel Village, c. 1890. Edgar Degas (French, 1834\u20131917). Color monotype; sheet: 29.9 x 39.9 cm (11 3/4 x 15 11/16 in.); image: 29.9 x 39.9 cm (11 3/4 x 15 11/16 in.). The Cleveland Museum of Art, Fiftieth anniversary gift of The Print Club of Cleveland, 1966.177", "current_location": null, "title": "Est\u00e9rel Village", "creation_date": "c. 1890", "creation_date_earliest": 1885, "creation_date_latest": 1895, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color monotype", "support_materials": [{"description": "beige (2) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Sheet: 29.9 x 39.9 cm (11 3/4 x 15 11/16 in.); Image: 29.9 x 39.9 cm (11 3/4 x 15 11/16 in.)", "dimensions": {"sheet": {"height": 0.299, "width": 0.399}, "image": {"height": 0.299, "width": 0.399}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": 304540, "title": "Monotypes", "description": "<i>Monotypes</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-July 5, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 216817, "title": "Edgar Degas: The Last Landscapes", "description": "<i>Edgar Degas: The Last Landscapes</i>. Columbus Museum of Art, Columbus, OH (organizer) (October 13, 2006-January 21, 2007).", "opening_date": "2006-10-13T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 174875, "title": "Edgar Degas: A Strange New Beauty", "description": "<i>Edgar Degas: A Strange New Beauty</i>. The Museum of Modern Art, New York, NY (organizer) (March 22-July 24, 2016).", "opening_date": "2016-03-22T00:00:00"}, {"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": [{"description": "<em>Degas Landscapes</em>. Metropolitan Museum of Art, New York, NY (January 21 - April 3, 1994); Museum of Fine Arts, Houston (April 24 - July 3, 1994).", "opening_date": "1994-01-21T00:00:00"}]}, "provenance": [{"description": "Ren\u00e9 de Gas", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "Maurice de Gas", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "Maurice Exteens", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "Valentine Abdy, Paris", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 4}, {"description": "(Eugene V. Thaw, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edgar Degas made a total of about 60 similarly abstract landscapes using monotype around the time he made this print.", "description": "This landscape is one of many monotypes that Edgar Degas produced throughout his career. The work belongs to a series Degas made while visiting a friend in the French countryside. Its blurriness resembles the view he saw out the window of trains and carriages during his travels. To translate the effects of weather and the natural terrain, he created layers of color and texture that border on abstraction in the final composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757671"], "internet_archive": ["https://archive.org/details/clevelandart-1966.177-esterel-village"]}, "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. 173", "url": "https://archive.org/details/CMAHandbook1966/page/n197"}, {"citation": "Lee, Sherman E. \u201cGolden Anniversary Acquisitions: September 10 through October 16.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 7 (September 1966): 181\u2013284.", "page_number": "Mentioned and reproduced: n.p.", "url": "http://www.jstor.org/stable/25152110"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 173", "url": "https://archive.org/details/CMAHandbook1969/page/n197"}, {"citation": "Lockhart, Anne I. \u201cThree Monotypes by Edgar Degas.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 9 (November 1977): 299\u2013306.", "page_number": "Mentioned and reproduced: p. 305-306, fig. 5", "url": "http://www.jstor.org/stable/25159549"}, {"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. 214", "url": "https://archive.org/details/CMAHandbook1978/page/n234"}, {"citation": "Kendall, Richard. <em>Degas Landscapes</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1993.", "page_number": "Mentioned: 157-58, 306, no. 45; Reproduced: p. 161", "url": ""}, {"citation": "Glaubinger, Jane. \"Inventive Impressions.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 41, no.6 (Summer 2001): 8-9.", "page_number": "Mentioned and reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2001-06/page/n5/mode/2up"}, {"citation": "Dumas, Ann. \"Degas, the Secret Landscapist.\" In Ann Dumas, Richard Kendall, et al. <em>Edgar Degas: The Last Landscapes, </em>9-31. Exh. Cat. Columbus: Columbus Museum of Art, 2006.", "page_number": "Mentioned and reproduced: p. 23", "url": ""}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 356", "url": ""}, {"citation": "Beyer, Jonas. \"Movement and Landscape.\" In <em>Degas: A Strange New Beauty. </em>Jodi Hauptman, 176-201. New York: Museum of Modern Art, 2016.", "page_number": "Reproduced: p. 200,  fig. 150", "url": null}, {"citation": "Munro, Jane. \"Nature and Landscape.\" In <em>Degas: A Passion for Perfection</em>. Jane Munro, Richard Kendall, Timothy J. Standring, Jill DeVonyar, Victoria Avery, Jo Dillon, and Anna Gruetzner, 116-135. New Haven: Yale University Press, 2017.", "page_number": "Mentioned and Reproduced: p. 133, fig. 143", "url": null}], "catalogue_raisonne": "Janis 276", "url": "https://clevelandart.org/art/1966.177", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.177/1966.177_web.jpg", "width": "900", "height": "677", "filesize": "263825", "filename": "1966.177_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.177/1966.177_print.jpg", "width": "3400", "height": "2559", "filesize": "3646298", "filename": "1966.177_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.177/1966.177_full.tif", "width": "7548", "height": "5680", "filesize": "128648972", "filename": "1966.177_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.177/1966.177_alt0_web.jpg", "width": "1195", "height": "893", "filesize": "1027117"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.177/1966.177_alt0_print.jpg", "width": "2048", "height": "1530", "filesize": "3198910"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.177/1966.177_alt0_full.tif", "width": "2048", "height": "1530", "filesize": "9403564"}}], "creditline": "Fiftieth anniversary gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142356, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-26 23:59:22.438000"}, {"id": 84370, "accession_number": "2020.114", "share_license_status": "CC0", "tombstone": "The Bistro, c. 1895. F\u00e9lix Vallotton (Swiss French, 1865\u20131925). Oil on canvas; unframed: 22.2 x 27 cm (8 3/4 x 10 5/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.114", "current_location": null, "title": "The Bistro", "creation_date": "c. 1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": ["Nabis", "male"], "culture": ["France"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 22.2 x 27 cm (8 3/4 x 10 5/8 in.)", "dimensions": {"unframed": {"height": 0.222, "width": 0.27}, "framed": {"height": 0.348, "width": 0.403, "depth": 0.054}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature lower left: F. VALLOTTON", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Felix Vallotton 1865-1925</em>. Kunsthaus, Zurich, Switzerland (1928).", "opening_date": "1928-01-01T00:00:00"}, {"description": "<em>Ausstellung F\u00e9lix Vallotton.</em> Kunsthalle Basel (January 23\u2013February 24, 1957); Kunstverein f\u00fcr die Rheinlande und Westfalen, D\u00fcsseldorf (March 8 \u2013 April 3, 1957) cat. no. 17 (only exhibited in Basel)", "opening_date": "1957-02-24T00:00:00"}, {"description": "<em>Felix Vallotton</em>. Kunsthaus, Zurich, Switzerland (1965).", "opening_date": "1965-01-01T00:00:00"}, {"description": "<em>De Vallotton a Desnos</em>. Musee Jenisch, Vevey, Switzerland (July 24\u2013October 3, 1965).", "opening_date": "1965-10-03T00:00:00"}, {"description": "<em>Felix Vallotton</em>. Musee national d' Art modern, Paris, France (October 15-November 20, 1966); Palais des beaux-arts, Charleroi, Belgium (December 17, 1966\u2013January 15, 1967).", "opening_date": "1966-10-15T00:00:00"}, {"description": "<em>Felix Vallotton (1865-1926), a Retrospective Exhibition of Paintings, Drawings, Woodcuts, and Engravings</em>. Hirschl and Adler Galleries, New York, NY (April 7\u201325, 1970).", "opening_date": "1926-01-01T00:00:00"}, {"description": "<em>The Circle of Toulouse-Lautrec, an Exhibition of the Work of the Artist and of his Close Associates</em>. Jane Voorhees Zimmerli Art Museum, Rutgers, NJ (November 17, 1985\u2013February 2, 1986).", "opening_date": "1985-11-17T00:00:00"}, {"description": "<em>Felix Vallotton.</em> Yale University Art Gallery, New Haven, CT (October 24, 1991\u2013January 5, 1991); Museum of Fine Arts, Houston, TX (January 31\u2013March 29, 1992); Indianapolis Museum of Art, Indianapolis, IN (April 25\u2013June 21, 1992); Van Gogh Museum, Amsterdam, Netherlands (August 27\u2013November 1, 1992); Musee Cantonal des beaux arts, Lausanne, Switzerland (November 21, 1992\u2013January 31, 1993).", "opening_date": "1991-01-05T00:00:00"}, {"description": "<em>Felix Vallotton</em>. Kunsthalle der Hypo-Kulturstiftung, Munich, Germany (August 25\u2013November 5, 1995); Folkwang Museum, Essen, Germany (1996).", "opening_date": "1995-11-05T00:00:00"}]}, "provenance": [{"description": "(Mme. L. Godet-Druet, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->Included in \u201cFelix Vallotton 1865-1925,\u201d Kunsthaus, Zurich, 1938, cat. no. 18, as \u201cBar,\u201d Collection Mme. L. Druet, Paris. This may refer to Lucie Druet, wife of gallerist Eug\u00e8ne Druet.&nbsp;</div>"], "date": "by 1938", "sortorder": 1}, {"description": "(Galerie Vallotton, no. 5626, Lausanne, Switzerland)", "citations": [], "footnotes": null, "date": "1964", "sortorder": 2}, {"description": "(Galerie Vallotton, sold to Mr. and Mrs. Arthur G. Altschul [1920\u20132002], New York, NY, August 22, 1969)", "citations": [], "footnotes": null, "date": "August 22, 1969", "sortorder": 3}, {"description": "(Galerie Hopkins & Custot, Paris, France, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": ["<div><!--block-->Provenance from 1964-2003 is according to documentation provided by Galerie Hopkins-Custot.</div>"], "date": "June 2003", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2003\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vallotton is sometimes referred to as a \"forgotten\" master painter, as his work as a printmaker, designer, art critic, novelist, and playwright detracted from his primary passion of painting.", "description": "The hustle and bustle of eager customers in a crowded bistro is captured in this painting. One can almost hear the loud chatter and shouts of orders being called to the busy servers behind the countertop. All in jackets, the men by the bar have rosy cheeks and noses, perhaps from the cold outdoors contrasting the warmth of their drinks.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480862"], "internet_archive": ["https://archive.org/details/clevelandart-2020.114-the-bistro"]}, "citations": [{"citation": "<em>Fe\u0301lix Vallotton: Ausstellung, Kunsthaus Zu\u0308rich, vom 11. November - 14. Dezember [1938] : Katalog mit Einfu\u0308hrung, 24 Abbildungen und Werkverzeeichnis 1885-1925</em>. [Zu\u0308rich]: [Kunsthaus], 1938. <br><br>Published as: <em>Bar</em>", "page_number": "Mentioned: P. 18, cat. no. 18", "url": ""}, {"citation": "Kunsthalle Basel. A<em>usstellung Fe\u0301lix Vallotton, 23. Januar bis 24. Februar 1957.</em> Basel: 1957.", "page_number": "Mentioned: Cat. no. 17", "url": ""}, {"citation": "<em>Fe\u0301lix Vallotton: [Ausstellung] vom 10. April bis 30. Mai, 1965. </em>Zu\u0308rich: Kunsthaus Zu\u0308rich, 1965.", "page_number": "Mentioned: P. 67, no. 17", "url": ""}, {"citation": "Me\u0301nier, Marguerite. <em>Vallotton. Muse\u0301e national d'art moderne, Paris. 15 octobre-20th novembre 1966</em>. Paris, France: Ministe\u0300re des affaires culturelles [et] Re\u0301union des muse\u0301es nationaux, 1966.", "page_number": "Mentioned and Reproduced: no. 15", "url": null}, {"citation": "<em>Felix Vallotton (1865-1925) : a retrospective exhibition of paintings, drawings, woodcuts, and engravings ... April 7 through 25, 19</em>70. New York, NY. : Hirschl and Adler Galleries, 1970.", "page_number": "Reproduced: cat. no. 27", "url": null}, {"citation": "Reff, Theodore. <em>Manet and Modern Paris: One Hundred Paintings, Drawings, Prints, and Photographs by Manet and His Contemporaries.</em> Washington: National Gallery of Art, 1982.", "page_number": "Mentioned and reproduced: P. 210, fig. 105", "url": ""}, {"citation": "Cate, Phillip Dennis, and Patricia Eckert Boyer. <em>The Circle of Toulouse-Lautrec: An Exhibition of the Work of the Artist and of His Close Associates : the Jane Voorhees Zimmerli Art Museum, Rutgers, the State University of New Jersey, New Brunswick, New Jersey, November 17-February 2, 1986</em>. New Brunswick, NJ.: The Museum, 1985.", "page_number": "Mentioned : P. 172, no. 161; Reproduced: pl. 22", "url": null}, {"citation": "Newman, Sasha M., Marina Ducrey, and Lesley K. Baier. <em>Fe\u0301lix Vallotton</em>. New Haven, CT: Yale University Art Gallery, 1991.", "page_number": "Reproduced: P. 20, pl. 14", "url": null}, {"citation": "Ducrey, Marina, Katia Poletti, and Fe\u0301lix Vallotton. <em>Fe\u0301lix Vallotton (1865-1925)</em>. Lausanne, Switzerland: Fondation Fe\u0301lix Vallotton, 2005.", "page_number": "Reproduced: Vol. II, p. 100, no. 185", "url": null}, {"citation": "Muse\u0301e Jenisch, Georges Peillex, and Franco Russoli. <em>De Vallotton a\u0300 Desnos: exposition organise\u0301e.</em> [Place of publication not identified]: [publisher not identified], 1965.", "page_number": "Mentioned: P. 22, no. XXII", "url": ""}, {"citation": "Amory, Dita. \"Felix Vallotton.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 128-131. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 128-129; Mentioned: p. 272-273", "url": ""}], "url": "https://clevelandart.org/art/2020.114", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.114/2020.114_web.jpg", "width": "900", "height": "732", "filesize": "332745", "filename": "2020.114_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.114/2020.114_print.jpg", "width": "3400", "height": "2764", "filesize": "3485702", "filename": "2020.114_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.114/2020.114_full.tif", "width": "10864", "height": "8832", "filesize": "287879872", "filename": "2020.114_full.tif"}}, "alternate_images": [{"date_created": "2020-02-11T10:09:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.114/2020.114_alt0_web.jpg", "width": "900", "height": "748", "filesize": "365175"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.114/2020.114_alt0_print.jpg", "width": "3400", "height": "2825", "filesize": "4112076"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.114/2020.114_alt0_full.tif", "width": "11918", "height": "9903", "filesize": "354099188"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 84370, "creators": [{"id": 8972, "description": "F\u00e9lix Vallotton (Swiss French, 1865\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1865", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-01 14:33:10.842000"}, {"id": 151298, "accession_number": "1983.155", "share_license_status": "CC0", "tombstone": "Prater Landscape, c. 1831. Ferdinand Georg Waldm\u00fcller (Austrian, 1793\u20131865). Oil on wood panel; framed: 37.5 x 43.5 x 5.5 cm (14 3/4 x 17 1/8 x 2 3/16 in.); unframed: 25 x 31 cm (9 13/16 x 12 3/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1983.155", "current_location": null, "title": "Prater Landscape", "creation_date": "c. 1831", "creation_date_earliest": 1826, "creation_date_latest": 1836, "artists_tags": ["male"], "culture": ["Austria"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 37.5 x 43.5 x 5.5 cm (14 3/4 x 17 1/8 x 2 3/16 in.); Unframed: 25 x 31 cm (9 13/16 x 12 3/16 in.)", "dimensions": {"framed": {"height": 0.375, "width": 0.435, "depth": 0.055}, "unframed": {"height": 0.25, "width": 0.31}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "Vienna, Oesterreichischer Kunstverein. Katalog der Ausstellung von Kunstwerken des Malers und Professors der k. k. Akademie, Ferdinand G. Waldm\u00fcller. 169. Ausstellung (1865), no. 67.", "opening_date": null}, {"description": "Vienna, Hagenbund. Ferdinand Georg Waldm\u00fcller (1930), no. 32, Praterb\u00e4ume, Privatbesitz Wien (repr.).", "opening_date": "1930-01-01T00:00:00"}, {"description": "Basel, Kunsthalle. Kunstwerke des 19. Jahrhunderts aus Basler Privatbesitz (1943), no. 66, Praterlandschaft.", "opening_date": "1943-01-01T00:00:00"}, {"description": "Salzburg, Residenz. Ferdinand Georg Waldm\u00fcller 1793-1865 (1953), no. 36, Praterb\u00e4ume (early 1830s), private collection, Switzerland.", "opening_date": "1953-01-01T00:00:00"}, {"description": "Winterthur, Kunstmuseum. Europ\u00e4ische Meister 1790-1910 (1955), no. 212, Praterb\u00e4ume, Schweizer Privatbesitz.", "opening_date": "1955-01-01T00:00:00"}]}, "provenance": [{"description": "Herr von Beer", "citations": [], "footnotes": ["<div><!--block-->Rupert Feuchtm\u00fcller\u2019s Waldm\u00fcller catalogue raisonn\u00e9 is the only known source for the inclusion in the provenance of Herr von Beer, about whom further details are unknown.&nbsp; The source for his ownership of the Waldm\u00fcller in 1865 is also unknown.&nbsp; It is also possible that \u201cHerr von Beer\u201d should in fact be \u201cHerr von Behr,\u201d as there are very few references to anyone by the name of \u201cHerr von Beer.\u201d&nbsp; An obscure reference to one Herr von Beer during the years 1870-74 appears in the 1906 <em>Memoirs of Prince Chlowig of Hohenlohe-Schillingsfuerst</em>, vol. 2, p. 58: \u201cWhen the Bavarians marched past with the other picked troops, my neighbor, Herr von Beer, was so moved that he thanked me heartily for my share in the arrangement.\u201d&nbsp; A perhaps more relevant reference is in Francis Turner Palgrave\u2019s <em>Official Catalogue of the Fine Art Department, </em>which accompanied the International Exhibition in London of 1862, which lists among the architectural designs of \u201cE. Knoblauch,\u201d a Prussian architect (possibly Carl Heinrich Eduard Knoblauch), the \u201cResidence of Herr von Behr, Wilhelmsplatz, Berlin\u201d (p. 182).&nbsp;</div>"], "date": "1865?", "sortorder": 1}, {"description": "(Kunsthandlung Arnot, Vienna)", "citations": [], "footnotes": [], "date": "?", "sortorder": 2}, {"description": "Private collection, Vienna", "citations": [], "footnotes": ["<div><!--block-->Ku\u0308nstlerbund Hagen. <em>Ferdinand Georg Waldmu\u0308ller: Ja\u0308nner-Ma\u0308rz 1930, in den Ra\u0308umen des Hagenbundes</em>. [Wien]: [Kunstlerbund Hagen], 1930.</div>"], "date": "By 1930", "sortorder": 3}, {"description": "Fritz Nathan, sold to Dr. Tobler", "citations": [], "footnotes": ["<div><!--block-->According to Johannes Nathan, Fritz Nathan was frequently in Vienna in the 1930s and may very well have purchased the painting there prior to 1937.</div>"], "date": "Until 1937", "sortorder": 4}, {"description": "Dr. Tobler", "citations": [], "footnotes": ["<div><!--block-->The archives of Galerie Nathan show that they sold the painting to one Dr. Tobler in 1937. Johannes Nathan suggested that Fritz Nathan may have sold the painting to Robert von Hirsch on behalf of Dr. Tobler, although their records, which are incomplete, do not provide confirmation one way or the other.&nbsp; \"Dr. Tobler\" is handwritten on the \"Sammlung Robert von Hirsch, Basel\" label on the back of the painting.</div>"], "date": "1937-", "sortorder": 5}, {"description": "Baron Robert von Hirsch [1883-1977], Basel, sold to Dr. Fritz Nathan", "citations": [], "footnotes": ["<div><!--block-->German industrialist von Hirsch lent the Waldm\u00fcller to an exhibition of nineteenth-century artworks at the Basel Kunsthalle in 1943.&nbsp;</div>"], "date": "By 1943 - by 1945", "sortorder": 6}, {"description": "Dr. Fritz Nathan, St. Gallen, sold to a Swiss private collector", "citations": [], "footnotes": ["<div><!--block-->Peter Nathan recalled that his father, dealer Fritz Nathan, had purchased the painting from von Hirsch during the war.&nbsp;</div>"], "date": "By 1945", "sortorder": 7}, {"description": "Private collection, Zurich", "citations": [], "footnotes": ["<div><!--block-->A 1953 Waldm\u00fcller exhibition at the Salzburg Residenz and Bruno Grimschitz\u2019s 1957 Waldm\u00fcller monograph both give the painting's current owner as a Zurich private collector, likely the Swiss collector to whom Fritz Nathan had sold it previously.&nbsp;</div>"], "date": "By 1957", "sortorder": 8}, {"description": "(Galerie Nathan, Z\u00fcrich, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "Until 1983", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1983-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Waldm\u00fcller, best remembered as one of the most important Austrian landscape painters, financed his early training by painting candy pictures and portrait miniatures, teaching children, and designing theater sets.", "description": "In this depiction of the Prater, a large public garden in Vienna, Austria, a man sits beside a tree in the left foreground. Brilliant sunlight floods into the park illuminating a multitude of trees, their leaves rendered with fine detail. Although celebrated for his portraits, Waldm\u00fcller also produced closely observed landscapes and often visited the Prater to paint the majestic oak trees. He was forced to retire from his position as a professor at the Vienna Academy for rejecting doctrines of idealized, moralizing art in favor of truth to nature based on direct observation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475169"], "internet_archive": ["https://archive.org/details/clevelandart-1983.155-prater-landscape"]}, "citations": [{"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.<em><br></em>", "page_number": null, "url": null}, {"citation": "Ku\u0308nstlerbund Hagen. <em>Ferdinand Georg Waldmu\u0308ller: Ja\u0308nner-Ma\u0308rz 1930, in den Ra\u0308umen des Hagenbundes</em>. [Wien]: [Kunstlerbund Hagen], 1930.", "page_number": null, "url": null}, {"citation": "Johannes Nathan, email to Victoria Sears Goldman, Feb. 24, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Johannes Nathan, email to Victoria Sears Goldman, Feb. 26, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Johannes Nathan, email to Victoria Sears Goldman, Feb. 24, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Tania Lehmann, email to Victoria Sears Goldman, Feb. 18, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Galerie Nathan, invoice, Nov. 30, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "S\u00f6ren Schmeling, email to Victoria Sears Goldman, March 29, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Peter Nathan, letter to Sherman Lee, May 27, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Nathan, invoice, Nov. 30, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Feuchtmu\u0308ller, Rupert. <em>Ferdinand Georg Waldmu\u0308ller 1793-1865: Leben, Schriften, Werke</em>. Wien: C. Brandsta\u0308tter, 1996.", "page_number": null, "url": null}, {"citation": "Grimschitz, Bruno. <em>Ferdinand Georg Waldmu\u0308ller</em>. Salzburg: Galerie Welz, 1957.", "page_number": null, "url": null}, {"citation": "Peter Nathan, letter to Sherman Lee, May 27, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Nathan, invoice, Nov. 30, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<em>Ferdinand Georg Waldmu\u0308ller, 1793-1865. [Katalog zur Geda\u0308chtnis-Ausstellung Ferdinand Georg Waldmu\u0308ller, Salzburg, Residenz, 15. Juni bis 15. September 1953</em>. Salzburg: Galerie Welz, 1953.", "page_number": null, "url": null}, {"citation": "Galerie Nathan, invoice, Nov. 30, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Grimschitz, Bruno. <em>Ferdinand Georg Waldmu\u0308ller</em>. Salzburg, Austria: Galerie Welz, 1957.", "page_number": "Reproduced: pl. 5", "url": null}, {"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Mentioned: p. 3, 15", "url": "https://www.jstor.org/stable/25161437"}, {"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Prater Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 18-23.", "page_number": "Reproduced: p. 18, 21; Mentioned: p. 18-23", "url": "https://www.jstor.org/stable/25161438"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 639-640, Vol. II, no. 224", "url": ""}, {"citation": "Robinson, William. \u201cNature Transformed.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 27.", "page_number": "Reproduced and Mentioned: P. 27.", "url": ""}], "url": "https://clevelandart.org/art/1983.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1983.155/1983.155_web.jpg", "width": "1106", "height": "893", "filesize": "943673", "filename": "1983.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.155/1983.155_print.jpg", "width": "1902", "height": "1536", "filesize": "2730291", "filename": "1983.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.155/1983.155_full.tif", "width": "1902", "height": "1536", "filesize": "8767668", "filename": "1983.155_full.tif"}}, "alternate_images": [{"date_created": "2008-10-27T19:35:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.155/1983.155_alt0_web.jpg", "width": "1110", "height": "893", "filesize": "853532"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.155/1983.155_alt0_print.jpg", "width": "3400", "height": "2735", "filesize": "7444263"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.155/1983.155_alt0_full.tif", "width": "4564", "height": "3671", "filesize": "50299132"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151298, "creators": [{"id": 2810, "description": "Ferdinand Georg Waldm\u00fcller (Austrian, 1793\u20131865)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ferdinand Georg Waldm\u00fcller was the leading innovator for Austrian portrait, landscape, and genre painting of the romantic period, substantially contributing to a style that came to be known as Biedermeier.1 His earliest art lessons were in flower painting with porcelain painter Josef Zintler (d. 1826). From 1808 until 1813 Waldm\u00fcller attended the Vienna Academy at intervals, studying with Hubert Maurer (1738-1818) and Johann Baptist Lampi (1775-1837). The next two years Waldm\u00fcller engaged in painting portrait miniatures. He undoubtedly perfected his painting technique significantly by studying and copying the great masters in the major Viennese galleries well into the 1820s. Between 1825 and 1856 he traveled to Italy, as well as to France and England, in Paris being presented to Emperor Napoleon III and in London to Queen Victoria.\r\nIn 1827, the year before he painted Cleveland's Countess Zichy, Waldm\u00fcller had been introduced to the imperial court of Emperor Franz I and received the great honor of painting his portrait. In 1829 Prince Metternich appointed Waldm\u00fcller curator of the Lamberg Painting Gallery and professor of the Vienna Academy. However, his radical proposals to change academic teaching methods, by insisting that observation of and truth to nature were the only sources of art, would have ended his academic career in 1846 had Prince Metternich not intervened. Nevertheless, in 1855 his continued open criticism of academic procedures cost him his retirement, which, thanks to Emperor Franz I of Austria, was reinstated in 1863. Waldm\u00fcller's convincing honesty in portraying his sitters exactly as they were reflected the growing confidence of the bourgeoisie after the French revolutionary wars and Napoleon's final defeat in 1815. The artist's faithfulness to nature on the one hand, and his talent in portraying the elegance and luxury of his sitters' attire on the other, appealed to both the bourgeoisie and aristocracy.\r\n1. The name Biedermeier was derived from a fictitious poet named Gottlieb Biedermaier (or Biedermeier) who was featured in the mid-nineteenth-century magazine Fliegende Bl\u00e4tter. \"Bieder\" describes a simple but honest and upstanding person, while \"Meier\" is a common German surname. The style pervaded all of Europe, but particularly Austria, Germany, Switzerland, and Scandinavia, centering mainly in cities with active academies. See also Amerling, The Young Eastern Woman, no. 4.", "name_in_original_language": null, "birth_year": "1793", "death_year": "1865", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1983-10-12T00:00:00", "sortable_date": 1826, "date_added_to_oa": null, "date_text": "c. 1831", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "A solitary seated figure in the foreground draws the viewer into the composition, providing a sense of scale for the towering trees. To the right of the seated figure, another figure appears, previously painted in and later altered by the artist. This figure now appears as pentimenti, visible through paint layers that have become more transparent over time. Infrared imaging helped to better visualize this standing figure. Even though the artist has removed this figure from the composition, their shadow remains, as a thin opaque paint layer extending in front of the seated figure.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Prater Landscape"], "is_highlight": false, "updated_at": "2026-03-27 00:00:49.220000"}, {"id": 105224, "accession_number": "1923.416", "share_license_status": "CC0", "tombstone": "The Ghost Story, 1887. Walter MacEwen (American, 1860\u20131943). Oil on canvas; unframed: 121 x 191.5 cm (47 5/8 x 75 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Edward S. Harkness, 1923.416", "current_location": null, "title": "The Ghost Story", "creation_date": "1887", "creation_date_earliest": 1887, "creation_date_latest": 1887, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 121 x 191.5 cm (47 5/8 x 75 3/8 in.)", "dimensions": {"unframed": {"height": 1.21, "width": 1.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed upper left:  W. McEWEN", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 231001, "title": "Dutch Utopia: American Artists in Holland, 1880-1914", "description": "<i>Dutch Utopia: American Artists in Holland, 1880-1914</i>. Telfair Museum of Art, Savannah, GA (organizer) (September 26, 2009-January 3, 2010).", "opening_date": "2009-09-26T00:00:00"}, {"id": 380548, "title": "Supernatural America: The Paranormal in American Art", "description": "<i>Supernatural America: The Paranormal in American Art</i>. The Toledo Museum of Art, Toledo, OH (June 12-September 5, 2021); Speed Art Museum, Louisville, KY (October 7, 2021-January 2, 2022); Minneapolis Institute of Art, Minneapolis, MN (organizer) (February 19-May 15, 2022).", "opening_date": "2021-06-12T04:00:00"}], "legacy": [{"description": "Paris, Le Salon de 1888 (1888), p. 28-9, ill. p. 28.", "opening_date": null}, {"description": "Paris, Universal Exposition, (1889) cat. no. 203; catalogue reproduced in Paris 1889: American Artists at the Universal Exposition listed and illus. p. 285; painting won the Silver Medal (Deuxi\u00e8me Medaille).", "opening_date": null}, {"description": "Paris 1889 states page 182-183 that this work was exhibited at the Art Institute of Chicago in 1890, but no records from the AIC can be found to confirm this.", "opening_date": null}, {"description": "Miliken\u2019s July 1923 Bulletin article notes that with this painting, MacEwen was Hors Concours at Paris, 1890.", "opening_date": "1923-07-01T00:00:00"}, {"description": "Chicago, IL, United States, Gallery 9, Oil Paintings, Fine Arts Palace, World\u2019s Columbian Exposition (1893); listed cat. no. 801, p. 59 as Telling Ghost Stories.", "opening_date": null}, {"description": "Antwerp, Universal Exposition (1894); painting won Medaille d\u2019Honneur.", "opening_date": null}, {"description": "Vienna, International Exposition, (1902); painting won Grande Medaille d\u2019Or .", "opening_date": "1902-01-01T00:00:00"}, {"description": "Cleveland, OH, East Cleveland Public Library (14 March - 27 April 1978).", "opening_date": "1978-03-14T00:00:00"}, {"description": "Detroit, MI, Detroit Institute of Arts, The Quest for Unity: American Art Between World\u2019s Fairs, 1876-1893 (22 August - 30 October 1983), no. 150.", "opening_date": "1983-08-22T00:00:00"}, {"description": "Philadelphia, PA, Pennsylvania Academy of the Fine Arts, Paris 1889: American Artists at the Universal Exposition (25 January - 15 April 1990), p. 182-3, no. 203, p. 285, color ill. p. 184.", "opening_date": "1990-01-25T00:00:00"}, {"description": "Telfair Museum of Art, Savannah, GA (9/26/2009 - 1/3/2010): \"Dutch Utopia: American Artists in Holland, 1880-1914\", ex. cat. no. 34, p. 148-149.", "opening_date": "2009-09-26T00:00:00"}]}, "provenance": [{"description": "Mrs. Edward S. Harkness.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The women in this painting wear the traditional clothing of Volendam, a fishing village located in the province of North Holland.", "description": "During the 1880s, the Netherlands became a magnet for several American artists, among them Walter MacEwen. His most famed painting, <em>The Ghost Story</em>, presents a group of individuals in a Dutch interior listening with rapt attention to spooky narration delivered by a woman at a spinning wheel. A young girl clutches her doll in fascination.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503410"], "internet_archive": ["https://archive.org/details/clevelandart-1923.416-the-ghost-story"]}, "citations": [{"citation": "Wallraf-Richartz-Gesellschaft in K\u00f6ln, and Wallraf-Richartz-Museum--Fondation Corboud. Es War Einmal in Amerika : 300 Jahre US-Amerikanische Kunst. Edited by Barbara Schaefer and Anita Hachmann. K\u00f6ln: Wienand Verlag : Wallraf-Richartz-Museum &amp; Fondation Corboud, 2018.", "page_number": "Mentioned and reproduced, p. 109.", "url": ""}, {"citation": "\"The Ghost Story by Walter McEwen.\" <em>The Bulletin of the Cleveland Museum of Art </em>10, no. 7 (July, 1923): 123-130.", "page_number": "Mentioned and Reproduced: P. 124-125", "url": ""}, {"citation": "Boller, Susanne. \"The Munich Men - Amerikanische Maler der Munchner Schule.\" In <em>Es war einmal in Amerika: 300 Jahre US-Amerikanische Kunst.</em> Barbara Schaefer and Anita Hachmann. K\u00f6ln: Wienand Verlag : Wallraf-Richartz-Museum &amp; Fondation Corboud, 2018.", "page_number": "Reproduced: p. 109. Abb. 8", "url": null}, {"citation": "Barendse, Linda. <em>De Schilders Langs de IJssel. </em>Zwolle: WBOOKS, 2019.", "page_number": "Mentioned and reproduced: P. 78, afb. 67", "url": null}, {"citation": "Naeem, Asma. <em>Out of Earshot: Sound, Technology, and Power in American Art, 1860-1900</em>. Oakland, California: University of California Press, 2020.", "page_number": "Mentioned and reproduced: P. 148, fig. 60", "url": null}], "url": "https://clevelandart.org/art/1923.416", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.416/1923.416_web.jpg", "width": "1263", "height": "802", "filesize": "741174", "filename": "1923.416_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.416/1923.416_print.jpg", "width": "3400", "height": "2160", "filesize": "5590273", "filename": "1923.416_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.416/1923.416_full.tif", "width": "9838", "height": "6251", "filesize": "184521924", "filename": "1923.416_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.416/1923.416_alt0_web.jpg", "width": "1263", "height": "792", "filesize": "797410"}, "print": {"url": 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Harkness", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105224, "creators": [{"id": 3192, "description": "Walter MacEwen (American, 1860\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-02-16T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Telling Ghost Stories"], "is_highlight": false, "updated_at": "2026-03-27 00:10:18.019000"}, {"id": 142665, "accession_number": "1966.388", "share_license_status": "CC0", "tombstone": "Mary Holland Bacher, 1891. Otto H. Bacher (American, 1856\u20131909). Oil on canvas; unframed: 90.6 x 57.4 cm (35 11/16 x 22 5/8 in.). The Cleveland Museum of Art, Gift of Will Low Bacher, 1966.388", "current_location": null, "title": "Mary Holland Bacher", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["male"], "culture": ["America, Ohio, Cleveland"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Cleveland School", "type": "Painting", "measurements": "Unframed: 90.6 x 57.4 cm (35 11/16 x 22 5/8 in.)", "dimensions": {"unframed": {"height": 0.906, "width": 0.574}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Otto H. Bacher. / --91.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 444996, "title": "American Impressionistic Painting", "description": "<i>American Impressionistic Painting</i>. National Gallery of Art, Washington, DC (organizer) (July 1-August 12, 1973); Whitney Museum of American Art, New York, NY (September 18-November 12, 1973); The Cincinnati Art Museum, Cincinnati, OH (December 15, 1973-January 31, 1974); North Carolina Museum of Art, Raleigh, NC (March 8-April 29, 1974).", "opening_date": "1973-07-01T04:00:00"}, {"id": 442840, "title": "American Paintings 1825 - 1915 from the Cleveland Museum of Art", "description": "<i>American Paintings 1825 - 1915 from the Cleveland Museum of Art</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979).", "opening_date": "1979-07-07T04:00:00"}, {"id": 229044, "title": "The Sporting Woman:  The Female Athlete in American Culture", "description": "<i>The Sporting Woman:  The Female Athlete in American Culture</i>. Mount Holyoke College Art Museum, South Hadley, MA (organizer) (April 1-July 31, 2004).", "opening_date": "2004-04-01T00:00:00"}, {"id": 230505, "title": "Midwestern Visions of Impressionism", "description": "<i>Midwestern Visions of Impressionism</i>. Massillon Museum, Massillon, OH (organizer) (May 26-August 19, 2007); Riffe Gallery, Columbus, OH (July 31-October 18, 2008).", "opening_date": "2007-05-26T00:00:00"}], "legacy": [{"description": "New York, Fourteenth Exhibition of the Society of American Artists (1892)", "opening_date": null}, {"description": "Buffalo, Pan-American Exposition: Division of the Fine Arts (1901), cat. no. 272, listed p. 25.", "opening_date": "1901-01-01T00:00:00"}, {"description": "New York, The Walpole Galleries, Exhibition and Sale of Paintings of the Late Otto H. Bacher (13, 22-23, January 1917), cat. no. 45 under title Portrait of a Lady; listed p. 11.", "opening_date": "1917-01-01T00:00:00"}, {"description": "New York, New York World's Fair, Masterpieces of Art: Catalogue of European &amp; American Paintings 1500-1900 (May-October 1940), cat. no. 311-a, listed p. 216-217.", "opening_date": "1940-05-01T00:00:00"}, {"description": "Washington, National Gallery of Art, American Impressionist Painting (1 July-26 August 1973); traveled to New York, The Whitney Museum of American Art (18 September-2 November 1973); to Cincinnati, Cinncinnati Art Museum (15 December 1973-31 January 1974); to Raleigh, The North Carolina Museum of Art (8 March-29 April 1974); cat. no. 1, illus. p. 53", "opening_date": "1973-07-01T00:00:00"}, {"description": "Coshocton, OH, Johnson-Humrickhouse Museum, American Paintings 1825-1915 from The Cleveland Museum of Art (7 July-1 November 1979), no cat. numbered.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Cleveland, One Cleveland Center Gallery, The Cleveland Museum Presents Four Cleveland Artists: George Adomeit, Otto Bacher, Frederick Gottwald, and Walter Sinz (15 October-2 November 1984)", "opening_date": "1984-10-15T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Fraternit\u00e9: Artistic Relations Between France and America (21 July-18 October 1987), no cat.", "opening_date": "1987-07-21T00:00:00"}, {"description": "Columbus, Columbus Museum of Art, Triumph of Color and Light: Ohio Impressionists and Post-Impressionists (6 February-15 May 1994); traveled to Spingfield, Springfield Museum of Art (late Fall 1994); to Youngstown, Butler Institute of American Art (14 March-30 April 1995), cat. no. 4, illus. p. 43.", "opening_date": "1994-02-06T00:00:00"}, {"description": "South Hadley, MA, Mount Holyoke College, The Sporting Woman: The Female Athlete in American Culture (13 April-1 August 2004), no cat.", "opening_date": "2004-04-13T00:00:00"}, {"description": "Massillon Museum, OH (5/26/2007 - 8/19/2007) and Riffe Gallery, Columbus, OH (7/31/2008 - 10/12/2008): \"Midwestern Visions of Impressionism\", ex. cat. no. 36, p.44.", "opening_date": "2007-05-26T00:00:00"}]}, "provenance": [{"description": "Will Low Bacher [1898-1982], the artist's son, by gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "As a child, Otto Bacher liked to sketch shipping activities around Cleveland's port.", "description": "Bacher was the first artist from Cleveland to achieve international renown, and this portrait of his wife exemplifies the Impressionist style he adopted after studying in Paris during the late 1880s. The painting\u2019s unusual subject testifies to the emergence of tennis as one of the few sports of the era in which women could participate without being considered inappropriately masculine or uncouth.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469719"], "internet_archive": ["https://archive.org/details/clevelandart-1966.388-mary-holland-bacher"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 327; Mentioned: p. 343, no. 49", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "Sackerlotzky, Rotraud, Mary Sayre Haverstock, Nan Grossman. <em>F.C. Gottwald and the Old Bohemians. </em>Cleveland, Ohio: Cleveland Artists Foundation, 1993.", "page_number": "Reproduced: p. 23; Mentioned: p. 21, 26", "url": null}], "url": "https://clevelandart.org/art/1966.388", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.388/1966.388_web.jpg", "width": "570", "height": "900", "filesize": "258172", "filename": "1966.388_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.388/1966.388_print.jpg", "width": "2155", "height": "3400", "filesize": "3519425", "filename": "1966.388_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.388/1966.388_full.tif", "width": "4897", "height": "7726", "filesize": "113532000", "filename": "1966.388_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.388/1966.388_alt0_web.jpg", "width": "566", "height": "893", "filesize": "455615"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.388/1966.388_alt0_print.jpg", "width": "2154", "height": "3400", "filesize": "5866955"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.388/1966.388_alt0_full.tif", "width": "3167", "height": "5000", "filesize": "47535848"}}, {"date_created": "2014-05-20T11:19:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.388/1966.388_alt1_web.jpg", "width": "572", "height": "900", "filesize": "232557"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.388/1966.388_alt1_print.jpg", "width": "2161", "height": "3400", "filesize": "2932283"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.388/1966.388_alt1_full.tif", "width": "4908", "height": "7721", "filesize": "113713012"}}], "creditline": "Gift of Will Low Bacher", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142665, "creators": [{"id": 3002, "description": "Otto H. Bacher (American, 1856\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": "Painter and printmaker Otto Bacher was the first artist from Cleveland to earn international renown in the art world. Born in Cleveland, Bacher grew up in a neighborhood bordering the east bank of the Cuyahoga River near the mouth of Lake Erie. A childhood pastime of sketching shipping activities in the busy port eventually led to a job painting inscriptions on commercial vessels. He became interested in art during his teen years and studied with De Scott Evans and also learned from Willis Seaver Adams and Sion Wenban. In 1876 Bacher helped found the Art Club and had a solo show at the Kemmer and Kushman Decorating Company. The following year he had his second solo exhibition, at J. W. Sargeant\u2019 s Art Shop. He traveled to Europe in 1878, attended the Munich Royal Academy, and studied with Cincinnati native Frank Duveneck in Munich, Florence, and Venice. A chance meeting in Venice with James A. McNeill Whistler in 1880 led to a long friendship that had a decisive effect on Bacher\u2019 s etching style. In 1883 Bacher returned to Cleveland and began teaching at the Cleveland Academy of Art and privately at a summer retreat he organized in Richfield, Ohio. He returned to Europe in 1885, hoping to stay for an extended period, but his financial situation forced him to come back to America. After a brief visit to Cleveland, Bacher settled in New York City. To support himself, he did illustrations for <em>Century Magazine</em> in 1888. In 1895 he moved to Bronxville, New York, and by that time his artistic style revealed a strong debt to impressionism. During the last two decades of his life, he exhibited in New York, London, Paris, St. Louis, Philadelphia, and Cleveland. Bacher died in Bronxville.<br>\"Transformations in Cleveland Art\" (CMA, 1996), p. 222.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mrs. Otto H. Bacher"], "is_highlight": false, "updated_at": "2026-03-26 23:59:59.276000"}, {"id": 169614, "accession_number": "2011.43", "share_license_status": "CC0", "tombstone": "Haverstraw Bay, 1868. Sanford Robinson Gifford (American, 1823\u20131880). Oil on canvas; unframed: 24.2 x 50.8 cm (9 1/2 x 20 in.). The Cleveland Museum of Art, Bequest of Dr. Paul J. Vignos Jr., 2011.43", "current_location": null, "title": "Haverstraw Bay", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 24.2 x 50.8 cm (9 1/2 x 20 in.)", "dimensions": {"unframed": {"height": 0.242, "width": 0.508}, "framed": {"height": 0.362, "width": 0.629, "depth": 0.067}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: S.R. Gifford", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Theodore Weston (about 1867-68) [possibly];", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Vose Balleries, Boston, MA, sold to Dr. and Mrs. Paul J. Vignos)", "citations": [], "footnotes": null, "date": "-1965", "sortorder": 2}, {"description": "Dr. and Mrs. Paul J. Vignos, Jr. Chagrin Falls, OH by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1965-2011", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Commercial and recreational fishing for now endangered American shad is currently prohibited on the Hudson River.", "description": "Located about 40 miles north of New York City, Haverstraw Bay is the widest point on the Hudson River. During the 1860s, it was a prime area for shad fishing, and Gifford\u2019s painting records this activity taking place amid a delicately luminous morning haze.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480812"], "internet_archive": ["https://archive.org/details/clevelandart-2011.43-haverstraw-bay"]}, "citations": [{"citation": "Gifford, Sanford Robinson, and John Ferguson Weir. <em>A Memorial Catalogue of the Paintings of Sanford Robinson Gifford</em>. New York: Olana Gallery, NY: 1974.", "page_number": "Reproduced: p. 33, no. 33", "url": null}, {"citation": "Weiss, Ila. <em>Sanford Robinson Gifford (1823-1880)</em>. Ann Arbor, MI: Xerox University Microfilms, 1977.", "page_number": "Mentioned: p. 271-271; Reproduced: VII K 6", "url": null}, {"citation": "Weiss, Ila. <em>Poetic Landscape: The Art and Experience of Sanford R. Gifford</em>. Newark, NJ: University of Delaware Press, 1987.", "page_number": "Reproduced:  p. 263", "url": null}, {"citation": "Cole, Mark. \"A Focused Look.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021) 16.", "page_number": "Reproduced and Mentioned: P. 16.", "url": ""}], "url": "https://clevelandart.org/art/2011.43", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2011.43/2011.43_web.jpg", "width": "900", "height": "424", "filesize": "190334", "filename": "2011.43_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2011.43/2011.43_print.jpg", "width": "3400", "height": "1600", "filesize": "2475074", "filename": "2011.43_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2011.43/2011.43_full.tif", "width": "13621", "height": "6409", "filesize": "261914424", "filename": "2011.43_full.tif"}}, "alternate_images": [{"date_created": "2011-06-03T19:34:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt0_web.jpg", "width": "1263", "height": "603", "filesize": "510149"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt0_print.jpg", "width": "3400", "height": "1623", "filesize": "4606869"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt0_full.tif", "width": "5512", "height": "2632", "filesize": "43547604"}}, {"date_created": "2020-11-05T15:42:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt1_web.jpg", "width": "900", "height": "675", "filesize": "351797"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt1_print.jpg", "width": "3400", "height": "2550", "filesize": "4036755"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt1_full.tif", "width": "14204", "height": "10652", "filesize": "453927464"}}, {"date_created": "2020-11-05T15:22:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt2_web.jpg", "width": "900", "height": "523", "filesize": "247024"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt2_print.jpg", "width": "3400", "height": "1975", "filesize": "2588327"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt2_full.tif", "width": "13447", "height": "7810", "filesize": "315089248"}}, {"date_created": "2020-11-05T11:12:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt3_web.jpg", "width": "900", "height": "580", "filesize": "205295"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt3_print.jpg", "width": "3400", "height": "2190", "filesize": "2016141"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.43/2011.43_alt3_full.tif", "width": "11848", "height": "7630", "filesize": "271225724"}}], "creditline": "Bequest of Dr. Paul J. Vignos Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169614, "creators": [{"id": 2816, "description": "Sanford Robinson Gifford (American, 1823\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2011-06-06T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:43.992000"}, {"id": 123490, "accession_number": "1943.90", "share_license_status": "CC0", "tombstone": "Portrait of Don Juan Antonio Cuervo, 1819. Francisco de Goya (Spanish, 1746\u20131828). Oil on canvas; framed: 136.8 x 105.1 x 7.3 cm (53 7/8 x 41 3/8 x 2 7/8 in.); unframed: 120 x 87 cm (47 1/4 x 34 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1943.90", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Portrait of Don Juan Antonio Cuervo", "creation_date": "1819", "creation_date_earliest": 1819, "creation_date_latest": 1819, "artists_tags": ["male", "Latine and Hispanic Artists"], "culture": ["Spain"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 136.8 x 105.1 x 7.3 cm (53 7/8 x 41 3/8 x 2 7/8 in.); Unframed: 120 x 87 cm (47 1/4 x 34 1/4 in.)", "dimensions": {"framed": {"height": 1.368, "width": 1.051, "depth": 0.073}, "unframed": {"height": 1.2, "width": 0.87}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed lower left: \"Dn. Juan Anto\u00b0. / Cuerbo / Direct[r] de la R[i] Academia a Sn./ Fern.[ando] / Por su amigo Goya/ a\u00f1o 1819\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 704951, "title": "Benefit Exhibition of Works by Goya", "description": "<i>Benefit Exhibition of Works by Goya</i>. Wildenstein & Co., New York, NY (November 8-December 16, 1950).", "opening_date": "1950-11-08T05:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 361419, "title": "An Inaugural Exhibition: El Greco, Rembrandt, Goya, C\u00e9zanne, Van Gogh, Picasso", "description": "<i>An Inaugural Exhibition: El Greco, Rembrandt, Goya, C\u00e9zanne, Van Gogh, Picasso</i>. Milwaukee Art Museum, Milwaukee, WI (organizer) (September 12-October 20, 1957).", "opening_date": "1957-09-12T04:00:00"}, {"id": 304248, "title": "Style, Truth and the Portrait", "description": "<i>Style, Truth and the Portrait</i>. The Cleveland Museum of Art, Cleveland, OH (October 1-November 19, 1963).", "opening_date": "1963-10-01T04:00:00"}, {"id": 520365, "title": "Goya and His Times", "description": "<i>Goya and His Times</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (December 5, 1963-February 29, 1964).", "opening_date": "1963-12-05T05:00:00"}, {"id": 455285, "title": "Goya", "description": "<i>Goya</i>. Mauritshuis, Den Hague, Netherlands (July 4-September 13, 1970); Orangerie des Tuileries (September 25-December 7, 1970).", "opening_date": "1970-07-04T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 410849, "title": "Goya Retrospective", "description": "<i>Goya Retrospective</i>. Nationalmuseum (organizer) (October 6, 1994-January 8, 1995).", "opening_date": "1994-10-06T04:00:00"}, {"id": 380227, "title": "Goya 1746-1828", "description": "<i>Goya 1746-1828</i>. Museo Nacional del Prado (organizer) (March 29-May 30, 1996).", "opening_date": "1996-03-29T05:00:00"}, {"id": 177328, "title": "Goya: Order and Disorder", "description": "<i>Goya: Order and Disorder</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (October 12, 2014-January 19, 2015).", "opening_date": "2014-10-12T00:00:00"}], "legacy": []}, "provenance": [{"description": "Francisco Dur\u00e1n y Sirvent, Madrid (1900); (Durand-Ruel, Paris, 1900, 1928); Godfrey Rockefeller, Greenwich, Conn. (1939); (J. Seligmann, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This portrait both testifies to Goya\u2019s friendship with Cuervo and presents the sitter as a cutting-edge intellectual. Director of the Royal Academy of San Fernando, the official academy for artists and architects in Spain, Cuervo appears with his plan for the recent renovation of Madrid\u2019s Church of Santiago. The jacket with red and gold brocade identifies him as a member of the academy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514936", "https://www.wikidata.org/wiki/Q47205749"], "internet_archive": ["https://archive.org/details/clevelandart-1943.90-portrait-of-don-juan"]}, "citations": [{"citation": "Francis, Henry. \"A Portrait by Francisco Jos\u00e9 de Goya y Lucientes.\" <em>The Bulletin of the Cleveland Museum of Art </em>30, no. 6 (June 1943): 88-92", "page_number": "Reproduced: front cover, 94; Mentioned: p. 88.", "url": "https://www.jstor.org/stable/25141062"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 45", "url": "https://archive.org/details/CMAPaintings1945/page/n53"}, {"citation": "<em>A Loan Exhibition of Goya: For the Benefit of the Institute of Fine Arts, New York University, November 9-December 16, 1950 at Wildenstein ... New York.</em> [New York]: Wildenstein, 1950.", "page_number": "Mentioned: p. 19, no. 41; Reproduced: p. 36, no. 41", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 490", "url": "https://archive.org/details/CMAHandbook1958/page/n90"}, {"citation": "Holland, Vyvyan Beresford. <em>Goya, a Pictorial Biography.</em> London: Thames and Hudson, 1961.", "page_number": "Reproduced: p. 36", "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. 166", "url": "https://archive.org/details/CMAHandbook1966/page/n190"}, {"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. 166", "url": "https://archive.org/details/CMAHandbook1969/page/n190"}, {"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. 152", "url": "https://archive.org/details/CMAHandbook1978/page/n172"}, {"citation": "The Cleveland Museum of Art<em>. The Cleveland Museum of Art Catalogue of Paintings, Part 3: European Paintings of the 16th, 17th, and 18th Centuries</em>. Cleveland, OH: The Cleveland Museum of Art, 1982.", "page_number": "Mentioned: p. 484-486; Reproduced: p. 485", "url": null}, {"citation": "May, Sally Ruth. <em>Knockouts: a pocket guide.</em> Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: no. 45, p. 46", "url": ""}, {"citation": "Rogla\u0301n, Mark A. <em>Spanish Art in America</em> .[Madrid, Spain]: Ediciones El Vis 2016.", "page_number": "Reproduced: p. 81", "url": null}], "url": "https://clevelandart.org/art/1943.90", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.90/1943.90_web.jpg", "width": "654", "height": "893", "filesize": "57890", "filename": "1943.90_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.90/1943.90_print.jpg", "width": "2445", "height": "3400", "filesize": "5062430", "filename": "1943.90_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.90/1943.90_full.tif", "width": "4315", "height": "6000", "filesize": "77700840", "filename": "1943.90_full.tif"}}, "alternate_images": [{"date_created": "2007-06-27T16:29:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt0_web.jpg", "width": "660", "height": "893", "filesize": "67103"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt0_print.jpg", "width": "2513", "height": "3400", "filesize": "1122140"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt0_full.tif", "width": "5766", "height": "7800", "filesize": "134950416"}}, {"date_created": "2013-03-25T18:06:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt1_web.jpg", "width": "680", "height": "893", "filesize": "103215"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt1_print.jpg", "width": "2590", "height": "3400", "filesize": "1735835"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt1_full.tif", "width": "5327", "height": "6992", "filesize": "111764848"}}, {"date_created": "2013-03-25T17:07:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt2_web.jpg", "width": "675", "height": "893", "filesize": "78212"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt2_print.jpg", "width": "2569", "height": "3400", "filesize": "1183026"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.90/1943.90_alt2_full.tif", "width": "5430", "height": "7185", "filesize": "117087016"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 123490, "creators": [{"id": 2386, "description": "Francisco de Goya (Spanish, 1746\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1746", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1819, "date_added_to_oa": null, "date_text": "1819", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Don Juan Antonio Cuervo"], "is_highlight": false, "updated_at": "2026-03-27 00:04:16.242000"}, {"id": 108408, "accession_number": "1926.140.13", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: And I John Saw These Things, and Heard Them, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 15.8 x 19 cm (6 1/4 x 7 1/2 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.13", "current_location": null, "title": "And I John Saw These Things, and Heard Them", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 15.8 x 19 cm (6 1/4 x 7 1/2 in.)", "dimensions": {"image": {"height": 0.158, "width": 0.19}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "initialed on stone at lower right: OR; printed at lower left, below image: C'est moi, Jean, qui ai vu / et qui ai ou\u00ef ces choses.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309855, "title": "I and Thou", "description": "<i>I and Thou</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 21-May 27, 1984).", "opening_date": "1984-02-21T05:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.139"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723664"], "internet_archive": ["https://archive.org/details/clevelandart-1926.140.13-and-i-john-saw-these"]}, "citations": [], "catalogue_raisonne": "Mellerio 185", "url": "https://clevelandart.org/art/1926.140.13", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.13/1926.140.13_web.jpg", "width": "695", "height": "893", "filesize": "458863", "filename": "1926.140.13_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.13/1926.140.13_print.jpg", "width": "2648", "height": "3400", "filesize": "6824817", "filename": "1926.140.13_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.13/1926.140.13_full.tif", "width": "2868", "height": "3682", "filesize": "31712900", "filename": "1926.140.13_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108408, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67505, "description": "Blanchard", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Apocalypse of Saint John: And I John Saw These Things, and Heard Them"], "is_highlight": false, "updated_at": "2026-03-27 00:07:07.827000"}, {"id": 142778, "accession_number": "1966.479.a", "share_license_status": "CC0", "tombstone": "Miniature Teapot, 1886\u201396. Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, bowenite; overall: 5.8 x 10.9 cm (2 5/16 x 4 5/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.479.a", "current_location": "211 Faberg\u00e9", "title": "Miniature Teapot", "creation_date": "1886\u201396", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, bowenite", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miniature", "measurements": "Overall: 5.8 x 10.9 cm (2 5/16 x 4 5/16 in.)", "dimensions": {"overall": {"height": 0.058, "width": 0.109}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 443609, "title": "Faberge 1846 - 1920", "description": "<i>Faberge 1846 - 1920</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (June 23-October 23, 1977).", "opening_date": "1977-06-23T04:00:00"}, {"id": 441346, "title": "Faberge, Imperial Jeweler", "description": "<i>Faberge, Imperial Jeweler</i>. St. George Hall of the Hermitage, St. Petersburg, Russian Federation (June 18-August 15, 1993); Mus\u00e9e des arts D\u00e9coratifs, Paris, France (September 24, 1993-January 2, 1994); Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (January 26-April 10, 1994).", "opening_date": "1993-06-16T04:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}], "legacy": [{"description": "The Metropolitan Museum of Art (2/12/96-4/28/96); The Fine Arts Museums of San Francisco (5/25/96-7/28/96); Virginia Museum of Fine Arts (8/24/96-11/2/96); New Orleans Museum of Art (12/7/96-2/8/97); The Cleveland Museum of Art (3/9/97-5/11/97). \"Faberg\u00e9 in America,\" exh. cat. no. 79, p. 105; color repr. p. 105.", "opening_date": "1996-02-12T00:00:00"}]}, "provenance": [{"description": "India E. Minshall, Cleveland, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sometimes called \"new jade,\" bowenite is actually considered a semi-precious gemstone. Though Faberg\u00e9 obtained his supply from the Ural Mountains of Russia, bowenite is also the state mineral of Rhode Island.", "description": "The House of Faberg\u00e9 specialized in the creation of little treasures intended as opulent personal gifts. In creating luxurious accessories for a desk or tabletop, Faberg\u00e9 often used native hardstones such as multicolored agate and quartz, green nephrite, pink rhodonite, rock crystal, and pale green bowenite found in the Ural Mountains of western Russia. Faberg\u00e9's designers often paired hardstones with gold mounts, particularly in the St. Petersburg workshop where the goldsmiths were concentrated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042897"], "internet_archive": ["https://archive.org/details/clevelandart-1966.479.a-miniature-teapot"]}, "citations": [], "url": "https://clevelandart.org/art/1966.479.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.479.a/1966.479.a_web.jpg", "width": "900", "height": "648", "filesize": "152369", "filename": "1966.479.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.479.a/1966.479.a_print.jpg", "width": "3400", "height": "2449", "filesize": "1052676", "filename": "1966.479.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.479.a/1966.479.a_full.tif", "width": "4753", "height": "3424", "filesize": "48847580", "filename": "1966.479.a_full.tif"}}, "alternate_images": [{"date_created": "2019-11-15T16:20:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479.a/1966.479.a_alt0_web.jpg", "width": "900", "height": "653", "filesize": "152611"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479.a/1966.479.a_alt0_print.jpg", "width": "3400", "height": "2468", "filesize": "1115590"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479.a/1966.479.a_alt0_full.tif", "width": "4753", "height": "3450", "filesize": "49218228"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142778, "creators": [{"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1886\u201396", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.479", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:38.094000"}, {"id": 108401, "accession_number": "1926.140.6", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: A Woman Clothed with the Sun, 1899. Odilon Redon (French, 1840\u20131916). Lithograph; image: 23 x 28.6 cm (9 1/16 x 11 1/4 in.); sheet: 56 x 42.4 cm (22 1/16 x 16 11/16 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.6", "current_location": null, "title": "A Woman Clothed with the Sun", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 23 x 28.6 cm (9 1/16 x 11 1/4 in.); Sheet: 56 x 42.4 cm (22 1/16 x 16 11/16 in.)", "dimensions": {"image": {"height": 0.23, "width": 0.286}, "sheet": {"height": 0.56, "width": 0.424}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "initialed on stone at bottom center: OR; printed at lower left, below image: .....une femme rev\u00eatue du soleil", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 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": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.132"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723650"], "internet_archive": ["https://archive.org/details/clevelandart-1926.132-a-woman-clothed-with", "https://archive.org/details/clevelandart-1926.140.6-a-woman-clothed-with"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Une Femme rev\u00eatue du soleil.", "page_number": "Mentioned: p. 58", "url": "https://archive.org/details/Lithography/page/n65"}], "catalogue_raisonne": "Mellerio 179", "url": "https://clevelandart.org/art/1926.140.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.6/1926.140.6_web.jpg", "width": "701", "height": "893", "filesize": "490512", "filename": "1926.140.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.6/1926.140.6_print.jpg", "width": "2669", "height": "3400", "filesize": "7031811", "filename": "1926.140.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.6/1926.140.6_full.tif", "width": "2886", "height": "3676", "filesize": "31861008", "filename": "1926.140.6_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108401, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Apocalypse of Saint John: A Woman Clothed with the Sun", "Une Femme rev\u00eatue du soleil"], "is_highlight": false, "updated_at": "2026-03-27 00:08:40.842000"}, {"id": 109202, "accession_number": "1927.477.6", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): Then There Appears a Singular Being, Having the Head of a Man on the Body of a Fish, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 27.5 x 17 cm (10 13/16 x 6 11/16 in.); sheet: 44.1 x 30.8 cm (17 3/8 x 12 1/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.6", "current_location": null, "title": "Then There Appears a Singular Being, Having the Head of a Man on the Body of a Fish", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 27.5 x 17 cm (10 13/16 x 6 11/16 in.); Sheet: 44.1 x 30.8 cm (17 3/8 x 12 1/8 in.)", "dimensions": {"image": {"height": 0.275, "width": 0.17}, "sheet": {"height": 0.441, "width": 0.308}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. V.; Ensuite para\u00eet un \u00eatre singulier, ayant un t\u00eate d'homme sur un corps de poisson.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 310017, "title": "Contemporaries of the Pont-Aven Printmakers", "description": "<i>Contemporaries of the Pont-Aven Printmakers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 14-September 27, 1987).", "opening_date": "1987-08-14T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.354"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723684"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.6-then-there-appears-a"]}, "citations": [{"citation": "Yamamoto, Atsuko. <em>Redon, His Life and Works: I Want to Know More</em>. Tokyo: Bijutsu, 2011.", "page_number": "Mentioned and reproduced: p. 32", "url": null}], "catalogue_raisonne": "Mellerio 88", "url": "https://clevelandart.org/art/1927.477.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.6/1927.477.6_web.jpg", "width": "581", "height": "893", "filesize": "434707", "filename": "1927.477.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.6/1927.477.6_print.jpg", "width": "2211", "height": "3400", "filesize": "6307670", "filename": "1927.477.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.6/1927.477.6_full.tif", "width": "3023", "height": "4648", "filesize": "42182844", "filename": "1927.477.6_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109202, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): Then There Appears a Singular Being, Having the Head of a Man on the Body of a Fish"], "is_highlight": false, "updated_at": "2026-03-27 00:08:39.135000"}, {"id": 142697, "accession_number": "1966.413.3", "share_license_status": "CC0", "tombstone": "The Haunted House: I Saw a Flash of Light, Large and Pale, 1896. Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on China paper laid on wove paper; image: 23 x 17 cm (9 1/16 x 6 11/16 in.); sheet: 45 x 31.3 cm (17 11/16 x 12 5/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1966.413.3", "current_location": null, "title": "I Saw a Flash of Light, Large and Pale", "series": "The Haunted House", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 23 x 17 cm (9 1/16 x 6 11/16 in.); Sheet: 45 x 31.3 cm (17 11/16 x 12 5/16 in.)", "dimensions": {"image": {"height": 0.23, "width": 0.17}, "sheet": {"height": 0.45, "width": 0.313}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: je vis une lueur large et p\u00e2le", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.415"], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. This series was inspired by <em>The Haunted and the Haunters,</em> an 1859 novel by British writer Edward Bulwer-Lytton. Redon\u2019s prints capture the book\u2019s mysterious tone and emphasis on the supernatural through vague but evocative imagery that sometimes borders on abstraction. By this time a seasoned expert in lithography, the artist collaborated with master printer Auguste Clot. Their combined technical skills allowed for the rich tonal variation seen here, made by turning Redon\u2019s lithographic crayon on its side, layering various marks, and even scratching directly into the surface of his stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042658"], "internet_archive": ["https://archive.org/details/clevelandart-1966.413.3-i-saw-a-flash-of-lig"]}, "citations": [{"citation": "\"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (1967): 302-46.", "page_number": "Mentioned: pp. 344-345", "url": "https://www.jstor.org/stable/25152183"}], "catalogue_raisonne": "Mellerio 162", "url": "https://clevelandart.org/art/1966.413.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.3/1966.413.3_web.jpg", "width": "655", "height": "893", "filesize": "432117", "filename": "1966.413.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.3/1966.413.3_print.jpg", "width": "2492", "height": "3400", "filesize": "6469180", "filename": "1966.413.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.3/1966.413.3_full.tif", "width": "3847", "height": "5248", "filesize": "60597340", "filename": "1966.413.3_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142697, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.413", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["La Maison hant\u00e9e:  I Saw a Large Pale Glimmer", "The Haunted House: We Both Saw a Large Pale Light", "We Both Saw a Large Pale Light"], "is_highlight": false, "updated_at": "2026-03-27 00:07:52.946000"}, {"id": 141936, "accession_number": "1965.475", "share_license_status": "CC0", "tombstone": "Portrait of Genio C. Scott, 1859. Eastman Johnson (American, 1824\u20131906). Oil on canvas; unframed: 102.3 x 127 cm (40 1/4 x 50 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1965.475", "current_location": "207 American Realism", "title": "Portrait of Genio C. Scott", "creation_date": "1859", "creation_date_earliest": 1859, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 102.3 x 127 cm (40 1/4 x 50 in.)", "dimensions": {"unframed": {"height": 1.023, "width": 1.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: \"E. Johnson / 1859\"", "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": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}], "legacy": []}, "provenance": [{"description": "Family of the sitter until 1965; Mr. and Mrs. Edward L. Booth, Delmar, NY; (Vose Gallery, Boston)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Genio Scott's detailed writings describing 19th-century fish distribution remain highly useful for present-day conservationists.", "description": "Eastman Johnson portrayed Genio Scott (1806\u20131879) as a gentleman of means wearing an informal, yet stylish robe in his New York residence. Scott had a successful career as a women\u2019s fashion illustrator and magazine publisher, but his true passion was fly-fishing. Details reveal his attachment to the sport: two fishing poles lean on the wall; three tied flies lie on the table; a fourth is held in his hand, ready to be placed in his leather-bound fishing wallet. During his lifetime, Scott witnessed the decline of American fish species, a loss largely attributed to the dumping of industrial pollutants into waterways. In his contributions to sporting magazines, he protested this environmental degradation and advocated for measures to revitalize diminishing populations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469511"], "internet_archive": ["https://archive.org/details/clevelandart-1965.475-portrait-of-genio-c"]}, "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. 185", "url": "https://archive.org/details/CMAHandbook1966/page/n209"}, {"citation": "Cleveland Museum of Art, and Sherman E. Lee. Golden Anniversary Acquisitions [Exhibition] September 10 Through October 16 [1966]. [Cleveland]: The Museum, 1966.", "page_number": "cat. no. 63", "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. 185", "url": "https://archive.org/details/CMAHandbook1969/page/n209"}, {"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. 229", "url": "https://archive.org/details/CMAHandbook1978/page/n249"}], "url": "https://clevelandart.org/art/1965.475", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.475/1965.475_web.jpg", "width": "1107", "height": "893", "filesize": "671130", "filename": "1965.475_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.475/1965.475_print.jpg", "width": "3400", "height": "2742", "filesize": "6185018", "filename": "1965.475_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.475/1965.475_full.tif", "width": "4799", "height": "3870", "filesize": "55741548", "filename": "1965.475_full.tif"}}, "alternate_images": [{"date_created": "2008-08-13T15:07:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.475/1965.475_alt0_web.jpg", "width": "1061", "height": "893", "filesize": "755267"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.475/1965.475_alt0_print.jpg", "width": "3400", "height": "2861", "filesize": "7244780"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.475/1965.475_alt0_full.tif", "width": "4060", "height": "3416", "filesize": "41649168"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 141936, "creators": [{"id": 2703, "description": "Eastman Johnson (American, 1824\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1824", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-11-06T00:00:00", "sortable_date": 1859, "date_added_to_oa": null, "date_text": "1859", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Geneo Scott"], "is_highlight": false, "updated_at": "2026-03-27 00:01:07.714000"}, {"id": 146109, "accession_number": "1971.296", "share_license_status": "CC0", "tombstone": "Face Mask, early 1900s. Africa, West Africa, C\u00f4te d'Ivoire, possibly Yaure-style carver. Wood, paint, and colorant; overall: 31.7 cm (12 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.296", "current_location": "108A African", "title": "Face Mask", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, possibly Yaure-style carver"], "technique": "Wood, paint, and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 31.7 cm (12 1/2 in.)", "dimensions": {"overall": {"height": 0.317}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 73, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 106, no. 22, repr. p. 104.", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Harry Franklin, Los Angeles", "citations": [], "footnotes": ["<ul><li><!--block-->1974 object label</li><li><!--block-->2003 Object Report, curatorial file</li></ul><div><!--block--><br></div>"], "date": "by 1965", "sortorder": null}, {"description": "Katherine White Reswick, by purchase from the above", "citations": [], "footnotes": ["<ul><li><!--block-->1974 object label</li><li><!--block-->2003 Object Report, curatorial file</li></ul>"], "date": "1965\u201371", "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["748.68"], "did_you_know": "The carver compressed the scale of both the elephant's ears and tusks in this mask.", "description": "Central C\u00f4te d'Ivoire is characterized by cultural assimilation and adoption. Connections can be seen in masquerades and in composite mask forms. Here, masks often blend human and animal features, and the depiction of elephant traits is a recurring theme. Yaure peoples associated elephant masks with a cult called Dye, and they appear when important sacrifices have to be made.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1971.296-face-mask"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, cat. 73.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art \"1972 Year in Review.\" Bulletin of the Cleveland Museum of Art 60, no. 3, cat. 22.", "page_number": "", "url": ""}, {"citation": "African Arts 1972b, \"New Acquisitions.\" African Arts 6, no. 1 (1972): 75.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 15, p. 60 - 61", "url": ""}], "url": "https://clevelandart.org/art/1971.296", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.296/1971.296_web.jpg", "width": "686", "height": "893", "filesize": "317086", "filename": "1971.296_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.296/1971.296_print.jpg", "width": "2611", "height": "3400", "filesize": "4521250", "filename": "1971.296_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.296/1971.296_full.tif", "width": "4096", "height": "5334", "filesize": "65577144", "filename": "1971.296_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T15:45:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.296/1971.296_alt0_web.jpg", "width": "541", "height": "893", "filesize": "296806"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.296/1971.296_alt0_print.jpg", "width": "2061", "height": "3400", "filesize": "4063110"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.296/1971.296_alt0_full.tif", "width": "3725", "height": "6144", "filesize": "68691896"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146109, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Elephant Mask (vi)"], "is_highlight": false, "updated_at": "2026-03-27 00:01:37.043000"}, {"id": 150188, "accession_number": "1981.10", "share_license_status": "CC0", "tombstone": "Mosque Lamp, late 1800s. France. Glass with enameled and gilded decoration; overall: 39.5 cm (15 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1981.10", "current_location": "116 Islamic", "title": "Mosque Lamp", "creation_date": "late 1800s", "creation_date_earliest": 1866, "creation_date_latest": 1899, "artists_tags": [], "culture": ["France"], "technique": "glass with enameled and gilded decoration", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Glass", "measurements": "Overall: 39.5 cm (15 9/16 in.)", "dimensions": {"overall": {"height": 0.395}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 396857, "title": "Art of the Islamic World (Islamic art rotation)", "description": "<i>Art of the Islamic World (Islamic art rotation)</i>. The Cleveland Museum of Art (organizer) (May 21, 2021-May 31, 2022).", "opening_date": "2021-05-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "Philippe-Joseph Brocard [1831\u20131896], Paris, France", "citations": [], "footnotes": [], "date": "late 1800s", "sortorder": 1}, {"description": "Georges Demotte [1877-1923], New York, NY", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Ispenian", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Spink & Son, Ltd., London, UK, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1981", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This colorful lamp would have been suspended by its six handles. When lowered to refill its oil, it could stand securely on its splayed foot.", "description": "In late 1800s Europe, there was a renewed interest in art from the Islamic world. Mosque lamps, made for Mamluk rulers and their high officials in the 1300s, were particularly prized. Phillippe-Joseph Brocard, a Parisian collector and craftsman, is renowned for reviving the Mamluk technique of enameling and gilding glass and produced many lamp reproductions. This lamp used to be in his collection and it is possible that it was made by him. The top Qur\u2019anic inscription likens divine light to a shining glass lamp.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932444"], "internet_archive": ["https://archive.org/details/clevelandart-1981.10-mosque-lamp"]}, "citations": [{"citation": "Wiet, Gaston. <em>Catalogue ge\u0301ne\u0301ral du Muse\u0301e arabe du Caire; lampes et bouteilles en verre e\u0301maille\u0301</em>. Le Caire: Impr. de l'Institut franc\u0327ais d'arche\u0301ologie orientale, 1929.", "page_number": "p. 156", "url": null}, {"citation": "Mayer, L. A. <em>Saracenic Heraldry, a Survey</em>. Oxford: Clarendon Press, 1933.", "page_number": "p. 213", "url": null}, {"citation": "\u201cRecent Important Acquisitions: Made by Public and Private Collections in the United States and Abroad.\u201d <em>Journal of Glass Studies</em>, vol. 24, 1982, pp. 87\u2013114.", "page_number": "Reproduced: p. 90, no. 12", "url": "www.jstor.org/stable/24190670"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1981.\"\u0080\u009d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 69, no. 2, 1982, pp. 39-82.", "page_number": "Mentioned: p. 78, no. 8; Reproduced: p. 68", "url": "https://www.jstor.org/stable/25159758"}], "url": "https://clevelandart.org/art/1981.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.10/1981.10_web.jpg", "width": "651", "height": "893", "filesize": "379247", "filename": "1981.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.10/1981.10_print.jpg", "width": "2477", "height": "3400", "filesize": "5494136", "filename": "1981.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.10/1981.10_full.tif", "width": "3903", "height": "5357", "filesize": "62753716", "filename": "1981.10_full.tif"}}, "alternate_images": [{"date_created": "2010-11-16T20:38:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt0_web.jpg", "width": "639", "height": "893", "filesize": "375913"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt0_print.jpg", "width": "2432", "height": "3400", "filesize": "5423398"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt0_full.tif", "width": "3842", "height": "5371", "filesize": "61934416"}}, {"date_created": "2010-11-16T20:43:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt1_web.jpg", "width": "689", "height": "893", "filesize": "403076"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt1_print.jpg", "width": "2623", "height": "3400", "filesize": "5849540"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt1_full.tif", "width": "4017", "height": "5205", "filesize": "62754260"}}, {"date_created": "2010-11-16T20:09:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt2_web.jpg", "width": "1170", "height": "893", "filesize": "713821"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt2_print.jpg", "width": "3400", "height": "2596", "filesize": "5208204"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt2_full.tif", "width": "3946", "height": "3013", "filesize": "35697184"}}, {"date_created": "2010-11-16T20:04:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt3_web.jpg", "width": "1082", "height": "893", "filesize": "630146"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt3_print.jpg", "width": "3400", "height": "2807", "filesize": "5557296"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.10/1981.10_alt3_full.tif", "width": "4177", "height": "3449", "filesize": "43247856"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150188, "creators": [], "legal_status": "accessioned", "accession_date": "1981-03-09T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:46.512000"}, {"id": 152765, "accession_number": "1985.56", "share_license_status": "CC0", "tombstone": "The Doge's Palace, Venice, 1826. Richard Parkes Bonington (British, 1802\u20131828). Oil on millboard; framed: 53.5 x 61 x 6 cm (21 1/16 x 24 x 2 3/8 in.); unframed: 35.5 x 42.7 cm (14 x 16 13/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1985.56", "current_location": "203B British Painting and Decorative Arts", "title": "The Doge's Palace, Venice", "creation_date": "1826", "creation_date_earliest": 1826, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on millboard", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 53.5 x 61 x 6 cm (21 1/16 x 24 x 2 3/8 in.); Unframed: 35.5 x 42.7 cm (14 x 16 13/16 in.)", "dimensions": {"framed": {"height": 0.535, "width": 0.61, "depth": 0.06}, "unframed": {"height": 0.355, "width": 0.427}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Sotheby's London, United Kingdom, possibly Bonington Sale, June 29-30,1829, lot 215, sold to Glynn)\n\n.\n\n.\n.\n\n.", "citations": [], "footnotes": null, "date": "possibly 1829", "sortorder": 1}, {"description": "(Sotheby's, London, United Kingdom, February 10, 1838, possibly Mrs. Bonington, the artist's mother, sale, lot 124, to Mawe, bought in).", "citations": [], "footnotes": [], "date": "possibly 1838", "sortorder": 2}, {"description": "(Christie's, London, United Kingdom, possibly William Benoni sale, May 23, 1879, lot 86, sold to Permain. J. Hood (according to label on reverse).", "citations": [], "footnotes": [], "date": "possibly 1879", "sortorder": 3}, {"description": "(Christie's, London, United Kingdom, April 28, 1888, possibly W.A. Turner of Manchester sale, lot 106,  sold to Harari & Johns Ltd.) \n\n.", "citations": [], "footnotes": [], "date": "possibly 1888", "sortorder": 4}, {"description": "(Harari & Johns Ltd., London, United Kingdom, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "-1985", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At age seventeen, Bonington began teaching precision drawing at the \u00c9cole des Beaux Arts in Paris and he was essential to bringing aspects of the English style to France.", "description": "At the age of 22, Bonington achieved overnight success at the official (state sponsored) Paris exhibition known as Salon. Two years later, in 1826, he journeyed to Venice, a city that had long attracted landscape artists. At first, constant rain greatly depressed Bonington, but suddenly the weather changed and Venice was at its glorious best. Bonington frequently painted outdoors, capturing immediate impressions of Venetian architecture and sunlight. He made this particular study from a boat anchored in the lagoon near the Doge's Palace. The thick swirls of paint, with colors mixed together while still wet, indicates how rapidly the artist worked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475700"], "internet_archive": ["https://archive.org/details/clevelandart-1985.56-the-doge-s-palace-ve"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1985.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (February 1986): 26\u201371.", "page_number": "Reproduced: p. 50, no. 45; Mentioned: p. 64, no. 45", "url": "http://www.jstor.org/stable/25159930"}, {"citation": "Noon, Patrick J. <em>Richard Parkes Bonington--on the Pleasure of Painting</em>. New Haven, CT: Yale Center for British Art, 1991.", "page_number": null, "url": null}, {"citation": "D 'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH:The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Noon, Patrick J. <em>Richard Parkes Bonington: The Complete Paintings</em>. New Haven, CT: Yale University Press, 2008. .", "page_number": "Reproduced: p. 288, fig. 227", "url": null}], "url": "https://clevelandart.org/art/1985.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.56/1985.56_web.jpg", "width": "1078", "height": "893", "filesize": "726994", "filename": "1985.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.56/1985.56_print.jpg", "width": "3400", "height": "2816", "filesize": "7483199", "filename": "1985.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.56/1985.56_full.tif", "width": "4144", "height": "3432", "filesize": "42697596", "filename": "1985.56_full.tif"}}, "alternate_images": [{"date_created": "2011-02-22T20:30:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt0_web.jpg", "width": "1087", "height": "893", "filesize": "718788"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt0_print.jpg", "width": "3400", "height": "2792", "filesize": "7859502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt0_full.tif", "width": "5731", "height": "4707", "filesize": "80955608"}}, {"date_created": "2011-02-22T20:30:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt1_web.jpg", "width": "1071", "height": "893", "filesize": "724391"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt1_print.jpg", "width": "3400", "height": "2835", "filesize": "8464233"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt1_full.tif", "width": "5636", "height": "4700", "filesize": "79495572"}}, {"date_created": "2011-02-22T20:36:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt2_web.jpg", "width": "1070", "height": "893", "filesize": "723951"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt2_print.jpg", "width": "3400", "height": "2838", "filesize": "8189363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt2_full.tif", "width": "5939", "height": "4958", "filesize": "88365748"}}, {"date_created": "2007-11-26T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt3_web.jpg", "width": "1011", "height": "893", "filesize": "693513"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt3_print.jpg", "width": "2839", "height": "2507", "filesize": "4756513"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt3_full.tif", "width": "2839", "height": "2507", "filesize": "21395132"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt4_web.jpg", "width": "1011", "height": "893", "filesize": "715299"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt4_print.jpg", "width": "2839", "height": "2507", "filesize": "4966313"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.56/1985.56_alt4_full.tif", "width": "2839", "height": "2507", "filesize": "21380952"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 152765, "creators": [{"id": 2475, "description": "Richard Parkes Bonington (British, 1802\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": "Richard Parkes Bonington was born in Arnold near Nottingham, the son of a portrait painter of indifferent talent and quixotic temperament. In autumn 1817 the family established a lace manufactur-ing business in Calais, where Bonington studied watercolor painting briefly with the Anglo-French artist Louis Francia (1772-1839). Two years later he enrolled in the atelier of Gros (q.v.) but was an irregular student. His disillusionment with Gros lead to a stormy departure in 1822. In the same year he exhibited at the Paris Salon topographical watercolors from the first of his several tours of Normandy. These established his repu-tation as a landscape painter and drafts-man of medieval architecture. However, the group of five marine paintings submitted to the 1824 Salon, for which he was awarded a gold medal, confirmed his preeminence in the French romantic school. Bonington made the first of sev-eral trips to London in 1825, after which he shared a studio with Eug\u00e8ne Delacroix (q.v.) in Paris until his departure for a brief tour of Northern Italy in April 1826. It was Delacroix who persuaded Bonington to expand his interests beyond landscape to include figural subjects. In the final two hectic years of his life, Bonington produced mostly Venetian views and historical and literary illustra-tions, which he exhibited at both the 1827-28 Paris Salon and the 1828 Royal Academy exhibitions. He died in London from tuberculosis in September 1828. Despite the brevity of his career, Bonington's protean originality and dazzling virtuoso style inspired a host of French and British imitators, while his relationships with Delacroix and the landscape painters Eug\u00e8ne Isabey (1803-1886) and Paul Huet (1803-1869) would be of cardinal importance to the subsequent development of French painting.", "name_in_original_language": null, "birth_year": "1802", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-05-29T00:00:00", "sortable_date": 1826, "date_added_to_oa": null, "date_text": "1826", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:51.441000"}, {"id": 168429, "accession_number": "2010.208", "share_license_status": "CC0", "tombstone": "Figure (kg\u00f6ngwana-tshingwana/Ngwana seh\u00f4), 1800s\u20131900s. Southern Africa, Lesotho, Southern Sotho-style maker. Wood, glass beads, cloth, thread, and copper alloy; overall: 25.4 cm (10 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.208", "current_location": "108B Southern African", "title": "Figure (kg\u00f6ngwana-tshingwana/Ngwana seh\u00f4)", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Southern Africa, Lesotho, Southern Sotho-style maker"], "technique": "Wood, glass beads, cloth, thread, and copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 25.4 cm (10 in.)", "dimensions": {"overall": {"height": 0.254}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 78", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Jonathan Lowen, London", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Bowmint Collection [Nicolas Maritz], Pretoria, South Africa", "citations": [], "footnotes": null, "date": "2009", "sortorder": 2}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These figures were symbolic infants that recently married women would take care of until their first child was born.", "description": "Fertility figures like these were used during the initiation ceremonies of pubescent girls. Integrating talismanic materials in their fabrication, the figures were meant to guarantee fertility and prevent or cure barrenness\u2014a gourd\u2019s womblike shape and the seeds within symbolize fecundity. They are sometimes also called \u201cchild figures\u201d because a young bride would care for them as she would for her future children, carrying them on her back and sleeping with them until her first child was born.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760088"], "internet_archive": ["https://archive.org/details/clevelandart-2010.208-figure-kgongwana-tsh"]}, "citations": [{"citation": "Riep, David M. M. 2014. \"Hot Women!: South Sotho Female Arts in Context\". African Arts. 47, no. 3: 24-39.", "page_number": null, "url": null}, {"citation": "Petridis, Constatine. \"The Art of Daily Life: Portable Objects from Southeast Africa. \" Tribal Art. (Summer 2011). Pg. 66, Fig. 3", "page_number": "", "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. 39", "url": ""}, {"citation": "Cole, Herbert M. <em>Maternity: Mothers and Children in the Arts of Africa</em>. <br> Brussels : Mercatorfonds, 2017", "page_number": "Reproduced: p. 123, fig. 105; mentioned: p. 124", "url": null}], "url": "https://clevelandart.org/art/2010.208", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.208/2010.208_web.jpg", "width": "632", "height": "893", "filesize": "286682", "filename": "2010.208_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.208/2010.208_print.jpg", "width": "2406", "height": "3400", "filesize": "4722563", "filename": "2010.208_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.208/2010.208_full.tif", "width": "3968", "height": "5606", "filesize": "66760316", "filename": "2010.208_full.tif"}}, "alternate_images": [{"date_created": "2010-08-24T17:37:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt0_web.jpg", "width": "679", "height": "893", "filesize": "288364"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt0_print.jpg", "width": "2587", "height": "3400", "filesize": "4945754"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt0_full.tif", "width": "4363", "height": "5732", "filesize": "75052368"}}, {"date_created": "2010-08-24T18:03:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt1_web.jpg", "width": "638", "height": "893", "filesize": "286012"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt1_print.jpg", "width": "2431", "height": "3400", "filesize": "4911176"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt1_full.tif", "width": "3999", "height": "5592", "filesize": "67113636"}}, {"date_created": "2010-08-24T17:54:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt2_web.jpg", "width": "672", "height": "893", "filesize": "301915"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt2_print.jpg", "width": "2560", "height": "3400", "filesize": "5159081"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.208/2010.208_alt2_full.tif", "width": "4118", "height": "5468", "filesize": "67578164"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168429, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Doll", "Fertility Figure"], "is_highlight": false, "updated_at": "2026-03-27 00:05:06.242000"}, {"id": 136824, "accession_number": "1961.318.b", "share_license_status": "CC0", "tombstone": "Study of a Male Nude (verso), c. 1810. Pierre-Paul Prud'hon (French, 1758\u20131823). Black and white chalk (both stumped); sheet: 61.9 x 43.6 cm (24 3/8 x 17 3/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1961.318.b", "current_location": null, "title": "Study of a Male Nude (verso)", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and white chalk (both stumped)", "support_materials": [{"description": "blue laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 61.9 x 43.6 cm (24 3/8 x 17 3/16 in.)", "dimensions": {"sheet": {"height": 0.619, "width": 0.436}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "ON SEPERATELY APPLIED PIECES OF PAPER (now removed), printed in black ink: WALTER S. M. BURNS, ESQ. / To be Sold on giving up his Residence at 50, Grosvenor Street, W. / Sale - Sotheby [inscribed in black ink] / DAY OF SALE / Thursday, May 6th, 1926. ; printed in black ink: PIERRE PRUD'HON. / 134   Study of a Nude Woman seated looking to the Right / Black and white chalk on blue paper / 24 in. by 16 3/4 in. (610 mm. by 425 mm.) ; printed in black ink: 2.026", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361355, "title": "French Master Drawings of the 17th and 18th Centuries in North American Collections", "description": "<i>French Master Drawings of the 17th and 18th Centuries in North American Collections</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (September 2-October 15, 1972); Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (September 2-October 15, 1972); National Gallery of Canada, Ottawa, Ont.,, Canada (November 3-December 17, 1972); The New York Cultural Center, New York, NY (April 4-May 13, 1973).", "opening_date": "1972-09-02T04:00:00"}, {"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "for recto:", "opening_date": null}, {"description": "CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).", "opening_date": "1994-12-13T00:00:00"}, {"description": "CMA, Rococo, Revolution, Restoration (July 11-Sep. 24, 1989)--[(?): did this finally appear in show?: the exh. files have two lists for the show, only one of which includes this drawing].", "opening_date": "1989-07-11T00:00:00"}, {"description": "CMA (listed in file of \"West Wing Label Copy, ordered June 20, 1986\").", "opening_date": "1986-06-20T00:00:00"}, {"description": "CMA, National Schools of Style (June 14-Sep. 18, 1983).", "opening_date": "1983-06-14T00:00:00"}, {"description": "CMA, The Lessons of the Academy (Feb. 8-May 29, 1983) [\"Study of a Male Nude\" listed on sheet, so only verso shown?--the same question about verso only; recto only; verso/recto both exhibited may apply as well to some of these other exh. entries (if it is an important question???)].", "opening_date": "1983-02-08T00:00:00"}, {"description": "CMA, French Prints and Drawings in the Age of the Bourbons, 1589-1792 (Jan. 25-May 16, 1982) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet, so only recto shown?].", "opening_date": "1982-01-25T00:00:00"}, {"description": "CMA, Idea to Image: Preparatory Studies from the Renaissance to Impressionism (Feb. 19-Mar. 23, 1980), pp. 19-21, illus. recto and verso.", "opening_date": "1980-02-19T00:00:00"}, {"description": "CMA, 17th and 18th Century Genre and French Drawings (May 31-Aug. 19, 1979).", "opening_date": "1979-05-31T00:00:00"}, {"description": "Toronto, Art Gallery of Ontario; Ottawa, National Gallery of Canada; San Francisco, California Palace of the Legion of Honor, French Master Drawings of the 17th and 18th Centuries in North American Collections (Sep. 2-Oct. 15; Nov. 3-Dec. 17, 1972; Jan. 12-Mar. 11, 1973), no. 118, pl. 138.", "opening_date": "1972-11-03T00:00:00"}, {"description": "CMA, \"Gallery List of Drawings\" (opened June 11, 1968) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet].", "opening_date": "1968-06-11T00:00:00"}, {"description": "CMA, \"Gallery List of Drawings\" (1966) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet].", "opening_date": "1966-01-01T00:00:00"}, {"description": "CMA, French Drawings (Nov. 10, 1965-Feb. 16, 1966; re-opened Mar. 31, 1966) [\"Study of a Nude Woman, Seated Looking to the Right\" listed on sheet].", "opening_date": "1965-11-10T00:00:00"}, {"description": "CMA, France, Italy, Netherlands (Jan. 14-Mar. 24, 1965) [\"Study of a Nude Woman Seated Looking to the Right\" listed on sheet].", "opening_date": "1965-01-14T00:00:00"}, {"description": "CMA, Neo-Classicism: Style and Motif (1964), no. 110, illus.", "opening_date": "1964-01-01T00:00:00"}, {"description": "CMA, The Year in Review for 1962 (Oct. 24-Nov. 25, 1962), cma Bulletin 49 (1962), p. 226 no. 129, illus. recto p. 220.", "opening_date": "1962-10-24T00:00:00"}]}, "provenance": [{"description": "Charles-Boulanger de Boisfremont, Paris (Lugt 353, lower left, in red ink); [his sale, Paris, Hotel Drouot, 9 April 1870, lot 49] (according to letter of 16 Feb. 1981 from Sylvain Laveissi\u00e8re in departmental file).  Walter S.M. Burns, London; [his sale, London, Sotheby's, 6 May 1926, p. 21, lot 134] (photocopy of cat. in departmental file)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pierre-Paul Prud'hon was raised in the Cluny abbey by monks, who recognized and encouraged his artistic talent as a boy.", "description": "This sheet is notable in its presentation of a woman, specifically one of Pierre-Paul Prud\u2019hon\u2019s favorite models, Marguerite\u2014known for her curly hair and striking appearance. Following the artist\u2019s death, more than 100 drawings were discovered in his studio, each portraying a closely studied nude figure like those shown here. The context of these works remains unclear: artists typically sketched from a model early in their training, but Prud\u2019hon did so as a well-established painter. He saw drawing as a solitary practice, working consistently with white and black chalks on a paper described by one critic as \u201cmoonlit blue.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80031007"], "internet_archive": ["https://archive.org/details/clevelandart-1961.318.b-study-of-a-male-nude"]}, "citations": [], "url": "https://clevelandart.org/art/1961.318.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.318.b/1961.318.b_web.jpg", "width": "647", "height": "900", "filesize": "262768", "filename": "1961.318.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.318.b/1961.318.b_print.jpg", "width": "2443", "height": "3400", "filesize": "4041085", "filename": "1961.318.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.318.b/1961.318.b_full.tif", "width": "9655", "height": "13437", "filesize": "389230685", "filename": "1961.318.b_full.tif"}}, "alternate_images": [{"date_created": "2015-02-27T19:43:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.b/1961.318.b_alt0_web.jpg", "width": "633", "height": "900", "filesize": "165347"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.b/1961.318.b_alt0_print.jpg", "width": "2391", "height": "3400", "filesize": "3018575"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.b/1961.318.b_alt0_full.tif", "width": "3243", "height": "4612", "filesize": "44893844"}}, {"date_created": "2022-01-10T14:54:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.b/1961.318.b_alt1_web.jpg", "width": "625", "height": "900", "filesize": "268083"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.b/1961.318.b_alt1_print.jpg", "width": "2362", "height": "3400", "filesize": "4122764"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.318.b/1961.318.b_alt1_full.tif", "width": "8004", "height": "11523", "filesize": "276714705"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136824, "creators": [{"id": 1646, "description": "Pierre-Paul Prud'hon (French, 1758\u20131823)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre-Paul Prud'hon studied at the Dijon School of Art under Fran\u00e7ois Devosge (1732-1811), founder and director of one of the most prominent art schools in France. In 1776 Prud'hon met the Baron de Joursanvault, a follower of Jean-Jacques Rousseau and an art lover, who became his first patron. At the age of twenty-two Prud'hon left for Paris, where he attended the Acad\u00e9mie Royale and was introduced to Jean-Baptiste Greuze (1725-1805) and Jean-Georges Wille (1715-1808), an important engraver and collector. Soon after he returned to Dijon in 1784, he won the Prix de Rome and left for Italy, where he would spend four decisive years. He studied the works of Raphael (1483-1520), Leonardo da Vinci (1452--1519), and Correggio (ca. 1489/94-1534) as well as antique sculptures. He was influenced by the artists Anton Raphael Mengs (1728-1779), Antonio Canova (1757-1822), and Angelica Kauffmann (1741-1807) rather than his own countrymen, the pupils of David (q.v.). When he returned to Paris in 1788, Prud'hon endorsed the revolutionary ideals. He attended the meetings of David's Club des Arts and made drawings with political overtones that were to be engraved. After Robespierre's execution, Prud'hon was forced to live in exile in the Franche-Comt\u00e9 (1794-96), where he painted several portraits and made book illustrations. Upon his return to Paris he was elected to the Institut de France and received private and public commissions for decorative projects, including, for example, the ceilings in the Greek sculpture rooms of the Louvre and designs for the celebrations of the emperor's coronation and his marriage to Marie-Louise of Austria. During the First Empire (1805-15) he became equally respected for his imperial portraits and was appointed drawing instructor of the new empress. During the Bourbon restoration (1815-23) he still received several public commissions, even though he did not sympathize with the regime. In 1802 Prud'hon's wife had to be institutionalized, leaving him to care for their five children. He would be supported in this task by his pupil, Constance Mayer (1774-1821), who not only became his mistress but also his first artistic collaborator. (Prud'hon often made the preparatory drawings for her paintings.) His last years were plagued with many problems, and Mayer's suicide in 1821 affected him tremendously. He would survive her only briefly, dying two years later in 1823.", "name_in_original_language": null, "birth_year": "1758", "death_year": "1823", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1961.318", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:39.746000"}, {"id": 133057, "accession_number": "1955.48", "share_license_status": "CC0", "tombstone": "Royal women shooting from a pavilion, c. 1810. Northwestern India, Rajasthan, Rajput Kingdom of Kota. Gum tempera, ink, and gold on paper; sheet: 34.3 x 27.3 cm (13 1/2 x 10 3/4 in.); sheet with border: 38.1 x 31.1 cm (15 x 12 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1955.48", "current_location": null, "title": "Royal women shooting from a pavilion", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": [], "culture": ["Northwestern India, Rajasthan, Rajput Kingdom of Kota"], "technique": "Gum tempera, ink, and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Sheet: 34.3 x 27.3 cm (13 1/2 x 10 3/4 in.); Sheet with border: 38.1 x 31.1 cm (15 x 12 1/4 in.)", "dimensions": {"sheet": {"height": 0.343, "width": 0.273}, "sheet with border": {"height": 0.381, "width": 0.311}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 700743, "title": "Islamic and Indian Miniature Paintings and Manuscripts", "description": "<i>Islamic and Indian Miniature Paintings and Manuscripts</i>. The Metropolitan Museum of Art, New York, NY (organizer) (December 19, 1955-February 19, 1956).", "opening_date": "1955-12-15T05:00:00"}, {"id": 701400, "title": "Indian Painting 12th-20th Century", "description": "<i>Indian Painting 12th-20th Century</i>. Chinese Art Society of America, New York, NY (organizer) (May 3-June 1, 1956).", "opening_date": "1956-05-03T04:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 518572, "title": "Rajput Painting", "description": "<i>Rajput Painting</i>. The Asia Society Museum, New York, NY (organizer) (November 30, 1960-January 22, 1961).", "opening_date": "1960-11-30T05:00:00"}, {"id": 304550, "title": "A Cleveland Bestiary", "description": "<i>A Cleveland Bestiary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15-December 16, 1981).", "opening_date": "1981-10-15T04:00:00"}, {"id": 211694, "title": "Gods, Kings and Tigers:  The Art of Kotah", "description": "<i>Gods, Kings and Tigers:  The Art of Kotah</i>. The Asia Society Museum (April 24-July 27, 1997); HUAM, Arthur M. Sackler Museum, Cambridge, MA (August 30-November 2, 1997); Museum Rietberg, Z\u00fcrich (November 23, 1997-February 22, 1998).", "opening_date": "1997-08-30T00:00:00"}, {"id": 674335, "title": "Temples and Worship in South Asia", "description": "<i>Temples and Worship in South Asia</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14, 2024-March 9, 2025).", "opening_date": "2024-09-14T04:00:00"}], "legacy": [{"description": "<em>Indian Miniature Rotation (Gallery 115)</em>. The Cleveland Museum of Art, Cleveland, OH (February 20-August 18, 2004).", "opening_date": "2004-02-20T00:00:00"}, {"description": "<em>Main Gallery Rotation (Gallery 242B)</em>. The Cleveland Museum of Art, Cleveland, OH (April 6-November 7, 2016).", "opening_date": "2016-04-06T00:00:00"}]}, "provenance": [{"description": "(Heeramaneck Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131955", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1955\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "On the distant horizon a European rides an elephant, while a dog runs alongside.", "description": "Two magnificent lions arrived at a pond, and the male turns back, sensing that something has alerted the deer. From a hunting lodge, a princess aims her musket in their direction. <br><br>On the far banks of the pond is an abstract phallic sculpture (linga) on a spouted pedestal, indicating the sacred presence of the Hindu god Shiva. In front of the linga is an image of Shiva\u2019s mount, the bull Nandi. The linga and bull bear traces of worship: horizontal marks in saffron, turmeric, and gold that communicate the worshiper\u2019s religious affiliation and an inverted lotus flower. Devotion to Shiva is a prerequisite for the abundance of the land.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516946"], "internet_archive": ["https://archive.org/details/clevelandart-1955.48-ladies-shooting-from", "https://archive.org/details/clevelandart-1955.48-royal-women-shooting"]}, "citations": [{"citation": "A related painting of <em>Royal Women Shooting Lions </em>is in the collection of the Royal Ontario Museum.", "page_number": "ROM object number, 2009.10.18", "url": "https://collections.rom.on.ca/objects/357389/royal-women-shooting-lions?ctx=ee1380c5-b0c8-4c7e-9833-c8b91c779e24&idx=99"}, {"citation": "Lee, Sherman. \"The Decorative and the Super-Real: Two Rajasthani Miniatures.\" <em>The Bulletin of the Cleveland Museum of Art </em>44, no. 8 (October 1957): 180-183.", "page_number": "Reproduced: cover; Mentioned: p. 182", "url": "https://www.jstor.org/stable/25142231"}, {"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. 771", "url": "https://archive.org/details/CMAHandbook1958/page/n138"}, {"citation": "Lee, Sherman E. and George Montgomery. <em>Rajput Painting; with an introductory essay and catalogue notes</em>. New York: Asia House, 1960.", "page_number": "Reproduced: pp. 46-47; plate 40", "url": null}, {"citation": "Coates, Robert M.. \"The Art Galleries Here and There.\" <em>The New Yorker </em>(December 31, 1960): 45-47.", "page_number": "Mentioned: p. 45", "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. 240", "url": "https://archive.org/details/CMAHandbook1966/page/n264"}, {"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. 240", "url": "https://archive.org/details/CMAHandbook1969/page/n264"}, {"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. 307", "url": "https://archive.org/details/CMAHandbook1978/page/n327"}, {"citation": "Kathman, Barbara A. <em>A Cleveland Bestiary</em>. Cleveland, OH; Cleveland Museum of Art, 1981.", "page_number": "Reproduced: p. 10; Mentioned: p. 11, 60", "url": null}, {"citation": "Desai, Vishakha N., B. N. Goswamy, and Ainslie Thomas Embree. <em>Life at Court: Art for India's Rulers, 16th-19th Centuries</em>. Boston, MA: Museum of Fine Arts, 1985.", "page_number": "Mentioned and Reproduced: pp. 86-87, cat. no. 69 and detail", "url": null}, {"citation": "Leach, Linda York. <em>Indian Miniature Paintings and Drawings</em>. Cleveland, OH: Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "Reproduced: cat. no. 77, pp. 197-203", "url": null}, {"citation": "Dixit, Rita. \"Ladies Who Hunt.\" <em>Asian Art: the Newspaper for Collectors, Dealers, Museums and Galleries</em> 24, i. 6 (Summer 2021): 14\u201315.", "page_number": "Mentioned: p. 15; Reproduced p. 14\u201315", "url": ""}], "url": "https://clevelandart.org/art/1955.48", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1955.48/1955.48_web.jpg", "width": "736", "height": "900", "filesize": "313511", "filename": "1955.48_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1955.48/1955.48_print.jpg", "width": "2782", "height": "3400", "filesize": "3823623", "filename": "1955.48_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1955.48/1955.48_full.tif", "width": "5703", "height": "6970", "filesize": "119284888", "filename": "1955.48_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1955.48/1955.48_alt0_web.jpg", "width": "730", "height": "893", "filesize": "598521"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1955.48/1955.48_alt0_print.jpg", "width": "1894", "height": "2316", "filesize": "2279468"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1955.48/1955.48_alt0_full.tif", "width": "1894", "height": "2316", "filesize": "13173812"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133057, "creators": [], "legal_status": "accessioned", "accession_date": "1955-03-10T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Palace Ladies Hunting from a Pavilion", "Ladies Shooting from a Pavilion"], "is_highlight": false, "updated_at": "2026-03-27 00:04:41.844000"}, {"id": 140325, "accession_number": "1964.28", "share_license_status": "CC0", "tombstone": "Sheet of Sketches (recto and verso), 1819. Th\u00e9odore G\u00e9ricault (French, 1791\u20131824). Pen and brown ink on ivory laid paper; sheet: 22.8 x 35 cm (9 x 13 3/4 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1964.28", "current_location": null, "title": "Sheet of Sketches (recto and verso)", "creation_date": "1819", "creation_date_earliest": 1819, "creation_date_latest": 1819, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pen and brown ink on ivory laid paper", "support_materials": [{"description": "ivory laid paper", "watermarks": ["shell or plume"]}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 22.8 x 35 cm (9 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.228, "width": 0.35}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in brown ink, at upper left: dessin de gericault fait \u00e0 fontain la magdelaine; watermark, at center: scallop shell (possibly J. Berger or J. Bouchet)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "<em>Danse et divertissements</em>. Galerie Charpentier, Paris (1948\u201349).", "opening_date": "1948-01-01T00:00:00"}, {"description": "<em>G\u00e9ricault, cet inconnu </em>[. . .] <em>(1791\u20131824): Aquarelles, gouaches, dessins</em>. Galerie Bignou, Paris (May 19\u2013June 10, 1950).", "opening_date": "1950-06-10T00:00:00"}, {"description": "<em>Th\u00e9odore G\u00e9ricault</em>. Kunstmuseum Winterthur, Switzerland (August 30\u2013November 8, 1953).", "opening_date": "1953-11-08T00:00:00"}, {"description": "<em>Gros, Ge\u0301ricault, Delacroix</em>. Galerie Bernheim-Jeune, Paris (January 9\u2013March 13, 1954).", "opening_date": "1954-03-13T00:00:00"}, {"description": "<em>Aquarelles et dessins de Delacroix a\u0300 Vlaminck</em>. Galerie Marcel Guiot, Paris (April 1963).", "opening_date": "1963-04-01T00:00:00"}]}, "provenance": [{"description": "Possibly Pierre-Olivier Dubaut [1886\u20131968], Paris", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 1}, {"description": "Private collection, Paris", "citations": [], "footnotes": null, "date": "by 1948-before 1963", "sortorder": 2}, {"description": "(Galerie Marcel Guiot, Paris)", "citations": [], "footnotes": null, "date": "by 1963", "sortorder": 3}, {"description": "(Walter Goetz, Paris, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "1963-1964", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "G\u00e9ricault died at a young age and had a professional career lasting only just over a decade.", "description": "The inscription at the upper left of the sheet states that G\u00e9ricault executed these studies at the spring of the Magdelaine, near the forest of Fontainebleau, which he visited in 1819. The male figures closely resemble the earlier studies he made while in Italy of peasants during horse races at annual Roman carnivals. Here, men struggle to keep control of their unseen animals during the moments before the race. The verso female figures, visible though the paper, derive directly from Pompeiian paintings of bacchanals, or revelers participating in festivals honoring Bacchus, the god of wine.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80038402"], "internet_archive": ["https://archive.org/details/clevelandart-1964.28-sheet-of-sketches-re"]}, "citations": [{"citation": "Cocteau, Jean. <em>Danse et divertissements</em>. Exh. cat. Paris: Galerie Charpentier, 1948.", "page_number": "Mentioned: no. 109", "url": null}, {"citation": "<em>G\u00e9ricault, cet inconnu </em>[. . .] <em>(1791\u20131824): Aquarelles, gouaches, dessins</em>. Exh. cat. Paris: Galerie Bignou, 1950.", "page_number": "Mentioned: no. 6", "url": null}, {"citation": "<em>Th\u00e9odore G\u00e9ricault</em>. Exh. cat. Winterthur, Switz.: Kunstmuseum, 1953.", "page_number": "Mentioned: p. 46, no. 167", "url": null}, {"citation": "<em>Gros, Ge\u0301ricault, Delacroix</em>. Exh. cat. Paris: Galerie Bernheim-Jeune, 1954.", "page_number": "Mentioned: no. 42", "url": null}, {"citation": "<em>Aquarelles et dessins de Delacroix a\u0300 Vlaminck</em>. Exh. cat. Paris: Galerie Marcel Guiot, 1963.", "page_number": "Mentioned: no. 23", "url": null}, {"citation": "\"Year in Review for 1964.\" <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 10 (1964): 236-66.", "page_number": "Mentioned: p. 265, no. 119; Reproduced: p. 246", "url": null}, {"citation": "Bazin, Germain. <em>The\u0301odore Ge\u0301ricault: \u00c9tude critique, documents et catalogue raisonne\u0301</em>.. Paris: Wildenstein Institute, 1994.", "page_number": "Mentioned: vol. 6, p. 72, 178, nos. 2109 and 2110; Reproduced: vol. 6, p. 178", "url": null}, {"citation": "Ives, Colta and Elizabeth E. Barker. <em>Romanticism &amp; the School of Nature: Nineteenth-Century Drawings and Paintings from the Karen B. Cohen Collection</em>. Exh. cat. New York: Metropolitan Museum of Art, 2000.", "page_number": "Mentioned: p. 43n3", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 84-87, no. 6", "url": ""}], "catalogue_raisonne": "Bazin 2109 and 2110", "url": "https://clevelandart.org/art/1964.28", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.28/1964.28_web.jpg", "width": "900", "height": "293", "filesize": "197062", "filename": "1964.28_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.28/1964.28_print.jpg", "width": "3400", "height": "1107", "filesize": "1464699", "filename": "1964.28_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.28/1964.28_full.tif", "width": "12675", "height": "4128", "filesize": "156993232", "filename": "1964.28_full.tif"}}, "alternate_images": [{"date_created": "2011-03-09T16:19:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.28/1964.28_alt0_web.jpg", "width": "900", "height": "599", "filesize": "197053"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.28/1964.28_alt0_print.jpg", "width": "3400", "height": "2263", "filesize": "2523238"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.28/1964.28_alt0_full.tif", "width": "6314", "height": "4203", "filesize": "79641260"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140325, "creators": [{"id": 11643, "description": "Th\u00e9odore G\u00e9ricault (French, 1791\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-02-22T00:00:00", "sortable_date": 1819, "date_added_to_oa": null, "date_text": "1819", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:59.772000"}, {"id": 149014, "accession_number": "1977.167", "share_license_status": "CC0", "tombstone": "Laundress and Her Child (Aline and Pierre), c. 1886. Pierre-Auguste Renoir (French, 1841\u20131919). Pastel on brown paper; sheet: 81.5 x 65 cm (32 1/16 x 25 9/16 in.); mounted: 82.6 x 65.9 cm (32 1/2 x 25 15/16 in.); framed: 99 x 82.5 x 4.2 cm (39 x 32 1/2 x 1 5/8 in.). The Cleveland Museum of Art, Bequest of Alexander Ginn, 1977.167", "current_location": null, "title": "Laundress and Her Child (Aline and Pierre)", "creation_date": "c. 1886", "creation_date_earliest": 1881, "creation_date_latest": 1891, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel on brown paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 81.5 x 65 cm (32 1/16 x 25 9/16 in.); Mounted: 82.6 x 65.9 cm (32 1/2 x 25 15/16 in.); Framed: 99 x 82.5 x 4.2 cm (39 x 32 1/2 x 1 5/8 in.)", "dimensions": {"sheet": {"height": 0.815, "width": 0.65}, "framed": {"height": 0.99, "width": 0.825, "depth": 0.042}, "mounted": {"height": 0.826, "width": 0.659}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped, lower right, in black ink: Renoir [Lugt 2137b]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"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": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}, {"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Georges Petit, Paris)", "citations": [], "footnotes": null, "date": "after 1886-1890", "sortorder": 1}, {"description": "(Durand-Ruel, Paris, transferred to Durand-Ruel, New York)", "citations": [], "footnotes": null, "date": "1890-1926", "sortorder": 2}, {"description": "(Durand-Ruel, New York)", "citations": [], "footnotes": null, "date": "1926", "sortorder": 3}, {"description": "(Reinhardt Galleries, New York)", "citations": [], "footnotes": null, "date": "after 1926-1929", "sortorder": 4}, {"description": "(Durand-Ruel, New York)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 5}, {"description": "Mr. [1868\u20131938] and Mrs. Frank Ginn, Cleveland, by descent to Alexander Ginn, Cleveland", "citations": [], "footnotes": null, "date": "1929-1938", "sortorder": 6}, {"description": "Alexander Ginn [d. 1999], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1938-1977", "sortorder": 7}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1977-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Auguste Renoir also realized this composition as a painting in oil on canvas which is in the collection of the Barnes Foundation today.", "description": "In this idealization of motherhood and rural life, Auguste Renoir depicted his future wife, Aline Charigot, with their son Pierre. Bright colors, including warm orange and yellow, are contrasted with cool blues and greens to create a dramatic impact. Renoir took full advantage of pastel\u2019s unique optical properties, in which minute, irregular particles diffusely reflect light, allowing for an unparalleled velvety brilliance that is perfectly suited to portray the youthful bloom of the woman and child.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929729"], "internet_archive": ["https://archive.org/details/clevelandart-1977.167-mother-and-child", "https://archive.org/details/clevelandart-1977.167-laundress-and-her-ch"]}, "citations": [{"citation": "Andr\u00e9, Albert. <em>Renoir</em>. Paris: G. Cr\u00e8s and Cie., 1928.", "page_number": "Reproduced: pl. 35", "url": null}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 162", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Florisoone, Michel. <em>Renoir</em>. Translated by George Frederic Lees. Paris: Hyperion, 1938.", "page_number": "Mentioned: p. 66; Reproduced: p. 71", "url": null}, {"citation": "Drucker, Michel. <em>Renoir</em>. Paris: Pierre Tisn\u00e9, 1944.", "page_number": "Mentioned: pp. 187, 206, no. 82; Reproduced: pl. 82", "url": null}, {"citation": "Rewald, John. <em>Renoir Drawings.</em> New York: H. Bittner, 1946.", "page_number": "Mentioned and reproduced: p. 20, no. 46", "url": ""}, {"citation": "<em>Drawings from the Collection of Louis C. G. Clarke, LL. D., 1881\u20131960</em>. Exh. cat. Cambridge, UK: Fitzwilliam Museum, 1981.", "page_number": "Mentioned: p. 81", "url": ""}, {"citation": "White, Barbara Ehrlich. <em>Renoir: His Life, Art, and Letters</em>. New York: Abrams, 1984..", "page_number": "Mentioned: pp. 175-76, 179; Reproduced: p. 178", "url": null}, {"citation": "Ikegami, Chu\u0304ji. <em>Ko\u0304ki insho\u0304ha jidai</em>. To\u0304kyo\u0304: Sho\u0304gakukan, 1993.", "page_number": "Mentioned: p. 387, no. 28; Reproduced: p. 46", "url": null}, {"citation": "N\u00e9ret, Gilles. <em>Renoir: Painter of Happiness, 1841\u20131919</em>. Cologne: Taschen, 2001.", "page_number": "Mentioned: pp. 365, 377; Reproduced: p. 367", "url": null}, {"citation": "Collins, John. \u201cCharigot, Aline.\u201d In <em>Dictionary of Artists\u2019 Models</em>, edited by Jill Berk Jiminez. London: Fitzroy Dearborn, 2001.", "page_number": "Mentioned: p. 117", "url": ""}, {"citation": "Dumas, Ann and John Collins. <em>Renoir's Women</em>. Exh. cat. Columbus: Columbus Museum of Art, 2005.", "page_number": "Mentioned: p. 59, 120; Reproduced: p. 57", "url": null}, {"citation": "Dauberville, Guy-Patrice and Michel Dauberville. <em>Renoir: Catalogue raisonn\u00e9 des tableaux, pastels, dessins et aquarelles</em>. Paris: \u00c9ditions Bernheim-Jeune, 2007.", "page_number": "Mentioned and reproduced: vol. 3, p. 445, no. 1394", "url": ""}, {"citation": "Amiot-Saulnier, Emmanuelle. <em>Renoir: Pastels, crayons, sanguines, aquarelles</em>. Paris: Hazan, 2009.", "page_number": "Mentioned: pp. 44, 120, no. 31; Reproduced: p. 121", "url": null}, {"citation": "Lucy, Martha. \u201cWasherwoman and Child.\u201d In Martha Lucy and John House, <em>Renoir in the Barnes Foundation</em>. New Haven, CT: Yale University Press, 2012.", "page_number": "Mentioned: p. 115; Reproduced: p. 117", "url": ""}, {"citation": "Groom, Gloria and Jill Shaw, eds. <em>Renoir Paintings and Drawings at the Art Institute of Chicago</em>. Chicago: Art Institute of Chicago, 2014.", "page_number": "Mentioned: para. 14; Reproduced: fig. 6.9", "url": "https://www.artic.edu/digital-publications/renoir-paintings-and-drawings-at-the-art-institute-of-chicago"}, {"citation": "Perrin, Paul. \u201cMadame Renoir.\u201d In Lamia Guillaume, ed., <em>Un autre Renoir</em>. Exh. cat. Troyes: Mus\u00e9e d\u2019Art Moderne, 2017.", "page_number": "Mentioned: p. 45", "url": ""}, {"citation": "White, Barbara Ehrlich. <em>Renoir: An Intimate Biography</em>. London: Thames and Hudson, 2017.", "page_number": "Mentioned: pp. 145, 375n9, 377n60", "url": ""}, {"citation": "Le Foll, Jose\u0301phine. <em>L\u2019Impressionnisme.</em> Paris: Citadelles and Mazenod, 2020.", "page_number": "Reproduced: p. 312", "url": null}, {"citation": "Salsbury, Britany, Edgar Degas, and William Griswold. <em>Degas and the Laundress: Women, Work, and Impressionism</em>. 2023.", "page_number": "Reproduced: p. 168, no. 50", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 144-145, no. 27", "url": ""}], "catalogue_raisonne": "Dauberville 1394", "url": "https://clevelandart.org/art/1977.167", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.167/1977.167_web.jpg", "width": "715", "height": "893", "filesize": "524152", "filename": "1977.167_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.167/1977.167_print.jpg", "width": "2722", "height": "3400", "filesize": "9492172", "filename": "1977.167_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.167/1977.167_full.tif", "width": "4557", "height": "5690", "filesize": "77903216", "filename": "1977.167_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.167/1977.167_alt0_web.jpg", "width": "714", "height": "893", "filesize": "583184"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.167/1977.167_alt0_print.jpg", "width": "1536", "height": "1921", "filesize": "2738614"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.167/1977.167_alt0_full.tif", "width": "1536", "height": "1921", "filesize": "8855228"}}], "creditline": "Bequest of Alexander Ginn", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149014, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-05-08T00:00:00", "sortable_date": 1881, "date_added_to_oa": null, "date_text": "c. 1886", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mother and Child"], "is_highlight": false, "updated_at": "2026-03-27 00:05:18.307000"}, {"id": 130369, "accession_number": "1953.136", "share_license_status": "CC0", "tombstone": "The Toilet, from The Rape of the Lock by Alexander Pope, c. 1895\u201396. Aubrey Beardsley (British, 1872\u20131898). Pen and black ink with traces of graphite underdrawing; sheet: 25.6 x 17.4 cm (10 1/16 x 6 7/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1953.136", "current_location": null, "title": "The Toilet, from The Rape of the Lock by Alexander Pope", "creation_date": "c. 1895\u201396", "creation_date_earliest": 1890, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "pen and black ink with traces of graphite underdrawing", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 25.6 x 17.4 cm (10 1/16 x 6 7/8 in.)", "dimensions": {"sheet": {"height": 0.256, "width": 0.174}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 515830, "title": "Drawings by Aubrey Beardsley", "description": "<i>Drawings by Aubrey Beardsley</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (May 19-September 19, 1966); The Gallery of Modern Art, New York, NY (February 13-April 13, 1967).", "opening_date": "1966-05-19T04:00:00"}, {"id": 517675, "title": "Aubrey Beardsley", "description": "<i>Aubrey Beardsley</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (December 11, 1967-March 4, 1968).", "opening_date": "1967-12-11T05:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}, {"id": 543573, "title": "Fairy Tales and Fables: Illustration and Storytelling in Art", "description": "<i>Fairy Tales and Fables: Illustration and Storytelling in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-September 8, 2024).", "opening_date": "2024-05-04T04:00:00"}], "legacy": [{"description": "<em>Aubrey Beardsley.</em> Gallery of Modern Art, New York (February 14 - April 9, 1967).", "opening_date": "1967-02-14T00:00:00"}, {"description": "<em>Aubrey Beardsley. </em>The Victoria and Albert Museum, London (1966).", "opening_date": "1966-01-01T00:00:00"}]}, "provenance": [{"description": "(R. A. Walker, Bedford, England, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1953", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After a rapid rise to fame and notoriety, Aubrey Beardsley produced hundreds of drawings before falling victim to tuberculosis at the age of 25.", "description": "In this drawing, Aubrey Beardsley illustrates an early scene in Alexander Pope\u2019s satirical masterpiece <em>The Rape of the Lock</em> (1712) in which the heroine, Belinda, primps in her boudoir. Reflecting the poem\u2019s emphasis on contrived rather than natural beauty, the drawing is densely layered with artifice. A view of an idyllic garden with a cupola-topped pavilion is glimpsed not through a window as it would first seem, but on a folding screen. The bejeweled bottles littering the table serve as emblems of Belinda\u2019s vanity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912100"], "internet_archive": ["https://archive.org/details/clevelandart-1953.136-the-toilet-from-the"]}, "citations": [{"citation": "Pope, Alexander. <em>The Rape of the Lock: An Heroi-comical Poem in Five Cantos. </em>London: Leonard Smithers, 1896.", "page_number": "Reproduced: p. 8", "url": "https://archive.org/details/rapeoflockheroic00popeuoft/page/n23/mode/2up"}, {"citation": "Marillier, H.C.. <em>The Later Work of Aubrey Beardsley. </em>New York: John Lane, 1920.", "page_number": "Reproduced: pl. 88", "url": null}, {"citation": "Hind, Lewis C.. <em>The Uncollected Work of Aubrey Beardsley.</em> London: John Lane; New York: Dodd, Mead and Company,1925.", "page_number": "Mentioned: p. ix, no. 16", "url": null}, {"citation": "Gallatin, A. E. <em>Aubrey Beardsley; Catalogue of Drawings and Bibliography</em>. New York: Grolier Club, 1945.", "page_number": "Mentioned: p. 63, no. 1036", "url": null}, {"citation": "Walker, R.A.. <em>The Best of Beardsley. </em>London: Bodley Head, 1948.", "page_number": "Reproduced: pl. 61", "url": null}, {"citation": "Ho\u0308lscher, Eberhard von. <em>Aubrey Beardsley.</em> Hamburg: Ernst Hauswedell, 1949.", "page_number": "Reproduced: p. 40", "url": null}, {"citation": "Reade, Brian and Frank Dickinson. <em>Aubrey Beardsley ; Exhibition at the Victoria and Albert Museum</em>. Exh. Cat. London: Victoria and Albert Museum, 1966.", "page_number": "Mentioned: p. 227, no. 506", "url": null}, {"citation": "Reade, Brian. <em>Aubrey Beardsley</em>. New York: The Viking Press, 1967.", "page_number": "Reproduced: p. 352, no. 406", "url": null}, {"citation": "Ross, Robert Baldwin. <em>Aubrey Beardsley</em>. New York: Jack Brussel,1967.", "page_number": "Reproduced: p. 26; Mentioned: p. 102, no. 144", "url": null}, {"citation": "Reade, Brian and Raymond Rohauer. <em>Aubrey Beardsley</em>. Exh. Cat. New York: Foundation for Modern Art, 1967.", "page_number": "Mentioned: no. 199", "url": null}, {"citation": "Halsband, Robert. <em>The Rape of the Lock and Its Illustrations, 1714-1896</em>. New York: Oxford University Press, 1980.", "page_number": "Reproduced: p. 98, no. 48", "url": null}, {"citation": "Wilson, Simon. <em>Beardsley</em>. Oxford: Phaidon, 1983.", "page_number": "Reproduced: fig. 29", "url": null}, {"citation": "Miller, J. Hillis. \"The Mirror's Secret: Dante Gabriel Rossetti's Double Work of Art.\" In <em>Contemporary Critics Look at Victorian Poetry,</em> 333-49. Morgantown: West Virginia University Press, 1991.", "page_number": "Mentioned: p. 342, 348; Reproduced: fig. 8", "url": "www.jstor.org/stable/40003000"}, {"citation": "Takashina, Sh\u016bji and Nobuyuki Senzoku, eds. <em>Western Art: Fin du si\u00e8cle and Symbolism</em>. Vol. 24 of <em>New History of World Art</em>. Tokyo: Sh\u014dgakkan, 1996.", "page_number": "Reproduced: no. 177", "url": null}, {"citation": "Zatlin, Linda Gertner. <em>Aubrey Beardsley: A Catalogue Raisonne\u0301</em>. New Haven: Yale University Press, 2016.", "page_number": "Mentioned: pp. 215-16; Reproduced: p. 215, fig. 979", "url": null}], "url": "https://clevelandart.org/art/1953.136", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.136/1953.136_web.jpg", "width": "607", "height": "893", "filesize": "535241", "filename": "1953.136_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.136/1953.136_print.jpg", "width": "2312", "height": "3400", "filesize": "7582392", "filename": "1953.136_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.136/1953.136_full.tif", "width": "4274", "height": "6284", "filesize": "80608776", "filename": "1953.136_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130369, "creators": [{"id": 1385, "description": "Aubrey Beardsley (British, 1872\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1872", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-04-17T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895\u201396", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Toilet"], "is_highlight": false, "updated_at": "2026-03-27 00:08:12.922000"}, {"id": 447727, "accession_number": "2022.197", "share_license_status": "CC0", "tombstone": "Water Container with Peonies, 1900\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with molded and carved design, green glaze, and black lacquered lid; height with lid: 17.8 cm (7 in.); diameter: 16 cm (6 5/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.197", "current_location": null, "title": "Water Container with Peonies", "creation_date": "1900\u20131914", "creation_date_earliest": 1900, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with molded and carved design, green glaze, and black lacquered lid", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height with lid: 17.8 cm (7 in.); Diameter: 16 cm (6 5/16 in.)", "dimensions": {"height with lid": {"height": 0.178}, "diameter of foot": {"width": 0.08}, "lid": {"height": 0.015, "width": 0.1}, "height": {"height": 0.162}, "diameter": {"width": 0.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\u201cSeif\u016b\u201d inscribed on the base", "inscription_remark": null, "sortorder": 1}, {"inscription": null, "inscription_translation": "Flower seal on the lid of the interior box", "inscription_remark": null, "sortorder": 2}, {"inscription": "\u5e1d\u5ba4\u6280\u82b8\u54e1", "inscription_translation": "Seal on the lid of the interior box: Imperial Household Artist \u201cTeishitsu gigei\u2019in\u201d", "inscription_remark": "Seal on the lid of the interior box:", "sortorder": 3}, {"inscription": "\u6e05\u98a8", "inscription_translation": "Seal on the lid of the interior box: \u201cSeif\u016b\u201d", "inscription_remark": null, "sortorder": 4}], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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It features the peony as its primary motif. The water container, or <em>mizusashi</em>, has a green glaze, and its design takes into consideration the rounded shape and the seated position of the host and guests. It begins low on the body with a flower just beginning to open and continues with another flower a bit higher up, with its petals fully extended and beginning to open outward. It finishes with a flower in full bloom, petals and leaves unfurled and spread outward from the center, now occupying almost the entire surface. <br><br>The water container once belonged to the Hosokawa family, whose go-between corresponded with Yohei IV about the piece. Yohei IV thanked them for their payment and requested that despite his father\u2019s death in the previous year, they continue to favor the studio with their orders. The letter and its envelope, as well as an auction tag, remain with the object.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117662473"], "internet_archive": ["https://archive.org/details/clevelandart-2022.197-water-container-with"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 53, pp. 2\u20133 and 128\u2013131", "url": ""}, {"citation": "\"Colours of Kyoto, Ceramics From the Yohei Studio.\" <em>The Asian Art Newspaper: Monthly for Collectors, Dealers, Museums and Galleries </em>27, no. 1 (November 2023): 8", "page_number": "Mentioned and Reproduced: p. 8", "url": ""}, {"citation": "Goodall, Hollis. \"Seif\u016b Yohei III: Master of Finesse.\" <em>Impressions: The Journal of the Japanese Art Society of America</em> 45, part 2 (2024): 178-193.", "page_number": "Mentioned: p. 183; Reproduced: p. 182 (fig. 3)", "url": ""}], "url": "https://clevelandart.org/art/2022.197", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.197/2022.197_web.jpg", "width": "874", "height": "900", "filesize": "149760", "filename": "2022.197_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.197/2022.197_print.jpg", 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"name_in_original_language": "\u4e09\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1851", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-10 07:01:58.904000"}, {"id": 141328, "accession_number": "1964.54", "share_license_status": "CC0", "tombstone": "Portrait of Count Jean-Antoine Chaptal, 1824. Antoine-Jean Gros (French, 1771\u20131835). Oil on canvas; framed: 183.5 x 151.1 x 16.5 cm (72 1/4 x 59 1/2 x 6 1/2 in.); unframed: 136.5 x 114.3 cm (53 3/4 x 45 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1964.54", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Portrait of Count Jean-Antoine Chaptal", "creation_date": "1824", "creation_date_earliest": 1824, "creation_date_latest": 1824, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 183.5 x 151.1 x 16.5 cm (72 1/4 x 59 1/2 x 6 1/2 in.); Unframed: 136.5 x 114.3 cm (53 3/4 x 45 in.)", "dimensions": {"framed": {"height": 1.835, "width": 1.511, "depth": 0.165}, "unframed": {"height": 1.365, "width": 1.143}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Gros / 1824\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 444595, "title": "French Painting 1774 - 1830: The Age of Revolution", "description": "<i>French Painting 1774 - 1830: The Age of Revolution</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (co-organizer) (November 15, 1974-February 3, 1975); The Detroit Institute of Arts, Detroit, MI (co-organizer) (March 10-May 4, 1975); The Metropolitan Museum of Art, New York, NY (co-organizer) (June 12-September 7, 1975).", "opening_date": "1974-11-15T05:00:00"}, {"id": 221753, "title": "Constable to Delacroix: British Art and the French Romantics, 1820-1840", "description": "<i>Constable to Delacroix: British Art and the French Romantics, 1820-1840</i>. Tate Britain, London (organizer) (February 6-May 11, 2003); Minneapolis Institute of Art, Minneapolis, MN (June 1-August 31, 2003); The Metropolitan Museum of Art, New York, NY (September 29, 2003-January 4, 2004).", "opening_date": "2003-02-06T00:00:00"}], "legacy": [{"description": "Paris, Mus\u00e9e Royal des Arts. Salon (1824), no. 820, Portrait de M. le comte Chaptal, pair de France.", "opening_date": null}, {"description": "Paris, \u00c9cole Nationale des Beaux-Arts. Portraits du si\u00e8cle (1883), no. 119, Le comte Chaptal, 1.30 x 1.18 cm, collection du comte Chaptal.", "opening_date": null}, {"description": "Paris, Palais des Beaux-Arts. Exposition David et ses \u00e9l\u00e8ves (1913), no. 174, Portrait du Comte Jean-Antoine Chaptal, chimiste, 1.48 x 1.17, appartient \u00e0 M. le Comte Chaptal.", "opening_date": "1913-01-01T00:00:00"}, {"description": "Paris, Petit Palais. Gros, ses amis, ses \u00e9l\u00e8ves (1936), no. 90, Portrait du Comte Chaptal, \u00e0 Mlle Chaptal.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Jacques Seligmann &amp; Co.; Minneapolis Institute of Arts; cma. Baron Antoine-Jean Gros (1771-1835); Painter of Battles. The First Romantic Painter (1955-56), no. 3, lent by private collection, Paris (repr.).", "opening_date": "1955-01-01T00:00:00"}, {"description": "Kansas City, Nelson Gallery and Atkins Museum. Twenty-fifth Anniversary Exhibition (1958), in Nelson Gallery and Atkins Museum Bulletin 1 (December 1958), no. 7, lent by Jacques Seligmann &amp; Co.", "opening_date": "1958-12-01T00:00:00"}, {"description": "cma 1963. No. 72 (repr.)", "opening_date": "1963-01-01T00:00:00"}, {"description": "Paris, Grand Palais; Detroit Institute of Arts; New York, Metropolitan Museum of Art. French Painting 1774-1830: The Age of Revolution (1974-75), no. 91 (repr.), 275.", "opening_date": "1974-01-01T00:00:00"}, {"description": "Tate Britain (2/6/2003 - 5/11/2003), Minneapolis Institute of Arts (6/1/2003 - 8/31/2003 ) and Metropolitan Museum of Art (9/29/2003 - 1/4/2004): \"Constable to Delacroix: British Art and the French Romantics\", exh. cat. #103, p. 186.", "opening_date": "2003-02-06T00:00:00"}]}, "provenance": [{"description": "Family of the sitter until 1955, bought by Jacques Seligmann, New York. Purchased by the CMA in 1964.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Count Chaptal (1756-1832) played a major role in the development of industry after the French Revolution. He adapted scientific discoveries to public works projects, and as interior minister, he reformed transportation, public health, and vocational training in France. The portrait extols his career, marked by stacked filing boxes in the background, as well as the honors he wears, from the silk sash of the scientific Order of Saint Michel to the Legion of Honor medal pinned over his heart.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469449"], "internet_archive": ["https://archive.org/details/clevelandart-1964.54-portrait-of-count-je"]}, "citations": [{"citation": "Francis, Henry S. \u201cTwo Portraits by Aved and Gros.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 8 (October 1964): 196\u2013205.", "page_number": "Mentioned: p. 196, 201-203; Reproduced: p. 201, fig. 4", "url": "http://www.jstor.org/stable/25152012"}, {"citation": "\u201cYear in Review for 1964.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 51, no. 10 (December 1964): 236\u2013266.", "page_number": "Mentioned: p. 263, no. 76", "url": "http://www.jstor.org/stable/25152021"}, {"citation": "\u201cAnnual Report for 1964.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 52, no. 6 (June 1965): 141\u2013166.", "page_number": "Mentioned: p. 144", "url": "http://www.jstor.org/stable/25152054"}, {"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. 165", "url": "https://archive.org/details/CMAHandbook1966/page/n189"}, {"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. 165", "url": "https://archive.org/details/CMAHandbook1969/page/n189"}, {"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. 203", "url": "https://archive.org/details/CMAHandbook1978/page/n223"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 324-328, Vol. I, no. 114", "url": ""}], "url": "https://clevelandart.org/art/1964.54", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.54/1964.54_web.jpg", "width": "693", "height": "893", "filesize": "327249", "filename": "1964.54_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.54/1964.54_print.jpg", "width": "2638", "height": "3400", "filesize": "4658599", "filename": "1964.54_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.54/1964.54_full.tif", "width": "4267", "height": "5500", "filesize": "70436500", "filename": "1964.54_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 141328, "creators": [{"id": 1706, "description": "Antoine-Jean Gros (French, 1771\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": "Antoine-Jean Gros's parents, who were both miniaturists, taught their son painting at an early age. He also pursued his education with Elisabeth-Louise Vig\u00e9e Le Brun (1755-1842), David (q.v.), whose studio he entered in 1785, and at the Acad\u00e9mie Royale de Peinture et de Sculpture two years later. Discouraged by his unsuccessful attempt for the Prix de Rome in 1792 and following his father's death, he ended his studies and supported himself by portrait painting. David helped him secure a passport and Gros left for Italy in 1793. In Genoa he met Jos\u00e9phine de Beauharnais, who later introduced him to Napoleon Bonaparte in Milan. There Gros made a study of him for his painting Bonaparte on the Bridge at Arcole, 17 November 1796 (1796, Mus\u00e9e du Ch\u00e2teau de Versailles; Salon 1801). This work established his reputation, and he was given a position on the committee responsible for removing artwork from Italy for the Louvre. When Napoleon left for Egypt, Genoa came under Austrian control and Gros was forced to stay for two months during the siege. After the city was evacuated, Gros returned to Paris in 1800 and continued to receive commissions from Bonaparte to paint contemporary military victories. He also painted portraits of members of the military and high society. After the defeat of Napoleon in 1814, he was made portrait painter to Louis XVIII. Within two years he was appointed professor at the \u00c9cole des Beaux-Arts, replacing the exiled David. In almost two decades as a teacher, Gros had hundreds of pupils, and thus was, besides David, one of the most influential artists of his time. While continuing to paint scenes from contemporary history, he also attempted to make mythological and allegorical compositions, but these works received little critical acclaim. Gros was awarded the title of baron by Charles X and asked to paint several ceilings in the galleries at the Louvre. His work, however, began to be perceived as outmoded, and his criticism of Ingres's influence within the \u00c9cole des Beaux-Arts added to his unpopularity. When his final effort for a classical comeback at the Salon of 1835 was heavily criticized, Gros drowned himself in the Seine.", "name_in_original_language": null, "birth_year": "1771", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-02-22T00:00:00", "sortable_date": 1824, "date_added_to_oa": null, "date_text": "1824", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Comte Jean-Antoine Chaptal"], "is_highlight": false, "updated_at": "2026-03-27 00:01:16.013000"}, {"id": 94634, "accession_number": "1915.142", "share_license_status": "CC0", "tombstone": "The Blue Gown (Portrait of Ethel Coe), 1899. Martha S. Baker (American, 1871\u20131911). Watercolor on ivory; diameter: 10 cm (3 15/16 in.); diameter of frame: 10.8 cm (4 1/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Charles E. Baker, 1915.142", "current_location": "203B British Painting and Decorative Arts", "title": "The Blue Gown (Portrait of Ethel Coe)", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["female"], "culture": ["America, late 19th century"], "technique": "watercolor on ivory", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Portrait Miniature", "measurements": "Diameter: 10 cm (3 15/16 in.); Diameter of frame: 10.8 cm (4 1/4 in.)", "dimensions": {"diameter": {"height": 0.1}, "diameter of frame": {"height": 0.108}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Martha S. Baker / 1899.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": [{"description": "Main European Rotation (Gallery 202), January 30, 2012 - July 23, 2012. Verso on display.", "opening_date": "2012-01-30T00:00:00"}]}, "provenance": [{"description": "Mr. and Mrs. Charles E. Baker.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A handwritten label on the back of this portrait miniature revealed the sitter\u2019s identity.", "description": "Martha S. Baker was best known for painting portrait miniatures on ivory. The sitter in this example was not only a fellow artist, but likely one of her former students. Interestingly, the miniature remained in Baker\u2019s possession at the time of her death and was later gifted by her relatives to the museum.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79475072"], "internet_archive": ["https://archive.org/details/clevelandart-1915.142-the-blue-gown-portra"]}, "citations": [{"citation": "\"Permanent Collection Installations.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>66, no. 1 (2026): 14-15.", "page_number": "Reproduced and Mentioned: p. 15", "url": "https://archive.org/details/CMAMM-2026-01"}], "url": "https://clevelandart.org/art/1915.142", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.142/1915.142_web.jpg", "width": "900", "height": "900", "filesize": "123904", "filename": "1915.142_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.142/1915.142_print.jpg", "width": "3400", "height": "3400", "filesize": "1237059", "filename": "1915.142_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.142/1915.142_full.tif", "width": "10214", "height": "10214", "filesize": "313004692", "filename": "1915.142_full.tif"}}, "alternate_images": [{"date_created": "2008-01-03T15:47:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt0_web.jpg", "width": "793", "height": "893", "filesize": "470678"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt0_print.jpg", "width": "3018", "height": "3400", "filesize": "5320742"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt0_full.tif", "width": "4438", "height": "5000", "filesize": "66602520"}}, {"date_created": "2008-10-07T19:01:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt1_web.jpg", "width": "801", "height": "893", "filesize": "599464"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt1_print.jpg", "width": "3051", "height": "3400", "filesize": "7867056"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt1_full.tif", "width": "4278", "height": "4767", "filesize": "61212724"}}, {"date_created": "2025-07-24T15:57:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt2_web.jpg", "width": "900", "height": "899", "filesize": "165112"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt2_print.jpg", "width": "3400", "height": "3398", "filesize": "1980196"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.142/1915.142_alt2_full.tif", "width": "10169", "height": "10162", "filesize": "310040080"}}], "creditline": "Gift of Mr. and Mrs. Charles E. Baker", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94634, "creators": [{"id": 3664, "description": "Martha S. Baker (American, 1871\u20131911)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1911", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Miss Ethel Coe"], "is_highlight": false, "updated_at": "2026-04-04 11:57:51.336000"}, {"id": 122925, "accession_number": "1943.181", "share_license_status": "CC0", "tombstone": "Wine Ewer, 1815. Paul Storr (British, 1771\u20131844), Rundell, Bridge and Rundell (British, 1797\u20131834). Silver gilt; overall: 30.5 x 15.6 cm (12 x 6 1/8 in.). The Cleveland Museum of Art, The Thomas S. Grasselli Memorial Collection, 1943.181", "current_location": "203A British Painting and Decorative Arts", "title": "Wine Ewer", "creation_date": "1815", "creation_date_earliest": 1815, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["England, London, 19th century"], "technique": "silver gilt", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 30.5 x 15.6 cm (12 x 6 1/8 in.)", "dimensions": {"overall": {"height": 0.305, "width": 0.156}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "No legacy exhibitions.", "opening_date": null}]}, "provenance": [{"description": "Mr. Thomas S. [1874-1942] and Mrs. Emilie Schmidt [1877-1953] Grasselli, Shaker Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "before 1943", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1943-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The vine-leaf border along the top of this ewer was inspired by Roman silver from antiquity and popularized by Paul Storr in the 1800s.", "description": "Silver was firmly established as a symbol of wealth, status, and power by the 1800s. Throughout history, styles largely followed the taste of the reigning monarch and thus reflected the political and social alliances that underpinned the aristocracy in Britain. The frieze of scrolls surrounding the handle, the acanthus leaf supporting the lip, and the dolphin heads framing the hinge on this ewer are characteristic of a bolder expression of classical taste favored during the Regency period (1811\u201320).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781265"], "internet_archive": ["https://archive.org/details/clevelandart-1943.181-wine-ewer"]}, "citations": [{"citation": "No existing citations", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1943.181", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.181/1943.181_web.jpg", "width": "690", "height": "893", "filesize": "315820", "filename": "1943.181_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.181/1943.181_print.jpg", "width": "2627", "height": "3400", "filesize": "4701760", "filename": "1943.181_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.181/1943.181_full.tif", "width": "4020", "height": "5202", "filesize": "62767820", "filename": "1943.181_full.tif"}}, "alternate_images": [{"date_created": "2008-05-05T19:34:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.181/1943.181_alt0_web.jpg", "width": "690", "height": "893", "filesize": "293087"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.181/1943.181_alt0_print.jpg", "width": "2627", "height": "3400", "filesize": "4508420"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.181/1943.181_alt0_full.tif", "width": "3911", "height": "5061", "filesize": "59412088"}}, {"date_created": "2008-05-06T13:15:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.181/1943.181_alt1_web.jpg", "width": "669", "height": "893", "filesize": "321384"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.181/1943.181_alt1_print.jpg", "width": "2546", "height": "3400", "filesize": "3954297"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.181/1943.181_alt1_full.tif", "width": "4118", "height": "5500", "filesize": "67980592"}}], "creditline": "The Thomas S. Grasselli Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122925, "creators": [{"id": 8523, "description": "Paul Storr (British, 1771\u20131844)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1771", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 390259, "description": "Rundell, Bridge and Rundell (British, 1797\u20131834)", "extent": null, "qualifier": null, "role": "retailer", "biography": "Philip Rundell (1746\u20131827) and John Bridge (bapt. 1755\u20131834) of Rundell &amp; Bridge received the royal warrant in 1797. The firm was responsible for the Crown Jewels used at the coronations of George IV (1762\u20131830), William IV (1765\u20131837) and Queen Victoria (1819\u20131901), as well as for a wide range of banqueting plate and jewelry now in the Royal Collection. Although Philip Rundell and John Bridge were both named in the royal warrant of 1797, it was Bridge who acted as Royal Goldsmith until his death in 1834. His nephew John Bridge succeeded him and served in this position until the firm went into dissolution in 1843. From 1804, the firm was known as Rundell, Bridge and Rundell, and from 1834, Rundell, Bridge &amp; Co.", "name_in_original_language": null, "birth_year": "1797", "death_year": "1834", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1815, "date_added_to_oa": null, "date_text": "1815", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Ewer"], "is_highlight": false, "updated_at": "2026-03-27 00:10:02.323000"}, {"id": 143748, "accession_number": "1968.191", "share_license_status": "CC0", "tombstone": "Solidarity, 1898. George Minne (Belgian, 1866\u20131941). Marble; overall: 69.9 x 63.6 x 24.2 cm (27 1/2 x 25 1/16 x 9 1/2 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1968.191", "current_location": "222 Impressionism & Post-Impressionism", "title": "Solidarity", "creation_date": "1898", "creation_date_earliest": 1898, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["Belgium, late 19th century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 69.9 x 63.6 x 24.2 cm (27 1/2 x 25 1/16 x 9 1/2 in.)", "dimensions": {"overall": {"height": 0.699, "width": 0.636, "depth": 0.242}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed near left foot of taller figure: \"G. Minne\"", "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": 302145, "title": "Traditions and Revisions: Themes from the History of Sculpture", "description": "<i>Traditions and Revisions: Themes from the History of Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 24-November 16, 1975).", "opening_date": "1975-09-24T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(H. Schickman Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1968", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Minnne\u2019s sculpture explores spiritual life and inner conflict. His work focused on premodern themes and greatly influenced artists in Belgium, France, and Germany.", "description": "In 1898, the Belgian Labor Party commissioned George Minne to make a memorial for Jean Volders, the Socialist movement leader. Rather than making a traditional portrait, Minne represented the socialist ideal of prioritizing cooperation over competition, creating an allegory of brotherhood with two nude men standing in a boat, anxiously trying to keep their balance in a storm. The Labor Party disliked Minne\u2019s design and withdrew the commission. In anger, Minne destroyed his nearly 10-foot-tall plaster model, but the artist\u2019s friends and contemporary critics recognized the power of the sculpture. A smaller study survived and was later cast in bronze. This marble version is the only carved example of the composition known to have been completed", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780781"], "internet_archive": ["https://archive.org/details/clevelandart-1968.191-solidarity"]}, "citations": [{"citation": "Cachin, Franc\u0327oise, and Genevie\u0300ve Lacambre. <em>L'Art du XIXe Sie\u0300cle: 1850-1905</em>. 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(Arms of Timothy Hutton (1729-1864) of Marske and Clifton Castle, Yorkshire, and his wife Elizabeth Chaytor of Spennithorne Hall, who were married in 1804.)", "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": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. 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The arms of the High Sheriff of Yorkshire, Timothy Hutton and his wife Elizabeth Chaytor of Spennithorne Hall in northern England are engraved on this tureen by Paul Storr, one of the most prominent London silversmiths of the period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781218"], "internet_archive": ["https://archive.org/details/clevelandart-1968.242.a-tureen"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1968.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 1 (January 1969)", "page_number": "Reproduced: p. 19, pl. 25", "url": "https://www.jstor.org/stable/25152250"}], "url": "https://clevelandart.org/art/1968.242.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.242.a/1968.242.a_web.jpg", "width": "900", "height": "569", "filesize": "154745", "filename": "1968.242.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.242.a/1968.242.a_print.jpg", "width": "3400", "height": "2151", "filesize": "941435", "filename": "1968.242.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.242.a/1968.242.a_full.tif", "width": "8711", "height": "5512", "filesize": "144069788", "filename": "1968.242.a_full.tif"}}, "alternate_images": [{"date_created": "2020-03-09T20:29:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt0_web.jpg", "width": "900", "height": "711", "filesize": "169830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt0_print.jpg", "width": "3400", "height": "2685", "filesize": "1200560"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt0_full.tif", "width": "7387", "height": "5834", "filesize": "129312280"}}, {"date_created": "2020-03-09T20:30:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt1_web.jpg", "width": "900", "height": "557", "filesize": "150177"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt1_print.jpg", "width": "3400", "height": "2103", "filesize": "883909"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt1_full.tif", "width": "8986", "height": "5559", "filesize": "149884160"}}, {"date_created": "2020-03-09T20:31:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt2_web.jpg", "width": "900", "height": "677", "filesize": "165559"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt2_print.jpg", "width": "3400", "height": "2556", "filesize": "1118436"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt2_full.tif", "width": "7563", "height": "5686", "filesize": "129034652"}}, {"date_created": "2020-03-09T20:31:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt3_web.jpg", "width": "900", "height": "780", "filesize": "218951"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt3_print.jpg", "width": "3400", "height": "2945", "filesize": "1567620"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt3_full.tif", "width": "7909", "height": "6850", "filesize": "162556092"}}, {"date_created": "2020-03-09T20:33:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt4_web.jpg", "width": "900", "height": "866", "filesize": "257712"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt4_print.jpg", "width": "3400", "height": "3273", "filesize": "1924934"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.a/1968.242.a_alt4_full.tif", "width": "6275", "height": "6040", "filesize": "113730680"}}], "creditline": "Gift of Thomas F. 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Paul Storr (British, 1771\u20131844). Silver; overall: 35.2 x 43.2 cm (13 7/8 x 17 in.). The Cleveland Museum of Art, Gift of Thomas F. Grasselli in memory of Thomas S. and Emilie S. Grasselli, 1968.242.b", "current_location": "203A British Painting and Decorative Arts", "title": "Cover for a Tureen", "creation_date": "1812", "creation_date_earliest": 1812, "creation_date_latest": 1812, "artists_tags": ["male"], "culture": ["England, London, 19th century"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 35.2 x 43.2 cm (13 7/8 x 17 in.)", "dimensions": {"overall": {"height": 0.352, "width": 0.432}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": []}, "provenance": [{"description": "Thomas F. Grasselli [1907-1970] Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1968", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1968-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is a cover for a tureen. See cover record.", "description": "Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this tureen cover, with its lionhead finials, acanthus leaves, and fluted detailing, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. The arms of the High Sheriff of Yorkshire, Timothy Hutton and his wife Elizabeth Chaytor of Spennithorne Hall in northern England are engraved on the accompanying tureen and stand by Paul Storr, one of the most prominent London silversmiths of the period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780946"], "internet_archive": ["https://archive.org/details/clevelandart-1968.242.b-cover-for-a-tureen"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1968.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 1 (January 1969)", "page_number": "Reproduced: p. 19, pl. 25", "url": "https://www.jstor.org/stable/25152250"}], "url": "https://clevelandart.org/art/1968.242.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.242.b/1968.242.b_web.jpg", "width": "900", "height": "572", "filesize": "147090", "filename": "1968.242.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.242.b/1968.242.b_print.jpg", "width": "3400", "height": "2160", "filesize": "907236", "filename": "1968.242.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.242.b/1968.242.b_full.tif", "width": "6031", "height": "3832", "filesize": "69356744", "filename": "1968.242.b_full.tif"}}, "alternate_images": [{"date_created": "2020-03-09T20:22:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.b/1968.242.b_alt0_web.jpg", "width": "900", "height": "861", "filesize": "244562"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.b/1968.242.b_alt0_print.jpg", "width": "3400", "height": "3254", "filesize": "1772847"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.b/1968.242.b_alt0_full.tif", "width": "5548", "height": "5310", "filesize": "88408048"}}, {"date_created": "2020-03-09T20:23:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.b/1968.242.b_alt1_web.jpg", "width": "900", "height": "853", "filesize": "218604"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.b/1968.242.b_alt1_print.jpg", "width": "3400", "height": "3222", "filesize": "1607599"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1968.242.b/1968.242.b_alt1_full.tif", "width": "6156", "height": "5833", "filesize": "107750952"}}], "creditline": "Gift of Thomas F. 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Carlo Bugatti (Italian, 1856\u20131940). Wood with metal inlays and painted parchment, glass doors and mirror; overall: 224.5 x 141 x 55.3 cm (88 3/8 x 55 1/2 x 21 3/4 in.). The Cleveland Museum of Art, Gift of Barry Friedman and Patricia Pastor, New York, 1984.177", "current_location": "221 19th Century Decorative Arts", "title": "Cabinet", "creation_date": "c. 1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "wood with metal inlays and painted parchment, glass doors and mirror", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 224.5 x 141 x 55.3 cm (88 3/8 x 55 1/2 x 21 3/4 in.)", "dimensions": {"overall": {"height": 2.245, "width": 1.41, "depth": 0.553}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "vellum panel on right side at the bottom signed in pseudo Japanese letters:  \"Casati.  (No professional artist of this name has been discovered; may be the work of the society woman, the Marchese Casati.)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}, {"id": 191440, "title": "Bugatti", "description": "<i>Bugatti</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 18-September 19, 1999).", "opening_date": "1999-07-18T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; July 18 - September 19, 1999.  \"Bugatti,\" exh. cat. no. 5; color repr. p. 6, fig. 5.", "opening_date": "1999-07-18T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Carlo Bugatti's sons achieved illustrious careers of their own. Rembrandt Bugatti (1884-1916) became a celebrated sculptor, and Ettore Bugatti (1881-1947) manufactured luxurious automobiles and racing cars.", "description": "In both form and decoration this cabinet typifies the work of Carlo Bugatti. Asymmetrical, with a tower-like element at one side, there are Islamic-inspired ornaments throughout its design, notably the onion-shaped arches in the upper half of the cabinet. Japanese influence is also evident in the white metal inlays and in the sepia-painted parchment panels. The cabinet displays an extensive vocabulary of other decorative devices, including the partial ebonized frame, the turned wooden ornaments, metal reliefs, mirrored and green glass, and silk tassels. Despite their diversity, Bugatti organized all these elements into a coherent design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60753721"], "internet_archive": ["https://archive.org/details/clevelandart-1984.177-cabinet"]}, "citations": [{"citation": "Hawley, Henry. \"Some Furniture and Silver of Carlo Bugatti.\" <em>The Bulletin of the Cleveland Museum of Art</em> 79, no. 5 (1992): 130-43.", "page_number": "Reproduced and Mentioned: p. 133-34", "url": "https://www.jstor.org/stable/25161359"}], "url": "https://clevelandart.org/art/1984.177", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.177/1984.177_web.jpg", "width": "676", "height": "893", "filesize": "329276", "filename": "1984.177_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.177/1984.177_print.jpg", "width": "2574", "height": "3400", "filesize": "4702157", "filename": "1984.177_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.177/1984.177_full.tif", "width": "3785", "height": "5000", "filesize": "56808168", "filename": "1984.177_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.177/1984.177_alt0_web.jpg", "width": "619", "height": "893", "filesize": "398041"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.177/1984.177_alt0_print.jpg", "width": "1420", "height": "2048", "filesize": "2169157"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.177/1984.177_alt0_full.tif", "width": "1420", "height": "2048", "filesize": "8727940"}}, {"date_created": "2008-11-05T19:36:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.177/1984.177_alt1_web.jpg", "width": "629", "height": "893", "filesize": "311395"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.177/1984.177_alt1_print.jpg", "width": "2396", "height": "3400", "filesize": "4285362"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.177/1984.177_alt1_full.tif", "width": "3524", "height": "5000", "filesize": "52893000"}}], "creditline": "Gift of Barry Friedman and Patricia Pastor, New York", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 151884, "creators": [{"id": 15830, "description": "Carlo Bugatti (Italian, 1856\u20131940)", "extent": null, "qualifier": null, "role": "cabinetmaker", "biography": "active in France after c. 1902.", "name_in_original_language": null, "birth_year": "1856", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-01-21T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:00.061000"}, {"id": 154265, "accession_number": "1988.75", "share_license_status": "CC0", "tombstone": "Brush Holder with Figures in Landscape and Poetic Inscription by Wang Meilin from Jiading (\u7b46\u7b52), 1800s. Wang Meilin (Chinese, active c. 1825). Carved bamboo; overall: 16 x 12.4 cm (6 5/16 x 4 7/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 1988.75", "current_location": "240B Chinese Decorative Arts", "title": "Brush Holder with Figures in Landscape and Poetic Inscription by Wang Meilin from Jiading", "title_in_original_language": "\u7b46\u7b52", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["China, Qing dynasty (1644-1911), Daoguang reign (1821-50)"], "technique": "carved bamboo", "support_materials": [], "department": "Chinese Art", "collection": "China - Qing Dynasty", "type": "Wood", "measurements": "Overall: 16 x 12.4 cm (6 5/16 x 4 7/8 in.)", "dimensions": {"overall": {"height": 0.16, "width": 0.124}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "A ten-acre [home], a five-acre yard with a water pool, and a thousand bamboos. Don\u2019t say the field is narrow, or the location remote. It is enough to accommodate the knee and rest the shoulder. It has a hall and a yard, a bridge and a boat. It has books and wine, songs and string [instruments]. An old man in the midst of it, his white beard flowing. [He] is moderate and satisfied, has no demands and needs. Like a bird he chooses a branch, builds a nest, and rests at ease. Like a fish in a swamp, that does not know how wide the ocean is. . . . All I like, lies before me. I drink a cup of wine from time to time, recite a [poem], wife and children play, chicken and dogs are at leisure, and I will grow old here.", "inscription_translation": null, "inscription_remark": "Inscribed by Wang Meilin", "sortorder": null}], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 312307, "title": "Power and Possession: Chinese Calligraphy and Inscribed Objects \u2013 Chinese Gallery Rotation 240a, 241c", "description": "<i>Power and Possession: Chinese Calligraphy and Inscribed Objects \u2013 Chinese Gallery Rotation 240a, 241c</i>. The Cleveland Museum of Art (organizer) (August 13, 2018-February 3, 2019).", "opening_date": "2018-08-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Masaaki Yoshida, Kyoto, Japan, sold to to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131988", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1988\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bamboo was considered a humble material that suited the Confucian ideals of frugality and modesty.", "description": "This bamboo brush holder shows a scholar inside a mountain retreat under trees. On its back side, a cliff inscribed with a text by the Tang poet Bai Juyi (772\u2013846) describes the carefree life of a scholar among family and servants in the countryside.<br><br>The text in cursive script style calligraphy (<em>xingshu</em>) says:<br><br><em>A ten-acre [home], a five-acre yard with a water pool, and a thousand bamboos. Don\u2019t say the field is narrow, or the location remote. It is enough to accommodate the knee and rest the shoulder. It has a hall and a yard, a bridge and a boat. It has books and wine, songs and string [instruments]. An old man in the midst of it, his white beard flowing. [He] is moderate and satisfied, has no demands and needs. Like a bird he chooses a branch, builds a nest, and rests at ease. Like a fish in a swamp, that does not know how wide the ocean is. . . . All I like, lies before me. I drink a cup of wine from time to time, recite a [poem], wife and children play, chicken and dogs are at leisure, and I will grow old here. </em>", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60745903"], "internet_archive": ["https://archive.org/details/clevelandart-1988.75-brush-holder-with-fi"]}, "citations": [{"citation": "\"The Year in Review for 1988.\" <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 2 (1989): 30-75.", "page_number": "Referenced: cat. no. 211, p. 74, Reproduced: p. 209", "url": "http://www.jstor.org/stable/25160061."}], "url": "https://clevelandart.org/art/1988.75", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.75/1988.75_web.jpg", "width": "823", "height": "893", "filesize": "109716", "filename": "1988.75_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.75/1988.75_print.jpg", "width": "3133", "height": "3400", "filesize": "1348069", "filename": "1988.75_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.75/1988.75_full.tif", "width": "5084", "height": "5517", "filesize": "84175084", "filename": "1988.75_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt0_web.jpg", "width": "578", "height": "893", "filesize": "396443"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt0_print.jpg", "width": "1856", "height": "2868", "filesize": "3322871"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt0_full.tif", "width": "1856", "height": "2868", "filesize": "15974940"}}, {"date_created": "2012-08-28T14:37:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt1_web.jpg", "width": "858", "height": "893", "filesize": "113315"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt1_print.jpg", "width": "3267", "height": "3400", "filesize": "1420442"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt1_full.tif", "width": "5269", "height": "5482", "filesize": "86684276"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt2_web.jpg", "width": "579", "height": "893", "filesize": "390644"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt2_print.jpg", "width": "2014", "height": "3104", "filesize": "3604163"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.75/1988.75_alt2_full.tif", "width": "2014", "height": "3104", "filesize": "18760756"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154265, "creators": [{"id": 388601, "description": "Wang Meilin (Chinese, active c. 1825)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u738b\u6885\u90bb", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Brush Holder with Figures in Landscape", "Brush Holder with Figures in Landscape and Poetic Inscription", "Brush Holder with Figures in Landscape and Poetic Inscription by Wang Meilin from Jiading (Qing dynasty)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:48.467000"}, {"id": 125091, "accession_number": "1946.71", "share_license_status": "CC0", "tombstone": "The Beach at Deauville, 1864. Eug\u00e8ne Boudin (French, 1824\u20131898). Oil on wood panel; framed: 45.7 x 36.8 x 3.5 cm (18 x 14 1/2 x 1 3/8 in.); unframed: 34.7 x 26 cm (13 11/16 x 10 1/4 in.). The Cleveland Museum of Art, Gift of Mrs. Homer H. Johnson, 1946.71", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Beach at Deauville", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 45.7 x 36.8 x 3.5 cm (18 x 14 1/2 x 1 3/8 in.); Unframed: 34.7 x 26 cm (13 11/16 x 10 1/4 in.)", "dimensions": {"framed": {"height": 0.457, "width": 0.368, "depth": 0.035}, "unframed": {"height": 0.347, "width": 0.26}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in brown paint lower right corner: E. Boudin 1864 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. Homer H. Johnson [1862-1960], and Mrs. Homer H. Johnson [1869-1957], Cleveland, OH,", "citations": [], "footnotes": null, "date": "by 1921-1946", "sortorder": 1}, {"description": "Mrs. Homer H. Johnson, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1946", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1946-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Boudin evokes the feeling of wind by painting the fluttering blue dress, the beach walker leaning to the left, the whitecaps on the water, and the angle of the sails on the boat in the distance.", "description": "During the 1860s, Boudin executed many paintings and watercolors representing well-to-do tourists and vacationers enjoying seaside resorts in Normandy, principally Trouville and Deauville. In this scene, the informally posed figures suggest a sense of relaxation and intimacy. The overturned chair in the foreground underscores the impression of a casually observed moment, as though a sea breeze or a quick departure by its former occupant has upended it. The majority of Boudin's small oil paintings of beach scenes of the 1860s were executed on wood panel. After laying down a thin white ground, Boudin seems to have begun painting directly, not drawing or laying in guidelines for the forms. The result is a freshness and airiness appropriate to a windy day at the beach.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515343"], "internet_archive": ["https://archive.org/details/clevelandart-1946.71-the-beach-at-deauvil"]}, "citations": [{"citation": "Jean-Aubry, G., Robert Schmit, and Caroline Tisdall. <em>Euge\u0300ne Boudin</em>. Greenwich, Conn: New York Graphic Society, 1968.", "page_number": null, "url": null}, {"citation": "Schmit, Robert, and Euge\u0300ne Boudin. <em>Euge\u0300ne Boudin, 1824-1898</em>. Paris, FR: Schmit, 1973.", "page_number": "Reproduced: no. 300; vol. 1", "url": null}, {"citation": "Schmit, Robert. <em>Euge\u0300ne Boudin, 1824-1898</em>. Paris, FR: R. Schmit, 1984.", "page_number": null, "url": null}, {"citation": "Jean-Aubry, G., Euge\u0300ne Boudin, and Robert Schmit. <em>Euge\u0300ne Boudin: [la vie et l'\u0153uvre d'apre\u0300s les lettres et les documents ine\u0301dits]</em>. Neucha\u0302tel, Suisse: Ides et Calendes, 1987.", "page_number": null, "url": null}, {"citation": "Hamilton, Vivien. <em>Boudin at Trouville</em>. London, UK: John Murray in association with Glasgow Museums, 1992.", "page_number": null, "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. 20", "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, 1999.", "page_number": "Mentioned and reproduced: vol. 1, p. 65-67, no. 24", "url": null}, {"citation": "Lemonedes, Heather, Lynn Federle Orr, and David H. Steel. <em>Monet in Normandy</em>. New York, NY: Rizzoli, 2006.", "page_number": "Reproduced: fig. 41", "url": null}], "url": "https://clevelandart.org/art/1946.71", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.71/1946.71_web.jpg", "width": "680", "height": "900", "filesize": "260373", "filename": "1946.71_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.71/1946.71_print.jpg", "width": "2568", "height": "3400", "filesize": "2875330", "filename": "1946.71_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1946.71/1946.71_full.tif", "width": "8556", "height": "11329", "filesize": "290821604", "filename": "1946.71_full.tif"}}, "alternate_images": [{"date_created": "2007-10-22T17:38:25", "annotation": "Before conservation in 2011", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt0_web.jpg", "width": "676", "height": "893", "filesize": "428264"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt0_print.jpg", "width": "2573", "height": "3400", "filesize": "6403157"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt0_full.tif", "width": "4483", "height": "5925", "filesize": "79715924"}}, {"date_created": "2013-01-13T23:46:21.076000", "annotation": "After conservation in 2011", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt1_web.jpg", "width": "674", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt1_print.jpg", "width": "2546", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt1_full.tif", "width": "3468", "height": "4632", "filesize": ""}}, {"date_created": "2023-05-01T15:41:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt2_web.jpg", "width": "682", "height": "900", "filesize": "290490"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt2_print.jpg", "width": "2577", "height": "3400", "filesize": "3748056"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt2_full.tif", "width": "8881", "height": "11716", "filesize": "312178384"}}, {"date_created": "2023-05-01T15:31:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt3_web.jpg", "width": "727", "height": "900", "filesize": "285400"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt3_print.jpg", "width": "2746", "height": "3400", "filesize": "3063170"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.71/1946.71_alt3_full.tif", "width": "8190", "height": "10139", "filesize": "249145240"}}], "creditline": "Gift of Mrs. Homer H. Johnson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 125091, "creators": [{"id": 1568, "description": "Eug\u00e8ne Boudin (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre. <br>1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42. <br>2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23. <br>3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville. <br>4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-01-22T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:14.351000"}, {"id": 109206, "accession_number": "1927.477.10", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): Everywhere Eyeballs are Aflame, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 20.4 x 15.8 cm (8 1/16 x 6 1/4 in.); sheet: 44.1 x 30.7 cm (17 3/8 x 12 1/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.10", "current_location": null, "title": "Everywhere Eyeballs are Aflame", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 20.4 x 15.8 cm (8 1/16 x 6 1/4 in.); Sheet: 44.1 x 30.7 cm (17 3/8 x 12 1/16 in.)", "dimensions": {"image": {"height": 0.204, "width": 0.158}, "sheet": {"height": 0.441, "width": 0.307}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. IX. / Partout des prunelles flamboient.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": [{"description": "<em>\"La R\u00eaverie esth\u00e9tique\": Symbolist Works on Paper</em>. Allen Memorial Art Museum (March 29 - May 22, 1988).", "opening_date": "1988-03-29T00:00:00"}]}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.358"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723693"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.10-everywhere-eyeballs"]}, "citations": [{"citation": "\"'La R\u00eaverie esth\u00e9tique': Symbolist Works on Paper.\" <em>Allen Memorial Art Museum Bulletin</em>43, no. 1 (Summer 1988): 3-47.", "page_number": "Mentioned: p. 34, no. 33", "url": null}, {"citation": "Salsbury, Britany. \u201cCollecting Dreams: An exhibition of the museum's outstanding collection of works by Odilon Redon.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 3 (Summer 2021): 12-15.", "page_number": "Reproduced and Mentioned: P. 14.", "url": ""}], "catalogue_raisonne": "Mellerio 92", "url": "https://clevelandart.org/art/1927.477.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.10/1927.477.10_web.jpg", "width": "705", "height": "893", "filesize": "485747", "filename": "1927.477.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.10/1927.477.10_print.jpg", "width": "2685", "height": "3400", "filesize": "6407905", "filename": "1927.477.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.10/1927.477.10_full.tif", "width": "3411", "height": "4319", "filesize": "44226812", "filename": "1927.477.10_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109206, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): Everywhere Eyeballs are Aflame"], "is_highlight": false, "updated_at": "2026-03-26 23:59:59.603000"}, {"id": 154283, "accession_number": "1988.91", "share_license_status": "CC0", "tombstone": "Symbolic Head, c. 1890. Odilon Redon (French, 1840\u20131916). Oil on paper mounted on canvas; framed: 69 x 54.5 x 7.5 cm (27 3/16 x 21 7/16 x 2 15/16 in.); unframed: 53.3 x 38 cm (21 x 14 15/16 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1988.91", "current_location": null, "title": "Symbolic Head", "creation_date": "c. 1890", "creation_date_earliest": 1885, "creation_date_latest": 1895, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on paper mounted on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 69 x 54.5 x 7.5 cm (27 3/16 x 21 7/16 x 2 15/16 in.); Unframed: 53.3 x 38 cm (21 x 14 15/16 in.)", "dimensions": {"framed": {"height": 0.69, "width": 0.545, "depth": 0.075}, "unframed": {"height": 0.533, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: odilon redon\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 215330, "title": "Odilon Redon - Le souci de l'absolu (Search for the Absolute)", "description": "<i>Odilon Redon - Le souci de l'absolu (Search for the Absolute)</i>. Shimane Art Museum, Matsue-shi, Japan (August 2-September 23, 2002); Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (October 8-December 8, 2002).", "opening_date": "2002-08-02T00:00:00"}], "legacy": [{"description": "<em>Les origines de l'art contemporain.</em> H\u00f4tel de Ville de Rennes, Le Mans, France (1951).", "opening_date": "1951-01-01T00:00:00"}, {"description": "<em>If Wishes Could Buy</em>. Baltimore Museum of Art, Baltimore, MD (1955).", "opening_date": "1955-01-01T00:00:00"}, {"description": "<em>The Logic of Modern Art: An Exhibition Tracing the Evolution of Modern Painting from from C\u00e9zanne to 1960. </em>Nelson Gallery and Atkins Museum, Kansas City, MO (1961).", "opening_date": "1961-01-01T00:00:00"}, {"description": "<em>Odilon Redon, Gustave Moreau, Rodolphe Bresdin.</em> Museum of Modern Art, New York, NY; Art Institute of Chicago, Chicago, IL (1961-62).", "opening_date": "1961-01-01T00:00:00"}]}, "provenance": [{"description": "Possibly Gustave Fayet [1865-1925], B\u00e9ziers", "citations": [], "footnotes": ["<div><!--block-->The Wildenstein catalogue raisonn\u00e9 of Redon\u2019s oeuvre lists \u201cGustave Fayet?\u201d as the first owner of the CMA picture.&nbsp; In 1980 Fayet, a painter who worked in a style similar to that of Redon, purchased the Abbe de Fontfroide, where he exhibited works from his collection, including Redon\u2019s <em>Day and Night.&nbsp; </em>The reasons for Wildenstein\u2019s uncertainty concerning Fayet are unknown: it may be because there was little or no evidence that the CMA painting was present in the Abbe de Fontfroide, even though other works by Redon were know to have been displayed, or because Jacques Dubourg purchased other works from Fayet\u2019s collection, but this possibility, too, was unsubstantiated. &nbsp;</div>"], "date": "Before 1925", "sortorder": 1}, {"description": "(Jacques Dubourg [1897-1981], Paris, sold to Knoedler & Co.)", "citations": [], "footnotes": ["<div><!--block-->Dubourg, an art dealer, sold the Redon to Knoedler &amp; Co. on October 20, 1954.&nbsp; The circumstances of Dubourg\u2019s acquisition of the Redon are unknown.&nbsp; It is possible that like a Redon pastel currently in the MFA Boston (64.2206), <em>Symbolic Head </em>was purchased by Dubourg from Fayet\u2019s collection.&nbsp; The MFA pastel may have been sold by Fayet\u2019s son-in-law, Paul Bacou, directly to Dubourg, as that work was lent to an exhibition in 1938 by Bacou.&nbsp; He may have had it in his possession by 1951, when was listed as the lender of a painting titled \u201cJeune Homme en Buste\u201d to an exhibition at the H\u00f4tel de Ville de Rennes, <em>Les origines de l'art contemporain.&nbsp; </em>The dimensions of that work (51 x 39 cm) are very close to those of <em>Symbolic Head </em>(53 x 38 cm); however, the catalogue notes that it is signed in the lower right, while the Cleveland picture is signed in the lower left, although it possibly that this was recorded incorrectly. &nbsp;</div>"], "date": "Until 1954", "sortorder": 2}, {"description": "(Knoedler & Co., New York, sold to Mildred Andrews Putnam)", "citations": [], "footnotes": ["<div><!--block-->Knoedler sold the Redon (stock number A5851) to Mildred Andrews Putnam on February 20, 1956.</div><div><!--block--><br><br></div>"], "date": "1954-1956", "sortorder": 3}, {"description": "Mildred Andrews Putnam [1890/92-1984], Cleveland, OH, by descent to her son, Peter Andrews Putnam", "citations": [], "footnotes": null, "date": "1956-1984", "sortorder": 4}, {"description": "Peter Andrews Putnam [1925-1987], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->At the time of Putnam\u2019s death on December 7, 1987, the Redon, along with four other paintings and two drawings, had been on loan to CMA.&nbsp; After his death, these artworks were distributed from his estate and then given permanently to the Museum in the name of his mother\u2019s fund. &nbsp;</div>"], "date": "1984-1987", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1988-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Symbolism was a reaction against Realism and Redon is one of the most important artists affiliated with this movement. The symbolist painters used mystical dreamlike images that were highly personal in their work.", "description": "One of Redon\u2019s favorite themes was a head depicted in profile, sometimes separated from the body to symbolize the spirit released from the material world. It also suggests a metaphor for abandoning physical reality for the inner realm of dreams, fantasy, and poetic reverie. This painting conveys the idea of inward-turning vision by framing the head in a series of collapsing rectangles. Conservation analysis confirms that the figure is a woman wearing a helmet and holding a green staff in her right hand.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476330"], "internet_archive": ["https://archive.org/details/clevelandart-1988.91-symbolic-head"]}, "citations": [{"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Museum of Modern Art (New York, N.Y.). <em>Odilon Redon, Gustave Moreau [and] Rodolphe Bresdin</em>. Garden City, N.Y.: Distributed by Doubleday, 1961.", "page_number": null, "url": null}, {"citation": "Wildenstein, Alec, and Odilon Redon. <em>Odilon Redon: catalogue raisonne\u0301 de l'oeuvre peint et dessine\u0301</em>. Paris: Wildenstein Institute, 1992.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Berger, Klaus. <em>Odilon Redon: Fantasy and Colour</em>. New York: McGraw-Hill, 1965.", "page_number": null, "url": null}, {"citation": "Wildenstein, Alec, and Odilon Redon. <em>Odilon Redon: catalogue raisonne\u0301 de l'oeuvre peint et dessine\u0301</em>. Paris: Wildenstein Institute, 1992.", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 130, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 167, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Baltimore Museum of Art. <em>If Wishes Could Buy: A Handlist of the Exhibition, October 4-November 6, 1955</em>. Baltimore: Baltimore Museum of Art, 1955.", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 130, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 167, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 157, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Wildenstein, Alec, and Odilon Redon. <em>Odilon Redon: catalogue raisonne\u0301 de l'oeuvre peint et dessine\u0301</em>. Paris: Wildenstein Institute, 1992.", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 167, Getty Research Institute", "page_number": null, "url": null}, {"citation": "Odilon Redon, Series IV Inventory Cards, M. Knoedler &amp; Co. records, box 157, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Wildenstein, Alec, and Odilon Redon. <em>Odilon Redon: cata</em>", "page_number": null, "url": null}, {"citation": "Berger, Klaus. <em>Odilon Redon: Fantasy and Colour</em>. New York, NY: McGraw-Hill, 1965.", "page_number": "Reproduced: no. 82", "url": null}, {"citation": "Wadsworth Atheneum, and Franklin Westcott Robinson. <em>One Hundred Master Drawings from New England Private Collections: [Exhibition] Wadsworth Atheneum, Hartford, Conn., Sept. 5-Oct. 14, 1973 : Hopkins Center Art Galleries, Dartmouth College, Oct. 26-Dec. 3, 1973 : Museum of Fine Arts, Boston, Mass., Dec. 14, 1973-Jan. 25, 1974. </em>Hanover, N.H.: Distributed by University Press of New England, 1973.", "page_number": "Reproduced: p. 140", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1988.\" <em>The Bulletin of The Cleveland Museum of Art LXXVI</em>, no. 2 (February, 1989):30-75.", "page_number": "Reproduced: p. 63; Mentioned: p. 70, no. 97", "url": null}, {"citation": "Wildenstein, Alec. <em>Odilon Redon: catalogue raisonne\u0301 de l'oeuvre peint et dessine\u0301</em>. Paris, France: Wildenstein Institute, 1992.", "page_number": "Reproduced: no. 348, vol. I", "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. 190", "url": null}, {"citation": "Druick, Douglas W. <em>Odilon Redon: Prince of Dreams, 1840-1916</em>. Chicago, IL: Art Institute of Chicago, 1994.", "page_number": null, "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: v. 2, p. 515-517", "url": null}, {"citation": "Yamamoto, Atsuko, and Noriko Tsutatani. <em>Rudon ten: zettai no tankyu\u0304 = Odilon Redon : le souci de l'absolu</em>. Japan: Chunichi Shimbun, 2002.", "page_number": "Reproduced: p. 102; Mentioned p. 102-103", "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. 82; Reproduced: p. 83", "url": null}], "url": "https://clevelandart.org/art/1988.91", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.91/1988.91_web.jpg", "width": "634", "height": "893", "filesize": "387188", "filename": "1988.91_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.91/1988.91_print.jpg", "width": "2414", "height": "3400", "filesize": "5896514", "filename": "1988.91_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.91/1988.91_full.tif", "width": "4260", "height": "6000", "filesize": "76711100", "filename": "1988.91_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154283, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:17.800000"}, {"id": 146725, "accession_number": "1972.17", "share_license_status": "CC0", "tombstone": "General Jean-Baptiste Kl\u00e9ber and Egyptian Family (Sketches for \"The Battle of the Pyramids\") , c. 1835. Antoine-Jean Gros (French, 1771\u20131835). Oil on linen; framed: 377.2 x 126 x 12 cm (148 1/2 x 49 5/8 x 4 3/4 in.); unframed: 352.1 x 97.8 cm (138 5/8 x 38 1/2 in.); former: 306 x 98 cm (120 1/2 x 38 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1972.17", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "General Jean-Baptiste Kl\u00e9ber and Egyptian Family (Sketches for \"The Battle of the Pyramids\") ", "creation_date": "c. 1835", "creation_date_earliest": 1830, "creation_date_latest": 1840, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on linen", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 377.2 x 126 x 12 cm (148 1/2 x 49 5/8 x 4 3/4 in.); Unframed: 352.1 x 97.8 cm (138 5/8 x 38 1/2 in.); Former: 306 x 98 cm (120 1/2 x 38 9/16 in.)", "dimensions": {"framed": {"height": 3.772, "width": 1.26, "depth": 0.12}, "unframed": {"height": 3.521, "width": 0.978}, "former": {"height": 3.06, "width": 0.98}}, "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"}], "legacy": []}, "provenance": [{"description": "J.-B. Delestre, Paris. His sale, Drouot, 13-14 October 1871 (lot 1), Les deux esquisses pour les pendentifs de droite et de gauche, surajout\u00e9s au tableau de la Bataille des Pyramides, ff 500 to M. Couvreur (perhaps sold to J. Arnous de Rivi\u00e8re, directeur de Revue illustr\u00e9e, bought for ff 700 at Delestre sale, through 1880; Tripier le Franc 1880, 500). Gustave Rothan, Ch\u00e2teau de Luttenbach, (near Munster, Alsace). By descent after his death in 1890 to his daughter, Christa Anna Maria Rothan (in 1895, Baronne Pierre de Coubertin) until after 1917, Lausanne. By 1955, Jacques Seligmann & Co, New York, 1955. Purchased by the CMA in 1972.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kl\u00e9ber, a famously successful military leader who had been excluded from the original painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117055907"], "internet_archive": ["https://archive.org/details/clevelandart-1972.17-general-jean-baptist"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (March 1973): 63\u2013115.", "page_number": "Reproduced: p. 80; Mentioned: p. 109, nos. 119, 120", "url": "http://www.jstor.org/stable/25093732"}, {"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. 202", "url": "https://archive.org/details/CMAHandbook1978/page/n222"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 329-335, Vol. I, nos. 115, 116", "url": ""}], "url": "https://clevelandart.org/art/1972.17", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17/1972.17_web.jpg", "width": "591", "height": "900", "filesize": "", "filename": "1972.17_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17/1972.17_print.jpg", "width": "2233", "height": "3400", "filesize": "", "filename": "1972.17_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17/1972.17_full.tif", "width": "3880", "height": "5908", "filesize": "", "filename": "1972.17_full.tif"}}, "alternate_images": [{"date_created": "2009-05-18T18:35:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17/1972.17_alt0_web.jpg", "width": "242", "height": "900", "filesize": "90519"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17/1972.17_alt0_print.jpg", "width": "913", "height": "3400", "filesize": "1032351"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17/1972.17_alt0_full.tif", "width": "1586", "height": "5908", "filesize": "28135644"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 146725, "creators": [{"id": 1706, "description": "Antoine-Jean Gros (French, 1771\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": "Antoine-Jean Gros's parents, who were both miniaturists, taught their son painting at an early age. He also pursued his education with Elisabeth-Louise Vig\u00e9e Le Brun (1755-1842), David (q.v.), whose studio he entered in 1785, and at the Acad\u00e9mie Royale de Peinture et de Sculpture two years later. Discouraged by his unsuccessful attempt for the Prix de Rome in 1792 and following his father's death, he ended his studies and supported himself by portrait painting. David helped him secure a passport and Gros left for Italy in 1793. In Genoa he met Jos\u00e9phine de Beauharnais, who later introduced him to Napoleon Bonaparte in Milan. There Gros made a study of him for his painting Bonaparte on the Bridge at Arcole, 17 November 1796 (1796, Mus\u00e9e du Ch\u00e2teau de Versailles; Salon 1801). This work established his reputation, and he was given a position on the committee responsible for removing artwork from Italy for the Louvre. When Napoleon left for Egypt, Genoa came under Austrian control and Gros was forced to stay for two months during the siege. After the city was evacuated, Gros returned to Paris in 1800 and continued to receive commissions from Bonaparte to paint contemporary military victories. He also painted portraits of members of the military and high society. After the defeat of Napoleon in 1814, he was made portrait painter to Louis XVIII. Within two years he was appointed professor at the \u00c9cole des Beaux-Arts, replacing the exiled David. In almost two decades as a teacher, Gros had hundreds of pupils, and thus was, besides David, one of the most influential artists of his time. While continuing to paint scenes from contemporary history, he also attempted to make mythological and allegorical compositions, but these works received little critical acclaim. Gros was awarded the title of baron by Charles X and asked to paint several ceilings in the galleries at the Louvre. His work, however, began to be perceived as outmoded, and his criticism of Ingres's influence within the \u00c9cole des Beaux-Arts added to his unpopularity. When his final effort for a classical comeback at the Salon of 1835 was heavily criticized, Gros drowned himself in the Seine.", "name_in_original_language": null, "birth_year": "1771", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-05-03T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:41.444000"}, {"id": 105616, "accession_number": "1923.726", "share_license_status": "CC0", "tombstone": "Amor Caritas, modeled 1898, cast after 1898. Augustus Saint-Gaudens (American, born Ireland, 1848\u20131907). Bronze; overall: 101 x 45.2 cm (39 3/4 x 17 13/16 in.). The Cleveland Museum of Art, Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1923.726", "current_location": "207 American Realism", "title": "Amor Caritas", "creation_date": "modeled 1898, cast after 1898", "creation_date_earliest": 1898, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["America, late 19th Century"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 101 x 45.2 cm (39 3/4 x 17 13/16 in.)", "dimensions": {"overall": {"height": 1.01, "width": 0.452}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower left: Augustus Saint-Gaudens MDCCCXCVIII; inscribed on table:  AMOR CARITAS", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309906, "title": "The American Way in Sculpture 1890-1930", "description": "<i>The American Way in Sculpture 1890-1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 12-October 19, 1986).", "opening_date": "1986-08-12T04:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["3156.1919"], "did_you_know": "An elementary school in Manhattan is named in Saint-Gaudens's honor.", "description": "Saint-Gaudens based this angelic figure, an allegory of Love and Charity, on his longtime model and mistress, Davida Johnson Clark. The initial life-size bronze cast of the composition received much acclaim, and the artist regarded it as \u201cone of the things I care for most that I have done.\u201d Due to its popularity, approximately 20 smaller-scale versions, including this example, were produced by Saint-Gaudens and sold through high-end retail outlets such as Tiffany &amp; Co. in New York.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746499"], "internet_archive": ["https://archive.org/details/clevelandart-1923.726-amor-caritas"]}, "citations": [{"citation": "Solender, Katherine. The American Way in Sculpture, 1890-1930. Cleveland, OH: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "cat. #1, p. 12, repr.", "url": null}, {"citation": "W. M. M. \"Contemporary American Bronzes.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 10 (1919): 151-63.", "page_number": "Mentioned: p. 151", "url": "www.jstor.org/stable/25136326"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 37", "url": "https://archive.org/details/CMAHandbook_80839/page/n39"}], "url": "https://clevelandart.org/art/1923.726", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.726/1923.726_web.jpg", "width": "630", "height": "893", "filesize": "319784", "filename": "1923.726_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.726/1923.726_print.jpg", "width": "2400", "height": "3400", "filesize": "4125960", "filename": "1923.726_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.726/1923.726_full.tif", "width": "3887", "height": "5507", "filesize": "64249440", "filename": "1923.726_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Payne Fund Gallery", "athena_id": 105616, "creators": [{"id": 19356, "description": "Augustus Saint-Gaudens (American, born Ireland, 1848\u20131907)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-09-24T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "modeled 1898, cast after 1898", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:40.225000"}, {"id": 703436, "accession_number": "2025.209", "share_license_status": "CC0", "tombstone": "Sewing near the Window, about 1885. Berthe Morisot (French, 1841\u20131895). Watercolor and graphite on paper; sheet: 28.6 x 22.9 cm (11 1/4 x 9 in.). The Cleveland Museum of Art, Sundry Art - Miscellaneous Fund, 2025.209", "current_location": "004 Special Exhibition Gallery", "title": "Sewing near the Window", "creation_date": "about 1885", "creation_date_earliest": 1880, "creation_date_latest": 1890, "artists_tags": ["female"], "culture": ["France"], "technique": "watercolor and graphite on paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 28.6 x 22.9 cm (11 1/4 x 9 in.)", "dimensions": {"sheet": {"height": 0.286, "width": 0.229}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "At lower right, in purple ink: stamped signature [Lugt 1826]; inscribed on verso, top center, in pencil: Portrait de la bonne de Mme Rouart (E[rnest] / Pasie (Euphrasie) / execute vers 1885 / cong\u00e9di\u00e9e vers 1885 / cousant au rez de chaus\u00e9e devant / bow window dominant sur jardin / toit des \u00e9curies sur la droite", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": [{"description": "<em>Paintings, Drawings and Graphic Works by Manet, Degas, Berthe Morisot and Mary Cassatt</em>. Baltimore Museum of Art (April 18 \u2013 June 3, 1962).", "opening_date": null}]}, "provenance": [{"description": "By descent from the artist [1841-1895]", "citations": [], "footnotes": null, "date": "c. 1885-1895", "sortorder": 1}, {"description": "Madame Ernest Rouart (n\u00e9e Julie Manet) [1878-1966], Paris", "citations": [], "footnotes": null, "date": "1895-around 1960", "sortorder": 2}, {"description": "(Charles Slatkin Gallery, New York, sold to Mr. and Mrs. Leo M. Rogers)", "citations": [], "footnotes": null, "date": "around 1960", "sortorder": 3}, {"description": "Mr. and Mrs. Leo M. Rogers, New York", "citations": [], "footnotes": null, "date": "around 1960-1972", "sortorder": 4}, {"description": "(their sale, Christie\u2019s, London, June 27, 1972, no. 108, likely sold to L\u2019Art Ancien)", "citations": [], "footnotes": null, "date": "1972", "sortorder": 5}, {"description": "(L\u2019Art Ancien, Zurich, sold to Ian Woodner)", "citations": [], "footnotes": null, "date": "1972-1973", "sortorder": 6}, {"description": "Ian Woodner [1903-1990], New York, by descent", "citations": [], "footnotes": null, "date": "1973-1990", "sortorder": 7}, {"description": "Private collection, New York", "citations": [], "footnotes": null, "date": "1990-2025", "sortorder": 8}, {"description": "(W. M. Brady & Co., New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2025", "sortorder": 9}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2025-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edgar Degas admired Berthe Morisot\u2019s watercolors, and seeing an example inspired him to invite her to participate in the Impressionists\u2019 first group exhibition.", "description": "This watercolor depicts Euphrasie, or Pasie, the nanny for Berthe Morisot\u2019s young daughter Julie. Pasie appears in the artist\u2019s apartment, sewing before a window during a contemplative moment. As with many of Morisot\u2019s works in the medium, she used this example to develop the composition of a future painting into which she added Julie and more tightly cropped the scene. Watercolor was a constant interest for Morisot, and she practiced it from around 1870 throughout the rest of her career, creating both finished and preparatory works.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Bataille, M.-L. and G. Wildenstein. <em>Berthe Morisot</em>: <em>Catalogue des peintures, pastels et aquarelles</em>. Paris: Les Beaux-Arts, 1961.", "page_number": "Mentioned: p. 67, no. 729; Reproduced: fig. 718.", "url": ""}, {"citation": "<em>Paintings, Drawings and Graphic Works by Manet, Degas, Berthe Morisot and Mary Cassatt</em>. Exh. Cat. Baltimore: Baltimore Museum of Art, 1962.", "page_number": "Mentioned: p. 58, no. 86.", "url": ""}, {"citation": "<em>The Leo M. Rogers Collection</em>. London: Christie, Manson &amp; Woods, 1972.", "page_number": "Mentioned: p. 13, no. 108. Reproduced: pl. 108.", "url": ""}], "catalogue_raisonne": "Bataille and Wildenstein 729", "url": "https://clevelandart.org/art/2025.209", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.209/2025.209_web.jpg", "width": "723", "height": "900", "filesize": "222517", "filename": "2025.209_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.209/2025.209_print.jpg", "width": "2731", "height": "3400", "filesize": "3676213", "filename": "2025.209_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.209/2025.209_full.tif", "width": "8212", "height": "10222", "filesize": "251859344", "filename": "2025.209_full.tif"}}, "alternate_images": [], "creditline": "Sundry Art - Miscellaneous Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 703436, "creators": [{"id": 1865, "description": "Berthe Morisot (French, 1841\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a prosperous family, Berthe Morisot was encouraged at an early age to become an amateur artist. Along with her sister Edma, she began her studies with Geoffroy-Alphonse Chocarne (act. 1838-1857), a painter trained in the neoclassical tradition. In 1858 the sisters entered the studio of Joseph-Beno\u00eet Guichard (1806-1880), a student of Ingres (q.v.) and Delacroix (q.v.). Through Guichard they met Corot (q.v.) in 1861, under whose encouragement they began to paint out of doors near Pontoise as well as in Normandy and Brittany. Berthe Morisot exhibited at the Salon from 1864 until 1873. Fantin-Latour (q.v.) introduced her to Manet (q.v.) around 1867. They developed a close friendship, and Morisot modeled for him many times (see Manet, Berthe Morisot, no. 141). In 1874 she married his brother, Eug\u00e8ne, and that same year began participating in the impressionist exhibitions, never to show at the Salon again. Four years after their marriage, the couple's only child, Julie, was born on 14 November 1878 and would become a main source of artistic inspiration. Morisot matured as a central member of the group of impressionists. Her home became a meeting place for painters and writers alike, including Renoir (q.v.), Degas (q.v.), Mary Cassatt (1845-1926), and St\u00e9phane Mallarm\u00e9. She participated in the Drouot sale of 1875, where the artists were ridiculed extensively. Her paintings, however, fetched slightly higher prices than those of Renoir, Monet (q.v.), and Sisley (q.v.). Morisot made pastels and watercolors as well as oil paintings, and during the final years of her life she experimented with lithography and drypoint etching.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-12-08T05:00:00Z", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "about 1885", "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": "2026-04-09 17:32:28.639000"}, {"id": 157334, "accession_number": "1994.198", "share_license_status": "CC0", "tombstone": "A View of Naples through a Window, 1824. Franz Ludwig Catel (German, 1778\u20131856). Oil on paper, mounted on canvas; framed: 59.5 x 46 x 5.5 cm (23 7/16 x 18 1/8 x 2 3/16 in.); unframed: 46.8 x 33.5 cm (18 7/16 x 13 3/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1994.198", "current_location": null, "title": "A View of Naples through a Window", "creation_date": "1824", "creation_date_earliest": 1824, "creation_date_latest": 1824, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "oil on paper, mounted on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 59.5 x 46 x 5.5 cm (23 7/16 x 18 1/8 x 2 3/16 in.); Unframed: 46.8 x 33.5 cm (18 7/16 x 13 3/16 in.)", "dimensions": {"framed": {"height": 0.595, "width": 0.46, "depth": 0.055}, "unframed": {"height": 0.468, "width": 0.335}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 208350, "title": "In the Light of Italy: Corot and Early Plein-air Painting", "description": "<i>In the Light of Italy: Corot and Early Plein-air Painting</i>. National Gallery of Art (May 26-September 2, 1996); The Brooklyn Museum (October 11, 1996-January 12, 1997); Saint Louis Art Museum (February 21-May 18, 1997).", "opening_date": "1996-05-26T00:00:00"}, {"id": 219163, "title": "Paysages d'Italie. Les peintres du plein air 1780-1830", "description": "<i>Paysages d'Italie. Les peintres du plein air 1780-1830</i>. Galeries Nationales du Grand Palais, 75008 Paris, France (April 3-July 9, 2001).", "opening_date": "2001-04-03T00:00:00"}, {"id": 224507, "title": "\"un paese incantato\" Italia dipinta da Thomas Jones a Corot", "description": "<i>\"un paese incantato\" Italia dipinta da Thomas Jones a Corot</i>. Museo Civico di Palazzo Te, Mantua, Italy (September 1-December 9, 2001).", "opening_date": "2001-09-01T00:00:00"}, {"id": 207363, "title": "Rooms with Views: The Open Window in the 19th Century", "description": "<i>Rooms with Views: The Open Window in the 19th Century</i>. The Metropolitan Museum of Art, New York, NY (organizer) (March 28-July 4, 2011).", "opening_date": "2011-03-28T00:00:00"}, {"id": 198256, "title": "The Last Days of Pompeii: Decadence, Apocalypse, Resurrection", "description": "<i>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-July 7, 2013).", "opening_date": "2012-09-03T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 540045, "title": "Napoli Ottocento", "description": "<i>Napoli Ottocento</i>. Scuderie del Quirinale, Rome, Italy (organizer) (March 26-June 16, 2024).", "opening_date": "2024-03-26T04:00:00"}], "legacy": [{"description": "Paris: Galeries nationales du Grand Palais (4/3 - 7/9/01); Mantova, Italy: Palazzo Te (9/1 - 12/16/01) \"Paysages d'Italie. Les peintres du plein air (1780-1830), exh. cat. no. 155, pp 254-255.", "opening_date": "2001-07-09T00:00:00"}]}, "provenance": [{"description": "Robert Manning collection, U.S., attributed to Antonie Pitloo (1791-1837). Simon Dickinson, Ltd., New York and London. Danny Katz, Ltd., London. Purchased by the cma in 1994.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mount Vesuvius was almost continuously active at the time that Franz Ludwig Catel visited Naples, and erupted just two years before this painting was completed.", "description": "Franz Ludwig Catel worked in Rome and later traveled south to Naples. This painting presents that city\u2019s most distinctive attraction: Mount Vesuvius, an active volcano that appears against an otherwise calm sky. Catel portrayed the scene from within a hotel room, contrasting the potentially overwhelming force of nature with the illusion of protection offered by distance and enclosed space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477072"], "internet_archive": ["https://archive.org/details/clevelandart-1994.198-a-view-of-naples-thr"]}, "citations": [{"citation": "Boetticher, Friedrich von. <em>Malerwerke des Neunzehnten Jahrhunderts: Beitrag zur Kunstgeschichte</em>. Hofheim am Taunus: H. Schmidt &amp; C. Gu\u0308nther, Minden, Germany: 1974.", "page_number": "Reproduced: p. 173-175, vol. 1", "url": null}, {"citation": "Cleveland Museum of Art, \u201cNew Acquisitions Enter the Cleveland Museum of Art\u2019s Permanent Collection,\u201d February 14, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3939/page/n1"}, {"citation": "Di Maio, Elena. <em>Franz Ludwig Catel e i suoi amici a Roma: un album di disegni dell'Ottocento : Galleria nazionale d'arte moderna, 25 ottobre 1996-26 gennaio 1997</em>. Torino, Italy: Sacs, 1996.", "page_number": null, "url": null}, {"citation": "Conisbee, Philip, Sarah Faunce, and Jeremy Strick. <em>In the Light of Italy: Corot and Early Open-Air Painting</em>. Washington DC: National Gallery of Art, 1996.", "page_number": "Reproduced: p. 6 cat. 79 (detail). p. 209, cat. 79", "url": null}, {"citation": "Di Maio, Elena. <em>Franz Ludwig Catel e i suoi amici a Roma: un album di disegni dell'Ottocento : Galleria nazionale d'arte moderna, 25 ottobre 1996-26 gennaio 1997</em>. Torino, Italy: 1996.", "page_number": null, "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 108-111, Vol. I, no. 41", "url": ""}, {"citation": "Ottani Cavina, Anna. <em>Paysages d'Italie: les peintres du plein air, 1780-1830 : Galeries nationales du Grand Palais, Paris, 3 avril-9 juillet 2001 ; Centro Internazionale d'Arte e di Cultura di Palazzo Te, Mantoue, 1er septembre-16 de\u0301cembre 2001</em>. Paris, France: Re\u0301union des muse\u0301es nationaux, 2001.", "page_number": "Reproduced: p. 155; Mentioned: p. 254-255", "url": null}, {"citation": "Stendhal, and Philippe Berthier. <em>Voyages en Italie: illustre\u0301s par les peintres du Romantisme</em>. Paris, France: D. de Selliers, 2002.", "page_number": "Reproduced: p, 223; Mentioned: p. 222-223", "url": null}, {"citation": "Susinno, Stefano, Sandra Pinto, Liliana Barroero, Fernando Mazzocca, Giovanna Capitelli, and Matteo Lafranconi. <em>Maesta\u0300 di Roma: da Napoleone all'unita\u0300 d'Italia</em>. Milano, Italy: Electa, 2003. N6920 .", "page_number": "Reproduced: p. 287, fig. 134a", "url": null}, {"citation": "Rewald, Sabine. <em>Rooms with a View: The Open Window in the 19th Century</em>. New York, NY: Metropolitan Museum of Art, 2011.", "page_number": "Reproduced: p. 58, fig. 16", "url": null}, {"citation": "Stolzenburg, Andreas.Hubertus Gassner, and Markus Bertsch. <em>Franz Ludwig Catel: Italienbilder der Romantik</em>. Hamburg, Germany: Hamburger Kunsthalle, 2015.", "page_number": null, "url": null}, {"citation": "Sontgen, Beate. \"Innen und Aussen: Interieur-Vorhange in der Malerei um 1900.\" In <em>Hinter dem Vorhang: Verh\u00fcllung und Enth\u00fcllung seit der Renaissance - von Tizian bis Christo.</em> Oskar Ba\u0308tschmann, et.al., 226-235. M\u00fcnchen: Hirmer : D\u00fcsseldorf: Museum Kunstpalast, 2016.", "page_number": "Reproduced: p. 226, fig. 1", "url": null}, {"citation": "Caputo, Rosario. La pittura napoletana del primo Ottocento. <br>Sorrento (Napoli) : Franco Di Mauro editore, 2021.", "page_number": "Reproduced: p. 108", "url": ""}], "url": "https://clevelandart.org/art/1994.198", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.198/1994.198_web.jpg", "width": "634", "height": "893", "filesize": "390328", "filename": "1994.198_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.198/1994.198_print.jpg", "width": "2412", "height": "3400", "filesize": "5730958", "filename": "1994.198_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.198/1994.198_full.tif", "width": "3934", "height": "5546", "filesize": "65488960", "filename": "1994.198_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.198/1994.198_alt0_web.jpg", "width": "647", "height": "893", "filesize": "491194"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.198/1994.198_alt0_print.jpg", "width": "1484", "height": "2048", "filesize": "2661623"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1994.198/1994.198_alt0_full.tif", "width": "1484", "height": "2048", "filesize": "9121156"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157334, "creators": [{"id": 2855, "description": "Franz Ludwig Catel (German, 1778\u20131856)", "extent": null, "qualifier": null, "role": "artist", "biography": "Catel grew up in a French Huguenot family in Berlin and as a youth assisted in carving wooden figures at his father's toy store. After attending the Berlin academy and making watercolors and book illustrations, he went to Paris in 1807 where he studied oil painting at the \u00c9cole des Beaux-Arts until leaving for Rome in 1811. There he befriended neoclassicist landscape painter Joseph Anton Koch (1768-1839), mythological painter Jakob Asmus Carstens (1754-1798), and the group of German paint-ers called the Nazarenes. Catel's own work mostly consisted of landscape panoramas and Neapolitan folk scenes. Such paintings were highly sought after by the many foreign travelers who came to Italy, and Catel's fame and fortune grew considerably. In 1814 he married Margherita Prunetti, and by 1825 they could afford to live on Piazza di Spagna, where he entertained many artists and visitors. Catel also belonged to a group of artists who gathered around Crown Prince Ludwig I of Bavaria (1786-1868), who frequently visited Rome and who strongly supported the arts. In 1824 Catel portrayed this group at a joyful gathering in Crown Prince Ludwig in the Spanish Tavern in Rome (Neue Pinakothek, Munich). It included, among others, architect Leo von Klenze (1784-1864), sculptor Bertel Thorvaldsen (1768-1844), and painter Julius Schnorr von Carolsfeld (1794-1844). In 1813 Catel had accompanied the French archaeologist Aubin Louis Millin (1759-1818) to Pompeii in order to make drawings. After that Catel traveled south on various occasions; in 1818 he visited Sicily, and in 1824 he joined architect and painter Karl Friedrich Schinkel (1781-1841) on a trip to Naples. Prince Heinrich of Prussia commissioned one of his few history paintings in 1834, Christ's Resurrection, for the Luisenkirche in Charlottenburg. His comfortable financial situation allowed him to support struggling artists, and he organized exhibitions of German artists in Rome. Long after his death this generosity still survives in his founda-tion Pio Istituto Catel, which supports German and Italian artists.", "name_in_original_language": null, "birth_year": "1778", "death_year": "1856", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-12-06T00:00:00", "sortable_date": 1824, "date_added_to_oa": null, "date_text": "1824", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:37.957000"}, {"id": 111470, "accession_number": "1929.951", "share_license_status": "CC0", "tombstone": "Outskirts of Paris, c. 1897\u20131905. Henri Rousseau (French, 1844\u20131910). Oil on fabric; framed: 56.5 x 65.5 x 8 cm (22 1/4 x 25 13/16 x 3 1/8 in.); unframed: 37.8 x 45.8 cm (14 7/8 x 18 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1929.951", "current_location": null, "title": "Outskirts of Paris", "creation_date": "c. 1897\u20131905", "creation_date_earliest": 1897, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["France, late 19th Century-early 20th Century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 56.5 x 65.5 x 8 cm (22 1/4 x 25 13/16 x 3 1/8 in.); Unframed: 37.8 x 45.8 cm (14 7/8 x 18 1/16 in.)", "dimensions": {"framed": {"height": 0.565, "width": 0.655, "depth": 0.08}, "unframed": {"height": 0.378, "width": 0.458}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Henri Rousseau\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 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": 355645, "title": "Primitive Art and Folk Art", "description": "<i>Primitive Art and Folk Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15-May 15, 1951).", "opening_date": "1951-03-15T05:00:00"}], "legacy": [{"description": "Paris, Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants. 27\u00e8me Exposition (1911), probably no. 7, La Seine \u00e0 Meudon (according to handwriting on stretcher the work was in this exhibition).", "opening_date": "1911-01-01T00:00:00"}, {"description": "French Art since Eighteen Hundred (1929), in CMA Bulletin 16 (1929): 166 (repr.), 169.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 342, Environs de Paris.", "opening_date": "1936-01-01T00:00:00"}, {"description": "<em>Henri Rousseau</em>. Art Institute of Chicago, Chicago, IL; Museum of Modern Art, New York, NY; Boston, Institute of Modern Art, Boston, MA; Carnegie Institute, Pittsburgh, PA; Art Gallery of Toronto, Toronto, Ontario; Modern Art Society, Cincinnati, OH; City Art Museum of St. Louis, St. Louis, MO; Currier Gallery of Art, Manchester, NH. (1942-43), 35 (repr.)", "opening_date": "1942-01-01T00:00:00"}]}, "provenance": [{"description": "Henri Rousseau", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "M. Lef\u00e8bvre, Paris. His collection sale, Paris, Drouot, 3 March 1927 (lot 117, repr.), Paysage de banlieue, for ff 55,000, sold to \u00c9mile Level.", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "\u00c9mile Level, Paris, France, consigned to Valentine Gallery, New York, NY", "citations": [], "footnotes": null, "date": "1927-1929", "sortorder": 3}, {"description": "Valentine Gallery, New York, NY, sold to the Cleveland Museum of Art on December 16, 1929.", "citations": [], "footnotes": null, "date": "1929", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rousseau once said to Picasso: \"We are the two greatest artists of this era, you in the Egyptian style, I in the modern style.\"", "description": "In addition to his large jungle scenes, Rousseau also painted small landscapes, including this view of a river or canal on the outskirts of Paris. While retaining a sharp, detailed rendering of objects, Rousseau has abandoned the flat tonality of his earlier works for more blended modeling and freer brushwork. The volumes of the clouds, trees, and houses occupy distinct areas in space, revealing the serenity of an organized world. A self-taught painter who, at the age of 41, quit his job in the Paris municipal toll or tax service to devote himself entirely to art, Rousseau was widely admired by avant-garde artists for his intuitive sense of design and inventive subjects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513324"], "internet_archive": ["https://archive.org/details/clevelandart-1929.951-outskirts-of-paris"]}, "citations": [{"citation": "Basler, Adolphe. <em>Henri Rousseau, Sa vie-son Oeuvre. </em>New York, NY: Wehye, 1927.", "page_number": "Reproduced: pl. 19", "url": null}, {"citation": "\"A Painting by 'Papa' Rousseau.\" <em>The Bulletin of the Cleveland Museum of Art </em>17, no.1 (January 1930): 8-10.", "page_number": "Reproduced: p. 2; Mentioned: p. 8-9", "url": "https://www.jstor.org/stable/25137267"}, {"citation": "Wilenski, R. H. <em>Modern French Painters</em>. New York, NY: Reynal &amp; Hitchcock, 1940.", "page_number": "Reproduced: p. 362", "url": null}, {"citation": "Rich, Daniel Catton. <em>Henri Rousseau</em>. New York,NY: The Museum of Modern Art, 1942.", "page_number": "Reproduced: p. 35", "url": null}, {"citation": "Grey, Roch. <em>Henri Rousseu</em>. Paris, France: Galerie Rene\u0301 Drouin, E\u0301ditions \"Tel\", 1943.", "page_number": "Reproduced: pl. 59", "url": null}, {"citation": "Bouret, Jean. <em>Henri Rousseau</em>. London, United Kingdom: Oldbourne Press, 1961.", "page_number": "Reproduced: p. 201, no. 112", "url": null}, {"citation": "Vallier, Dora. <em>L'opera completa di Rousseau il Doganiere</em>. Milano, Italy: Rizzoli, 1969.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Vallier, Dora. <em>Tout l'\u0153uvre peint de Henri Rousseau</em>. Paris, France: Flammarion, 1970.", "page_number": "Reproduced: p. 83", "url": null}, {"citation": "Bihalji-Merin, Lise, and Oto Bihalji-Merin. <em>Leben und Werk des Malers Henri Rousseau</em>. Dresden, Germany: Verlag der Kunst, VEB, 1973.", "page_number": "Reproduced: pl. 5", "url": null}, {"citation": "Le Pichon, Yann, and Joachim Neugroschel. <em>The world of Henri Rousseau</em>. New York, NY: Viking Press, 1982.", "page_number": null, "url": null}, {"citation": "Vallier, Dora. <em>Henri Rousseau</em>. Norwalk, CT: Easton Press, 1982.", "page_number": null, "url": null}, {"citation": "Certigny, Henry. <em>Le Douanier Rousseau en son temps: biographie et catalogue raisonne\u0301</em>. Tokyo, Japan: Bunkazai Kenkyujyo Co, 1984.", "page_number": null, "url": null}, {"citation": "Certigny, Henry. <em>Le Douanier Rousseau en son temps: biographie et catalogue raisonne\u0301</em>. Tokyo, Japan: Bunkazai Kenkyujyo Co, 1984.", "page_number": "Mentioned and reproduced: p. 268-269", "url": null}, {"citation": "Shattuck, Roger. <em>Henri Rousseau: Essays</em>. New York, NY: Museum of Modern Art, 1985.", "page_number": null, "url": null}, {"citation": "Richardson, John, and Marilyn McCully. <em>A Life of Picasso</em>. New York, NY: Random House, 1990.", "page_number": "Mentioned: p. 113, vol. 2", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 195", "url": null}], "url": "https://clevelandart.org/art/1929.951", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.951/1929.951_web.jpg", "width": "1085", "height": "893", "filesize": "253092", "filename": "1929.951_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.951/1929.951_print.jpg", "width": "3400", "height": "2799", "filesize": "2462875", "filename": "1929.951_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.951/1929.951_full.tif", "width": "6949", "height": "5722", "filesize": "119308412", "filename": "1929.951_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.951/1929.951_alt0_web.jpg", "width": "1091", "height": "893", "filesize": "859950"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.951/1929.951_alt0_print.jpg", "width": "1876", "height": "1536", "filesize": "2643007"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.951/1929.951_alt0_full.tif", "width": "1876", "height": "1536", "filesize": "8647860"}}, {"date_created": "2013-04-01T13:51:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.951/1929.951_alt1_web.jpg", "width": "1071", "height": "893", "filesize": "235024"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.951/1929.951_alt1_print.jpg", "width": "3400", "height": "2836", "filesize": "2475507"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.951/1929.951_alt1_full.tif", "width": "7191", "height": "6000", "filesize": "129459900"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111470, "creators": [{"id": 1804, "description": "Henri Rousseau (French, 1844\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": "Self-taught artist Henri Rousseau was born in Laval in 1844. He entered the military at the age of eighteen and served as a saxophone player in an infantry band. Most biographers discount his claim of traveling abroad during the Mexican campaign. In 1871 Rousseau left the military to join the customs service, where he spent fourteen years working on the outskirts of Paris as a minor inspector. After retiring with a small pension in 1885, he pursued the career of a painter and sought portrait commissions. From 1886 to 1910, he exhibited on a regular basis at the Salon des Ind\u00e9pendants, and after 1905, at the Salon d'Automne. Through these activities he became friendly with other artists, including Gauguin (q.v.), Pissarro (q.v.), Seurat (q.v), Paul Signac (1863-1935), and Redon (q.v.) who affectionately called him \"le douanier\" (customs officer). Rousseau's paintings were poorly received, and frequently ridiculed in the press, until he attracted a small group of admirers in the early years of this century. This group included Pablo Picasso, Maurice de Vlaminck, Robert Delaunay, Max Weber, and Ardengo Soffici, along with the writers Alfred Jarry, Max Jacob, Andr\u00e9 Salmon, and Guillaume Apollinaire. In 1908, a famous banquet honoring Rousseau was organized at Picasso's studio. Avant-garde artists admired Rousseau's direct, simple vision and his innate talent at clear, pictorial design. However, he aspired to paint in the academic manner of G\u00e9r\u00f4me (q.v.) and Bouguereau (q.v.). Rousseau reportedly told Picasso: \"We are the two greatest artists of this era-you in the Egyptian style, I in the modern style.\"1 Despite growing acclaim in his late years, Rousseau struggled for sales and was forced to supplement his meager income by giving private painting and violin lessons. He occasionally sold works through the dealers Ambroise Vollard and Wilhelm Uhde. In 1909 Rousseau was convicted of complicity in a bank fraud, but authorities suspended the sentence because of his age and apparent failure to comprehend his role in the crime. Rousseau died in Paris of pneumonia in 1910. In 1911 Uhde organized a retrospective at the Ind\u00e9pendants and published the first biography of Rousseau.", "name_in_original_language": null, "birth_year": "1844", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-11-04T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "c. 1897\u20131905", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:32.972000"}, {"id": 131337, "accession_number": "1954.128", "share_license_status": "CC0", "tombstone": "Boy with Anchor, 1873. Winslow Homer (American, 1836\u20131910). Watercolor and gouache with graphite; sheet: 19.4 x 34.9 cm (7 5/8 x 13 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1954.128", "current_location": null, "title": "Boy with Anchor", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor and gouache with graphite", "support_materials": [{"description": "beige(2) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 19.4 x 34.9 cm (7 5/8 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.194, "width": 0.349}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black watercolor: homer 1873; signed, lower right, in black watercolor: homer 18[illegible, partially painted out]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302279, "title": "Water Color", "description": "<i>Water Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-August 27, 1962).", "opening_date": "1962-06-06T04:00:00"}, {"id": 304725, "title": "Winslow Homer: Portrait of America", "description": "<i>Winslow Homer: Portrait of America</i>. The Cleveland Museum of Art, Cleveland, OH (November 10, 1965-May 16, 1966).", "opening_date": "1965-11-10T05:00:00"}, {"id": 338576, "title": "Eight American Masters of Watercolor: Winslow Homer, John Singer Sargent, Maurice B. Prendergast, John Marin, Arthur G. Dove, Charles Demuth, Charles E. Burchfield, Andrew Wyeth", "description": "<i>Eight American Masters of Watercolor: Winslow Homer, John Singer Sargent, Maurice B. Prendergast, John Marin, Arthur G. Dove, Charles Demuth, Charles E. Burchfield, Andrew Wyeth</i>. Los Angeles County Museum of Art (April 23-June 16, 1968); Fine Arts Museums of San Francisco, de Young Museum (June 28-August 18, 1968); Seattle Art Museum (September 5-October 13, 1968).", "opening_date": "1968-04-23T05:00:00"}, {"id": 361410, "title": "Winslow Homer", "description": "<i>Winslow Homer</i>. National Gallery of Art, Landover, MD (organizer) (October 15, 1995-January 28, 1996); Museum of Fine Arts, Boston, Boston, MA (February 21-May 26, 1996).", "opening_date": "1995-10-15T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 216800, "title": "Watercolors by Winslow Homer: The Color of Light", "description": "<i>Watercolors by Winslow Homer: The Color of Light</i>. The Art Institute of Chicago, Chicago, IL (organizer) (February 16-May 11, 2008).", "opening_date": "2008-02-16T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "John M. Hay [1838-1910], former Secretary of State, Washington, D.C.", "citations": [], "footnotes": [], "date": "?-?", "sortorder": null}, {"description": "Mrs. C. E. Meder (a household employee of John M. Hay), Kirtland, OH, sold to The Cleveland Museum of Art.", "citations": [], "footnotes": [], "date": "?-1954", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": [], "date": "1954-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The mottled texture of the sky is an example of Homer\u2019s blotting technique\u2014a subtractive process in which he applied a wash of water, sprinkled some breadcrumbs, and then gently rubbed the paper with his fingers in order to absorb the extra color, leaving behind a granulated texture.", "description": "In this work from a series of watercolors produced in Gloucester, MA, in the summer of 1873 Winslow Homer evokes the fraught nature of the local fishing industry by focusing not on the perilous work of adults, but rather the children they leave behind. In <em>Boy with Anchor</em>, the massive anchor pointing toward the sea foreshadows the weight of the boy\u2019s maritime destiny. The work is an early example of Homer's talent for evoking atmospheric effects and his interest in technical variety. Presumably working outdoors, Homer layered fluent washes of blue, gray, and brown transparent watercolor over his graphite underdrawing to flesh out the beach and sky. He built up the hot, pebble-studded surface of the beach by using dense gouache to draw textural detail and created the broken cloud pattern in the sky by lightly blotting his wet blue wash. The picture\u2019s formal tensions between warm and cool colors, outline and wash, and transparency and opacity mirror the emotional tension of the scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781286"], "internet_archive": ["https://archive.org/details/clevelandart-1954.128-boy-with-anchor"]}, "citations": [{"citation": "\u201cAccessions of American and Canadian Museums, October - December, 1953.\u201d <em>The Art Quarterly</em> 17, no. 2 (Summer 1954): 179-190.", "page_number": "Mentioned: p. 180", "url": null}, {"citation": "Francis, Henry S. \"Recent Additions to the Collection of Homer.\" The Bulletin of the Cleveland Museum of Art 42, no. 3 (1955): 51-54.", "page_number": "Mentioned and Reproduced: p. 52-53", "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. 561", "url": "https://archive.org/details/CMAHandbook1958/page/n105"}, {"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. 186", "url": "https://archive.org/details/CMAHandbook1966/page/n210"}, {"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. 186", "url": "https://archive.org/details/CMAHandbook1969/page/n210"}, {"citation": "The Cleveland Museum of Art, Celeste Adams, Rita Myers, and Adele Z. Silver. <em>An Introduction to American Art in the Cleveland Museum of Art. </em>Cleveland: The Cleveland Museum of Art, 1972.", "page_number": "Mentioned and Reproduced: pp. 10-11.", "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. 231", "url": "https://archive.org/details/CMAHandbook1978/page/n251"}, {"citation": "Hendricks, Gordon. <em>The Life and Work of Winslow Homer</em>. New York: Harry N. Abram, 1979.", "page_number": "Reproduced: Plate CL-554, p. 318", "url": null}, {"citation": "The Cleveland Museum of Art and Michael J. Miller.<em> Drawing, A Glossary of Materials: Selections from the Cleveland Museum of Art. </em>Cleveland: The Cleveland Museum of Art, 1987.", "page_number": "Mentioned and Reproduced: pp. 17-18", "url": null}, {"citation": "Terra Museum of American Art, Chicago, D. Scott Atkinson, and Jochen Wierich. <em>Winslow Homer in Gloucester. </em>New York: Rizzoli International Publications, Inc., 1990.", "page_number": "Mentioned and Reproduced: p. 41, fig. 31", "url": null}, {"citation": "Placidi, Kathleen S. \"Beyond Bootblacks: \"The Boat Builder\" and the Art of John George Brown.\" The Bulletin of the Cleveland Museum of Art 77, no. 10 (1990): 366-82.", "page_number": "Reproduced and Mentioned: p. 370-71", "url": "https://www.jstor.org/stable/25161306"}, {"citation": "Cikovsky, Nicolai, Franklin Kelly, and Winslow Homer. <em>Winslow Homer. </em>Washington: National Gallery of Art, 1995.", "page_number": "Mentioned and Reproduced: no. 68, p. 137", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned and Reproduced: cat. no. 86, p. 8, pp. 208-209, p. 295", "url": null}, {"citation": "Johns, Elizabeth. <em>Winslow Homer: The Nature of Observation</em>. Berkeley: University of California Press, 2002.", "page_number": "Mentioned and Reproduced: no. 45, p. 75", "url": null}, {"citation": "The Art Institute of Chicago, Martha Tedeschi, and Kristi Dahm. <em>Watercolors by Winslow Homer: The Color of Light</em>. New Haven: Yale University Press, 2008.", "page_number": "Mentioned and Reproduced: p. 44, p. 46, no. 11", "url": null}, {"citation": "Glaubinger, Jane and Lemonedes, Heather. \u201cTreasures on Paper: The Cr\u00e8me de la cr\u00e8me of the museum\u2019s prints and drawings collection is now on view.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 6-9.", "page_number": "Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2014-02"}], "url": "https://clevelandart.org/art/1954.128", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.128/1954.128_web.jpg", "width": "900", "height": "511", "filesize": "242567", "filename": "1954.128_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.128/1954.128_print.jpg", "width": "3400", "height": "1931", "filesize": "2778457", "filename": "1954.128_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.128/1954.128_full.tif", "width": "13051", "height": "7414", "filesize": "290310902", "filename": "1954.128_full.tif"}}, "alternate_images": [{"date_created": "2012-10-26T14:32:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.128/1954.128_alt0_web.jpg", "width": "1263", "height": "711", "filesize": "220587"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.128/1954.128_alt0_print.jpg", "width": "3400", "height": "1914", "filesize": "1604011"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.128/1954.128_alt0_full.tif", "width": "7522", "height": "4236", "filesize": "95611564"}}, {"date_created": "2007-10-17T17:55:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.128/1954.128_alt1_web.jpg", "width": "1263", "height": "706", "filesize": "765037"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.128/1954.128_alt1_print.jpg", "width": "3400", "height": "1900", "filesize": "5434175"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.128/1954.128_alt1_full.tif", "width": "6358", "height": "3553", "filesize": "67804176"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131337, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-02-04T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-29 12:04:28.356000"}, {"id": 108404, "accession_number": "1926.140.9", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: And I Saw an Angel Coming Down from Heaven, Having the Key of the Bottomless Pit and a Great Chain in His Hand, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 30.4 x 23.2 cm (11 15/16 x 9 1/8 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.9", "current_location": null, "title": "And I Saw an Angel Coming Down from Heaven, Having the Key of the Bottomless Pit and a Great Chain in His Hand", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 30.4 x 23.2 cm (11 15/16 x 9 1/8 in.)", "dimensions": {"image": {"height": 0.304, "width": 0.232}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "initialed in stone at bottom center: OR; printed at lower left, below image: Apr\u00e8s cela je vis descendre du ciel un ange qui avait la clef de l'ab\u00eeme, et / une grande cha\u00eene en sa main;", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.135"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723657"], "internet_archive": ["https://archive.org/details/clevelandart-1926.140.9-and-i-saw-an-angel-c"]}, "citations": [], "catalogue_raisonne": "Mellerio 181", "url": "https://clevelandart.org/art/1926.140.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.9/1926.140.9_web.jpg", "width": "663", "height": "893", "filesize": "375914", "filename": "1926.140.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.9/1926.140.9_print.jpg", "width": "2524", "height": "3400", "filesize": "5702613", "filename": "1926.140.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.9/1926.140.9_full.tif", "width": "2796", "height": "3766", "filesize": "31621536", "filename": "1926.140.9_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108404, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67505, "description": "Blanchard", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Apocalypse of Saint John: And I Saw in the Right Hand of Him that Sat on the Throne a Book Written Within and on the Backside, Sealed with Seven Seals"], "is_highlight": false, "updated_at": "2026-03-27 00:05:44.994000"}, {"id": 109200, "accession_number": "1927.477.4", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): And a Large Bird, Descending from the Sky, Hurls Itself against the Topmost Point of Her Hair, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 19 x 16 cm (7 1/2 x 6 5/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.4", "current_location": null, "title": "And a Large Bird, Descending from the Sky, Hurls Itself against the Topmost Point of Her Hair", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 19 x 16 cm (7 1/2 x 6 5/16 in.)", "dimensions": {"image": {"height": 0.19, "width": 0.16}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. III / Et un grand oiseau qui descend du ciel vient s'abbatre sur le sommet de sa chevelure", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301188, "title": "Mythological Animals in Art", "description": "<i>Mythological Animals in Art</i>. The Cleveland Museum of Art (organizer) (December 23, 1958-February 25, 1959).", "opening_date": "1958-12-23T05:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.352"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723678"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.4-and-a-large-bird-des"]}, "citations": [], "catalogue_raisonne": "Mellerio 86", "url": "https://clevelandart.org/art/1927.477.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.4/1927.477.4_web.jpg", "width": "752", "height": "893", "filesize": "612290", "filename": "1927.477.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.4/1927.477.4_print.jpg", "width": "2863", "height": "3400", "filesize": "8224905", "filename": "1927.477.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.4/1927.477.4_full.tif", "width": "3450", "height": "4097", "filesize": "42436544", "filename": "1927.477.4_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109200, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): And a Large Bird, Descending from the Sky, Hurls Itself against the Topmost Point of Her Hair"], "is_highlight": false, "updated_at": "2026-03-27 00:01:53.600000"}, {"id": 109137, "accession_number": "1927.298", "share_license_status": "CC0", "tombstone": "The Mender, c. 1881. Camille Pissarro (French, 1830\u20131903). Pen and black ink and gray wash over graphite heightened with white gouache; sheet: 15.1 x 10.2 cm (5 15/16 x 4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.298", "current_location": null, "title": "The Mender", "creation_date": "c. 1881", "creation_date_earliest": 1876, "creation_date_latest": 1886, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 19th century"], "technique": "pen and black ink and gray wash over graphite heightened with white gouache", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 15.1 x 10.2 cm (5 15/16 x 4 in.)", "dimensions": {"sheet": {"height": 0.151, "width": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: C Pissarro; by artist, upper left, in graphite: lumi\u00e8re; by artist, upper right, in graphite: gris; by artist, upper right, in graphite: jaun; VERSO, by artist?, upper right, in graphite: CP81 / a - [illegible][crossed out]; lower left, in graphite: 21952; lower right, in graphite: N\u00ba 13 [underlined]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 348134, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-April 28, 1937).", "opening_date": "1937-02-10T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 310038, "title": "The Graphic Art of the Barbizon School", "description": "<i>The Graphic Art of the Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-May 17, 1987).", "opening_date": "1987-03-17T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": [{"description": "<em>Exhibition of Modern French Paintings, Water Colors and Drawings</em>. C.W. Kraushaar Art Galleries, New York (October 8-22, 1927).", "opening_date": "1927-10-08T05:00:00Z"}, {"description": "<em>Drawings from the Collection</em>. The Cleveland Museum of Art, Cleveland, OH (June 16, 1945-April 21, 1946).", "opening_date": "1945-06-16T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. The Cleveland Museum of Art, Cleveland, OH (June 12, 1946-April 20, 1947).", "opening_date": "1946-06-12T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. The Cleveland Museum of Art, Cleveland, OH (June 10, 1947-April 26, 1948).", "opening_date": "1947-06-10T00:00:00"}, {"description": "<em>Drawings from the Collection, Gallery VIII</em>. The Cleveland Museum of Art, Cleveland, OH (July 3-November 7, 1948).", "opening_date": "1948-07-03T00:00:00"}, {"description": "<em>Drawings from the Collection, Gallery VIII</em>. The Cleveland Museum of Art, Cleveland, OH (June 15, 1949-April 24, 1950).", "opening_date": "1949-06-15T00:00:00"}, {"description": "<em>Drawings from the Collection, Gallery VIII</em>. The Cleveland Museum of Art, Cleveland, OH (June 14-December 5, 1950).", "opening_date": "1950-06-14T00:00:00"}, {"description": "<em>French Drawings from the Collection, Gallery VIII</em>. The Cleveland Museum of Art, Cleveland, OH (January 14-April 26, 1953).", "opening_date": "1953-01-14T00:00:00"}, {"description": "<em>French Drawings from the Collection, Gallery XVI</em>. The Cleveland Museum of Art, Cleveland, OH (April 30-June 16, 1954).", "opening_date": "1954-04-30T00:00:00"}, {"description": "<em>Drawings from the Collection, Gallery VIII</em>. The Cleveland Museum of Art, Cleveland, OH (June 16-August 10, 1954).", "opening_date": "1954-06-16T00:00:00"}]}, "provenance": [{"description": "(Kraushaar Galleries, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1927", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At the time this drawing was made, Camille Pissarro lived in the small village of Pontoise. He remained there for over a decade to immerse himself in the type of rural life that he depicted in his art.", "description": "Camille Pissarro used the French countryside and its inhabitants as the subject of his art throughout his career. He frequently depicted women sewing, often outdoors or seated beside a window, as seen in this drawing. He indicated the effects of natural light illuminating his subject with the notation \"lumi\u00e8re\" at the left margin of the drawing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001259"], "internet_archive": ["https://archive.org/details/clevelandart-1927.298-the-mender"]}, "citations": [{"citation": "C.W. Kraushaar Art Galleries.<em> Exhibition of Modern French Paintings, Water Colors and Drawings</em>. Exh. Cat. New York: C.W. Kraushaar Art Galleries, 1927.", "page_number": "Mentioned: no. 49", "url": null}], "url": "https://clevelandart.org/art/1927.298", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.298/1927.298_web.jpg", "width": "597", "height": "893", "filesize": "417507", "filename": "1927.298_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.298/1927.298_print.jpg", "width": "2274", "height": "3400", "filesize": "6435559", "filename": "1927.298_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.298/1927.298_full.tif", "width": "3325", "height": "4971", "filesize": "49615564", "filename": "1927.298_full.tif"}}, "alternate_images": [{"date_created": "2006-05-18T14:09:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.298/1927.298_alt0_web.jpg", "width": "621", "height": "893", "filesize": "449960"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.298/1927.298_alt0_print.jpg", "width": "2366", "height": "3400", "filesize": "6154568"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.298/1927.298_alt0_full.tif", "width": "3813", "height": "5479", "filesize": "62705508"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109137, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "c. 1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:58.019000"}, {"id": 162396, "accession_number": "2002.91", "share_license_status": "CC0", "tombstone": "Cupid and Psyche, 1813. Jacques-Louis David (French, 1748\u20131825). Gray wash and pen and black ink with white paint and traces of black chalk ; sheet: 16.7 x 22.4 cm (6 9/16 x 8 13/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 2002.91", "current_location": null, "title": "Cupid and Psyche", "creation_date": "1813", "creation_date_earliest": 1813, "creation_date_latest": 1813, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "gray wash and pen and black ink with white paint and traces of black chalk ", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 16.7 x 22.4 cm (6 9/16 x 8 13/16 in.)", "dimensions": {"sheet": {"height": 0.167, "width": 0.224}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, lower right: L. David 1813.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 223677, "title": "Jacques-Louis David: Empire to Exile", "description": "<i>Jacques-Louis David: Empire to Exile</i>. J. Paul Getty Museum, Los Angeles, CA (February 1-April 24, 2005).", "opening_date": "2005-02-01T00:00:00"}, {"id": 361567, "title": "Jacques Louis David: Radical Draftsman", "description": "<i>Jacques Louis David: Radical Draftsman</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 14-May 15, 2022) https://www.metmuseum.org/exhibitions/listings/2022/jacques-louis-david-radical-draftsman.", "opening_date": "2022-02-17T05:00:00"}], "legacy": [{"description": "<em>Neo-Classicism and Romanticism in French Painting, 1774-1826). </em>Richard L. Feigen &amp; Co., New York (1994).", "opening_date": "1994-01-01T00:00:00"}, {"description": "<em>Ein Blick auf </em>Amor und Psyche<em> um 1800</em>. Mus\u00e9e de Carouge (March 17 - May 1, 1994); Kunsthaus Z\u00fcrich (May 20 - July 17, 1994).", "opening_date": "1994-03-17T00:00:00"}, {"description": "<em>The Classical Ideal: Athens to Picasso</em>. David Carritt Limited, London (November 15 - December 14, 1979).", "opening_date": "1979-11-15T00:00:00"}, {"description": "<em>Exhibition of French Drawings: Neo-Classicism</em>. Heim Gallery, London (February 20 - March 27, 1975).", "opening_date": "1975-02-20T00:00:00"}]}, "provenance": [{"description": "Given by the artist to Nicholas Phillippe Auguste, Compte de Forbin [1777-1841], Paris", "citations": [], "footnotes": null, "date": "after 1813-after 1841", "sortorder": 1}, {"description": "Private collection, Paris", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 2}, {"description": "(sale, Hotel Drouot, November 7, 1973, no. 107)", "citations": [], "footnotes": ["<div><!--block-->Artist and date misidentified in this sale.</div>"], "date": "1973", "sortorder": 3}, {"description": "(Galerie Arnoldi-Livie, Munich)", "citations": [], "footnotes": [], "date": "1975-?", "sortorder": 4}, {"description": "(Heim Gallery, London)", "citations": [], "footnotes": [], "date": "by 1975", "sortorder": 5}, {"description": "(Artemis Group (David Carritt), London)", "citations": [], "footnotes": [], "date": "by 1979-?", "sortorder": 6}, {"description": "(Eugene V. Thaw, New York)", "citations": [], "footnotes": [], "date": "after 1979-?", "sortorder": 7}, {"description": "Ed Hill, El Paso, Texas", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 8}, {"description": "Elizabeth Eddy, Ohio", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 9}, {"description": "(Richard L. Feigen & Co., New York)", "citations": [], "footnotes": [], "date": "around 1980-?", "sortorder": 10}, {"description": "Paul Weiss, New York", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 11}, {"description": "(Richard L. Feigen & Co., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "by 1994-2003", "sortorder": 12}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2002-", "sortorder": 13}], "find_spot": null, "related_works": [{"id": 138464, "description": "Cupid and Psyche, 1817. Jacques-Louis David (French, 1748\u20131825). Oil on canvas; framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1962.37", "relationship": "preparatory for"}], "former_accession_numbers": [], "did_you_know": "Scholars believe that this drawing was given by Jacques-Louis David to his pupil, the Comte de Forbin, to thank him for his continual devotion.", "description": "This drawing belongs to a group of preparatory studies for Jacques-Louis David's painting <em>Cupid and Psyche, </em>also in the Cleveland Museum of Art's collection. Here, David integrated looser charcoal sketches into a finished work in which his composition was fully established. Only minor details, such as Cupid's facial expression, were ultimately changed. In layers of diluted gray wash and outlines of black ink, David evoked the precise appearance of his final canvas using monochromatic media.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986548"], "internet_archive": ["https://archive.org/details/clevelandart-2002.91-cupid-and-psyche"]}, "citations": [{"citation": "David, Jacques Louis Jules. <em>Le peintre Louis David, 1748-1825: souvenirs &amp; documents in\u00e9dits</em>. Paris: Victor Havard, 1880", "page_number": "Mentioned: p. 663", "url": null}, {"citation": "Hautecoeur, Louis. <em>Louis David</em>. Paris: Table Ronde, 1954.", "page_number": "Mentioned: p. 268", "url": null}, {"citation": "<em>The Age of Neo-Classicism</em>. Exh. Cat. London: Arts Council of Great Britain, 1972.", "page_number": "Mentioned: p. 48", "url": null}, {"citation": "<em>Estampes anciennes, beaux livres illustres, dessins anciens</em>. Paris: Hotel Drouot, 1973.", "page_number": "Mentioned and reproduced: no. 107", "url": null}, {"citation": "<em>Exhibition of French Drawings: Neo-Classicism</em>. Exh. Cat. London: Heim Gallery, 1975.", "page_number": "Mentioned and reproduced: no. 26", "url": null}, {"citation": "<em>The Classical Ideal: Athens to Picasso</em>. Exh. Cat. London: David Carritt Limited, 1979.", "page_number": "Mentioned: p. 35, no. 25; Reproduced: p. 34", "url": null}, {"citation": "Schnapper, Antoine. <em>David, t\u00e9moin de son temps. </em>Fribourg, Office du livre, 1980.", "page_number": "Mentioned: p. 297", "url": null}, {"citation": "Coekelberghs, Denis and Pierre Loze. <em>Autour du neo-classicisme en belgique, 1770-1830</em>. Exh. Cat. Brussels: Muse\u0301e communal des Beaux-Arts, 1985.", "page_number": "Mentioned: p. 182", "url": null}, {"citation": "Johnson, Dorothy. \"Desire Demythologized: David's <em>L'Amour Quittant Psych\u00e9</em>.\" <em>Art History </em>9, no. 4 (December 1986): 450-70.", "page_number": "Mentioned: p. 467, n. 32", "url": null}, {"citation": "<em>Jacques-Louis David, 1748-1825</em>. Exh. Cat. Paris: Muse\u0301e du Louvre, 1989.", "page_number": "Mentioned: pp. 506, 518", "url": null}, {"citation": "S\u00e9rullaz, Arlette. <em>Inventaire g\u00e9n\u00e9ral des dessins, \u00e9cole fran\u00e7aise, dessins de Jacques-Louis David</em>. Paris: \u00c9ditions de la R\u00e9union des mus\u00e9es nationaux, 1991.", "page_number": "Mentioned: p. 311", "url": null}, {"citation": "<em>Neo-Classicism and Romanticism in French Painting, 1774-1826</em>. Exh. Cat. New York: Richard L. Feigen &amp; Co., 1994.", "page_number": "Mentioned: pp. 26-28, no. 8; Reproduced: p. 27", "url": null}, {"citation": "Lang, Paul. <em>Ein Blick auf </em>Amor und Psyche<em> um 1800</em>. Exh. Cat. Z\u00fcrich: Kunsthaus Z\u00fcrich, 1994.", "page_number": "Mentioned: pp. 125-31, no. 28; Reproduced: p. 127", "url": null}, {"citation": "Vidal, Mary. \"'With a Pretty Whisper': Deception and Transformation in David's <em>Cupid and Psyche</em> and Apuleius's <em>Metamorphoses</em>.\" <em>Art History </em>22, no. 2 (June 1999): 214-43.", "page_number": "Mentioned: p. 221; Reproduced: p. 223, fig. 33", "url": null}, {"citation": "d'Argencourt, Louise. <em>European Paintings of the 19th-Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": "Mentioned: vol. 1, p. 201, n. 3", "url": null}, {"citation": "Bordes, Philippe. <em>Jacques-Louis David: Empire to Exile</em>. Exh. Cat. Williamstown, MA: Sterling and Francine Clark Art Institute, 2005.", "page_number": "Mentioned: pp. 220-24, no. 30; Reproduced: p. 221", "url": null}, {"citation": "Lampe, Issa. \"Painting History <em>Ex Patria</em>: Empire, Exile, and Memory in the Late Narrative Paintings of Jacques-Louis David (1817-1824).\" Ph.D. diss., Harvard University, 2006.", "page_number": "Mentioned: p. vii; Reproduced: p. 266, fig. 5", "url": null}, {"citation": "Allard, S\u00e9bastian and Marie-Claude Chaudonneret. <em>Le suicide de Gros: les peintres de l'empire et la g\u00e9n\u00e9ration romantique. </em>Paris: Gourcuff Gradenigo, 2010.", "page_number": "Mentioned: p. 27; Reproduced: p. 64", "url": null}, {"citation": "Johnson, Dorothy. <em>David to Delacroix: The Rise of Romantic Mythology</em>. Chapel Hill: University of North Carolina Press, 2011.", "page_number": "Mentioned: p. 89; Reproduced: p. 90", "url": null}, {"citation": "Prat, Louis-Antoine. <em>Le dessin fran\u00e7ais</em> <em>au XIXe si\u00e8cle</em>. Paris: Louvre Editions, 2012.", "page_number": "Mentioned and reproduced: p. 63, fig. 118", "url": null}, {"citation": "David, Jacques Louis, and Perrin Stein. Jacques Louis David: Radical Draftsman. 2022, 244.", "page_number": "Mentioned and reproduced, pp. 244-245, no. 77.", "url": ""}], "url": "https://clevelandart.org/art/2002.91", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.91/2002.91_web.jpg", "width": "1199", "height": "893", "filesize": "821332", "filename": "2002.91_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.91/2002.91_print.jpg", "width": "3400", "height": "2533", "filesize": "7158024", "filename": "2002.91_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.91/2002.91_full.tif", "width": "5905", "height": "4400", "filesize": "77975948", "filename": "2002.91_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162396, "creators": [{"id": 1643, "description": "Jacques-Louis David (French, 1748\u20131825)", "extent": null, "qualifier": null, "role": "artist", "biography": "The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Acad\u00e9mie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Mus\u00e9e du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Mus\u00e9e du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Acad\u00e9mie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napol\u00e9on Bonaparte. David's painting The Intervention of the Sabine Women (1799, Mus\u00e9e du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'\u00e9tat of 1799, Napol\u00e9on was named first consul and began supplying David with important commissions. Upon Napol\u00e9on's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napol\u00e9on, or Le Sacre (1805-7, Mus\u00e9e du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napol\u00e9on in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napol\u00e9on's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.", "name_in_original_language": null, "birth_year": "1748", "death_year": "1825", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-12-02T00:00:00", "sortable_date": 1813, "date_added_to_oa": null, "date_text": "1813", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:38.516000"}, {"id": 144756, "accession_number": "1969.54", "share_license_status": "CC0", "tombstone": "Madame Lerolle, 1882. Henri Fantin-Latour (French, 1836\u20131904). Oil on fabric; framed: 132.4 x 103.5 x 8.3 cm (52 1/8 x 40 3/4 x 3 1/4 in.); unframed: 108.2 x 78.9 cm (42 5/8 x 31 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund and the Fanny Tewksbury King Collection by exchange, 1969.54", "current_location": "220 19th Century European", "title": "Madame Lerolle", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 132.4 x 103.5 x 8.3 cm (52 1/8 x 40 3/4 x 3 1/4 in.); Unframed: 108.2 x 78.9 cm (42 5/8 x 31 1/16 in.)", "dimensions": {"framed": {"height": 1.324, "width": 1.035, "depth": 0.083}, "unframed": {"height": 1.082, "width": 0.789}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Fantin / 1882\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 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": 230826, "title": "Henri Fantin-Latour: Painter of Intimacy (1836-1904)", "description": "<i>Henri Fantin-Latour: Painter of Intimacy (1836-1904)</i>. Calouste Gulbenkian Foundation, Lisbon, Portugal (June 26-September 6, 2009); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (September 28, 2009-January 10, 2010).", "opening_date": "2009-06-26T00:00:00"}], "legacy": [{"description": "Paris, Palais de l'Industrie. Salon (1882), no. 1007, Hors Concours. Portrait de Mme H. L . . .", "opening_date": null}, {"description": "Paris, Palais de l'\u00c9cole Nationale des Beaux-Arts. Exposition de l'oeuvre de Fantin-Latour (1906), no. 49, appartient \u00e0 Henri Lerolle.", "opening_date": "1906-01-01T00:00:00"}, {"description": "Paris, La Renaissance. Portraits et figures de femmes, Ingres \u00e0 Picasso (1928), no. 70, Portrait de Mme Henri Lerolle, appartient \u00e0 Henri Lerolle.", "opening_date": "1928-01-01T00:00:00"}, {"description": "Paris, Grand Palais; Ottawa, National Gallery of Canada; San Francisco, California Palace of the Legion of Honor. Fantin-Latour (1982-83), 322, 324, 327, 367-69, no. 137 bis (repr.) (shown only in Ottawa and San Francisco).", "opening_date": "1982-01-01T00:00:00"}, {"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}, {"description": "Museu Calouste Gulbenkian, Lisbon (6/18/2009 - 9/6/2009) and the Museo Thyssen-Bornemisza, Madrid (9/28/2009 - 1/10/2010):  \"Henri Fantin-Latour: Painter of Intimacy (1836-1904)\"", "opening_date": "2009-06-18T00:00:00"}]}, "provenance": [{"description": "Family of the sitter. Hector Brame, Paris. Purchased by the CMA on 10 May 1969.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The floral still life of roses enlivens the otherwise restrained palette used by the artist in this portrait. By the time he painted Madeleine Escudier Lerolle (1856\u20131937), wife of artist Henry Lerolle, the French artist Henri Fantin-Latour had established a steady clientele in Britain for his floral still lifes, arranged in modest vases and depicted against a neutral ground; he included such a still life in this portrait. Madeleine Lerolle and her daughter Yvonne are the subjects of another painting at the CMA by Albert Besnard in gallery 219.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60470648"], "internet_archive": ["https://archive.org/details/clevelandart-1969.54-madame-lerolle"]}, "citations": [{"citation": "Be\u0301ne\u0301dite, Le\u0301once. <em>Fantin-Latour; e\u0301tude critique, catalogue des oeuvres conserve\u0301es dans les muse\u0301es, liste des oeuvres expose\u0301es aux salons - Fantin-Latour lithographe, catalogue de l'oeuvre lithographie\u0301 et grave\u0301</em>. Paris: Librairie de l'Art Ancien et Moderne, 1903.", "page_number": "Reproduced: p. 32", "url": null}, {"citation": "Be\u0301ne\u0301dite, Le\u0301once. . L<em>'\u0153uvre de Fantin-Latour; recueil de cinquante reproductions d'apre\u0300s les principaux chefs-d'\u0153uvre du mai\u0302tre re\u0301unis a\u0300 l'occasion de l'exposition organise\u0301e a\u0300 l'E\u0301cole nationale des beaux-arts, sous le patronage de m. le ministre de l'instruction publique et des beaux-arts et de m. le sous-secre\u0301taire d'e\u0301tat des beaux-arts. </em>Paris: Librairie centrale des beaux-arts, 1906.", "page_number": "Plate 19", "url": null}, {"citation": "Jullien, Adolphe. <em>Fantin-Latour, Sa Vie et Ses Amitie\u0301s; Lettres Ine\u0301dites et Souvenirs Personnels, avec Cinquante-Trois Reproductions d'\u0153uvres du Maitre, Tire\u0301es a Part, Six Autographes et Vingt-Deux Illustrations dans le Texte.</em> Paris: L. Laveur, 1909.", "page_number": "Reproduced: p. [105]", "url": null}, {"citation": "Talbot, William S. \u201cHenri Fantin-Latour: Madame Henri Lerolle.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 56, no. 9 (November 1969): 308\u2013319.", "page_number": "Mentioned and reproduced: p. 308-313, figs. 1-3", "url": "http://www.jstor.org/stable/25152293"}, {"citation": "Weisberg, Gabriel P. \u201cMadame Henry Lerolle and Daughter Yvonne.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 10 (December 1977): 326\u2013343.", "page_number": "Mentioned and reproduced: p. 328-330, fig. 8", "url": "http://www.jstor.org/stable/25159555"}, {"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. 211", "url": "https://archive.org/details/CMAHandbook1978/page/n231"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 264-267, Vol. I, no. 96", "url": ""}, {"citation": "Alsdorf, Bridget. \"Manet's Fleurs du Mal.\" In <em> Manet and Modern Beauty: The Artist's Last Years</em>. Scott Allan, Emily A. Beeny, and Gloria Lynn, eds., 128-145. Los Angeles: The J. Paul Getty Museum, 2019.", "page_number": "Mentioned and reproduced: P. 138-139", "url": null}, {"citation": "Lerolle, Aggy. <em>Henry Lerolle: Paris 1848-1929.</em> Willaupuis, Belgium: Wapica; Paris: Socie\u0301te\u0301 des Amis d'Henry Lerolle, 2022.", "page_number": "Mentioned and reproduced: P. 44-45", "url": ""}], "url": "https://clevelandart.org/art/1969.54", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.54/1969.54_web.jpg", "width": "660", "height": "893", "filesize": "435566", "filename": "1969.54_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.54/1969.54_print.jpg", "width": "2513", "height": "3400", "filesize": "7089035", "filename": "1969.54_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.54/1969.54_full.tif", "width": "4576", "height": "6190", "filesize": "85012684", "filename": "1969.54_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund and the Fanny Tewksbury King Collection by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 144756, "creators": [{"id": 1862, "description": "Henri Fantin-Latour (French, 1836\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "At the age of ten, Henri Fantin-Latour began painting with his father, Th\u00e9odore Fantin-Latour (1805-1875). In 1850 he left Grenoble and moved to Paris to study under Horace Lecoq de Boisbaudran (1802-1897), an innovative and nontraditional instructor who developed and published his own unique teaching method based on painting and drawing from memory. Fantin studied with him for six years and then attended the \u00c9cole des Beaux-Arts for less than a year in 1854. Encouraged by J. A. M. Whistler (1834-1903), whom he met in 1858 at the Louvre, Fantin-Latour made several trips to London from 1859 to 1881, where he exhibited at the Royal Academy. London collectors appreciated his still lifes, and he began accepting numerous portrait commissions from English patrons. It was in London, through Whistler's brother-in-law Francis Seymour Haden (1818-1910), that Fantin first learned to etch. After his first Salon submissions were rejected in 1859, Fantin, in an effort to become better known in France, began exhibiting with his friend Manet (q.v.) and future impressionists Renoir (q.v.) and Monet (q.v.). In 1865 Fantin wrote collector Edwin Edwards: \"We form a group and make noise because there are lots of painters about and one is easily overlooked. When we get together . . . we gain strength in numbers and grow more adventurous. I thought it could last. That was my mistake.\" Unlike the realists and the impressionists, Fantin did not paint out of doors; rather, he preferred literary subjects, still lifes, and portraits that could be painted in his studio. In addition to portraits and still lifes, he made numerous paintings and more than 150 prints that were fantasy works and dream visions, paving the way for symbolist artists. These works were inspired by allegorical and mythological subjects as well as motivated by contemporary German composers such as Schumann and Wagner. After Fantin's death in 1904, critic Ren\u00e9-Marc Ferry wrote: \"when he found realism too limited and stifling, he lost himself in dreams, but his dreams went no further than the windows of his studio. Deep down, he was first and foremost a studio artist.\"1\r\n1. Druick and Hoog 1982, 28.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Madame Henry Lerolle"], "is_highlight": false, "updated_at": "2026-03-27 00:06:23.695000"}, {"id": 136760, "accession_number": "1961.262", "share_license_status": "CC0", "tombstone": "Saint-Mamm\u00e8s, Loing Canal, 1885. Alfred Sisley (French, 1840\u20131899). Oil on fabric; unframed: 46.6 x 55.8 cm (18 3/8 x 21 15/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Lewis B. Williams from The Blair Trust, 1961.262", "current_location": null, "title": "Saint-Mamm\u00e8s, Loing Canal", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 46.6 x 55.8 cm (18 3/8 x 21 15/16 in.)", "dimensions": {"unframed": {"height": 0.466, "width": 0.558}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Sisley. 85\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 442204, "title": "Paris autour de 1882 (Paris around 1882)", "description": "<i>Paris autour de 1882 (Paris around 1882)</i>. Museum of Fine Arts, Gifu, Gifu City, Japan (organizer) (November 3-December 19, 1982); Museum of Modern Art, Kamakura, Kanagawa, Japan (January 15-February 20, 1983).", "opening_date": "1982-11-03T05:00:00"}, {"id": 442122, "title": "\u30b7\u30b9\u30ec\u30fc\u5c55 (Alfred Sisley Retrospective)", "description": "<i>\u30b7\u30b9\u30ec\u30fc\u5c55 (Alfred Sisley Retrospective)</i>. Isetan Museum, Tokyo, Toyko, Japan (March 7-April 14, 1985); Fukuoka Art Museum, Fukuoka, Japan (April 18-May 12, 1985); Nara Prefectural Museum of Art, Nara, Japan (May 18-June 30, 1985).", "opening_date": "1985-03-07T05:00:00"}, {"id": 441870, "title": "Sisley", "description": "<i>Sisley</i>. Royal Academy of Arts, London, United Kingdom of Great Britain and Northern Ireland (organizer) (July 3-October 18, 1992); Mus\u00e9e d'Orsay, Paris, France (October 28, 1992-January 31, 1993); Walters Art Gallery, Baltimore, MD (March 14-June 13, 1993).", "opening_date": "1992-07-03T04:00:00"}], "legacy": [{"description": "New York, Durand-Ruel. Exhibition: Paintings by Sisley (1917), no. 6, St. Mamm\u00e8s.", "opening_date": "1917-01-01T00:00:00"}, {"description": "New York, Durand-Ruel. Exhibition of Paintings by Alfred Sisley (1921), no. 18, St. Mamm\u00e8s.", "opening_date": "1921-01-01T00:00:00"}, {"description": "New York, Durand-Ruel. Exhibition of Paintings by Camille Pissarro and Alfred Sisley (1925), no. 15, St. Mamm\u00e8s.", "opening_date": "1925-01-01T00:00:00"}, {"description": "Gifu (Japan) Museum of Fine Arts; Kamakura, Museum of Modern Art. Paris autour de 1882 (1982-83), no. 89, fig. 89.", "opening_date": "1982-01-01T00:00:00"}, {"description": "Tokyo, Isetan Museum of Art; Fukuoka Art Museum; Nara Prefectural Museum. Retrospective Alfred Sisley (1985), no. 37, 169 (repr.).", "opening_date": "1985-01-01T00:00:00"}, {"description": "London, Royal Academy of Arts; Paris, Mus\u00e9e d'Orsay; Baltimore, Walters Art Gallery. Alfred Sisley (1992-93), 42, fig. 36, 206, 208, no. 57 (repr.), 210.", "opening_date": "1992-01-01T00:00:00"}]}, "provenance": [{"description": "Bought from the artist by Durand-Ruel, Paris (stock number 638) on 21 January 1885. Deposited with Joseph Durand-Ruel, 35 Rue de Rome, on 25 February 1885. Bought from Paul Durand-Ruel by Durand-Ruel, Paris (stock number 1442) on 25 August 1891. Sold to Durand-Ruel, New York (stock number 1888). Sold on 10 November 1926 to Lewis B. Williams, New York. Given to the CMA in 1961.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The son of an affluent British businessman, Alfred Sisley was born in Paris and became friendly with fellow students Claude Monet, Auguste Renoir, and Fr\u00e9d\u00e9ric Bazille while studying in the studio of Charles Gleyre during the early 1860s.", "description": "The small town of Saint-Mamm\u00e8s is located about forty miles south of Paris, where the Seine and Loing rivers are joined by a canal. Alfred Sisley was fond of the area and often painted there in the 1880s, undoubtedly attracted by the low rents, since his poverty had become chronic in the wake of the bankruptcy and death of his father. Sisley rendered this view of the Saint-Mamm\u00e8s-Loring canal with a classic Impressionist technique, using pure color and soft, flickering brushwork that dissolves forms into a haze of optical sensations approximating the effect of brilliant, outdoor light.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465956"], "internet_archive": ["https://archive.org/details/clevelandart-1961.262-saint-mammes-loing-c"]}, "citations": [{"citation": "\u201cAnnual Report for 1961.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 6 (June 1962): 115\u2013145.", "page_number": "Reproduced: Cover", "url": "http://www.jstor.org/stable/25151899"}, {"citation": "Lee, Sherman E. \u201cYear in Review 1962.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 49, no. 9 (November 1962): 199\u2013227.", "page_number": "Mentioned: p. 225, no. 98", "url": "http://www.jstor.org/stable/25151915"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 217", "url": "https://archive.org/details/CMAHandbook1978/page/n237"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 593-595, Vol. II, no. 208", "url": ""}, {"citation": "Sisley, Alfred. Alfred Sisley: catalogue critique des peintures et des pastels. 2021. 256.", "page_number": "Reproduced; p. 256, no. 668.", "url": ""}], "url": "https://clevelandart.org/art/1961.262", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.262/1961.262_web.jpg", "width": "1067", "height": "893", "filesize": "743672", "filename": "1961.262_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.262/1961.262_print.jpg", "width": "3400", "height": "2846", "filesize": "6424837", "filename": "1961.262_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.262/1961.262_full.tif", "width": "4552", "height": "3810", "filesize": "52060824", "filename": "1961.262_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Lewis B. Williams from The Blair Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136760, "creators": [{"id": 1819, "description": "Alfred Sisley (French, 1840\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": "Although Alfred Sisley's parents were British and he himself held British citizenship, he spent the majority of his life in France. He was sent to London in 1857 to study business, but he returned to France four years later and resided there the rest of his life. During his stay in London, he probably became familiar with the works of Constable (q.v.) and Turner (q.v.). Sisley entered the studio of the Swiss painter Charles Gleyre (1806-1874) upon his return to Paris, where he met Monet (q.v.), Renoir (q.v.), and Fr\u00e9d\u00e9ric Bazille (1841-1870). He painted with Renoir and Bazille periodically around the Parisian countryside, particularly in the forest of Fontainebleau. His early pieces reflect the influence of Daubigny (q.v.) and Corot (q.v.). Sisley's work was accepted at the Salon of 1866, and he exhibited there occasionally until 1870. During the Franco-Prussian War, he moved from Bougival, which was taken by the Prussians, to Paris. Afterward he went to Louveciennes, where he produced landscapes with looser brushwork. He began to exhibit with the impressionists in 1874, and during the summer he traveled to Hampton Court, making several paintings of the river Thames. In need of money, Sisley participated in the Hotel Drouot sales of 1875 and 1877. In 1880 he moved to Veneux-Nadon, near Moret-sur-Loing, searching for new inspiration in the fresh, remote surroundings, and lived in the area for the rest of his life. There he applied greater texture in the paint surface and more vibrant colors. He created series to study the effects of light and atmosphere on a given location, as had Monet. Sisley never experienced financial or critical success during his lifetime. He died of cancer of the throat, without ever obtaining the French nationality that he so intensely desired.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:28.682000"}, {"id": 109192, "accession_number": "1927.344.2", "share_license_status": "CC0", "tombstone": "Homage to Goya: The Marsh Flower, a Sad Human Head, 1885. Odilon Redon (French, 1840\u20131916), printed by Lemercier & Cie.. Lithograph on China paper laid on wove paper; image: 27.5 x 20.5 cm (10 13/16 x 8 1/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.344.2", "current_location": null, "title": "The Marsh Flower, a Sad Human Head", "series": "Homage to Goya", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 27.5 x 20.5 cm (10 13/16 x 8 1/16 in.)", "dimensions": {"image": {"height": 0.275, "width": 0.205}}, "state_of_the_work": "I/I", "edition_of_the_work": "first edition (edition of 50)", "copyright": null, "inscriptions": [{"inscription": "printed above image at center: Planche II.; below image at center: La FLEUR du MAR\u00c9CAGE une t\u00eate humaine et triste.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.345"], "did_you_know": "This portfolio was published in an edition of 50, one of which Redon sent to poet St\u00e9phane Mallarm\u00e9 soon after Redon became a frequent participant in a literary salon held regularly at Mallarm\u00e9's home.", "description": "This series is one of many that Odilon Redon created throughout his career. Nearly two-thirds of his lithographs took the form of portfolios\u2014prints connected conceptually by a theme or narrative and physically by a folder or binding. Such works were often dispersed over time, but Cleveland was fortunate to acquire several complete sets with their original covers during the 1920s. Dating from Redon\u2019s early experimentation with lithography, <em>Homage to Goya</em> was intended as a tribute to 18th-century Spanish master Francisco de Goya, whose interest in dreams and the subconscious influenced Redon. The six seemingly unrelated images celebrate Goya\u2019s ambiguity and collectively suggest the introspection and isolation of artistic practice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001381"], "internet_archive": ["https://archive.org/details/clevelandart-1927.344.2-the-marsh-flower-a-s"]}, "citations": [{"citation": "Lemonedes, Heather. \"Bits of Rainbows: Odilon Redon's <em>Vase of Flowers</em> and the power of enlightenment.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 1 (January/February 2016): 5-7.", "page_number": "Reproduced: p. 7; Mentioned: p. 5, 7", "url": "https://archive.org/details/CMAMM2016-01/page/4/mode/2up"}, {"citation": "Voigt, Kirsten Claudia, Leonie Beiersdorf, and Pia Mu\u0308ller-Tamm. <em>Inventing nature: Pflanzen in der Kunst.</em> Karlsruhe: Staatliche Kunsthalle Karlsruhe; K\u00f6ln: Snoeck, 2021.", "page_number": "Mentioned and Reproduced: P. 70-71, abb. 3", "url": ""}, {"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 157-159, fig. 83", "url": ""}], "catalogue_raisonne": "Mellerio 55", "url": "https://clevelandart.org/art/1927.344.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.2/1927.344.2_web.jpg", "width": "669", "height": "900", "filesize": "283714", "filename": "1927.344.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.2/1927.344.2_print.jpg", "width": "2528", "height": "3400", "filesize": "4495400", "filename": "1927.344.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.2/1927.344.2_full.tif", "width": "6374", "height": "8571", "filesize": "163923834", "filename": "1927.344.2_full.tif"}}, "alternate_images": [{"date_created": "2006-03-07T18:44:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.2/1927.344.2_alt0_web.jpg", "width": "653", "height": "893", "filesize": "460475"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.2/1927.344.2_alt0_print.jpg", "width": "2487", "height": "3400", "filesize": "6679313"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.2/1927.344.2_alt0_full.tif", "width": "3894", "height": "5323", "filesize": "62213572"}}, {"date_created": "2025-07-24T15:29:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.2/1927.344.2_alt1_web.jpg", "width": "638", "height": "900", "filesize": "175876"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.2/1927.344.2_alt1_print.jpg", "width": "2409", "height": "3400", "filesize": "3289927"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.2/1927.344.2_alt1_full.tif", "width": "9006", "height": "12713", "filesize": "343507526"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109192, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.344", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Homage to Goya: The Marsh Flower, a Sad Human Head"], "is_highlight": false, "updated_at": "2026-03-27 00:05:49.192000"}, {"id": 142696, "accession_number": "1966.413.2", "share_license_status": "CC0", "tombstone": "The Haunted House: Below, I Saw the Vaporous Contours of a Human Form, 1896. Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on China paper laid on wove paper; image: 25.3 x 18.1 cm (9 15/16 x 7 1/8 in.); sheet: 44.9 x 31.2 cm (17 11/16 x 12 5/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1966.413.2", "current_location": null, "title": "Below, I Saw the Vaporous Contours of a Human Form", "series": "The Haunted House", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 25.3 x 18.1 cm (9 15/16 x 7 1/8 in.); Sheet: 44.9 x 31.2 cm (17 11/16 x 12 5/16 in.)", "dimensions": {"image": {"height": 0.253, "width": 0.181}, "sheet": {"height": 0.449, "width": 0.312}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: je vis dessus le contour vaporeux d'une femme humaine", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.415"], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. This series was inspired by <em>The Haunted and the Haunters,</em> an 1859 novel by British writer Edward Bulwer-Lytton. Redon\u2019s prints capture the book\u2019s mysterious tone and emphasis on the supernatural through vague but evocative imagery that sometimes borders on abstraction. By this time a seasoned expert in lithography, the artist collaborated with master printer Auguste Clot. 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Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. 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Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on China paper laid on wove paper; image: 24.5 x 17.8 cm (9 5/8 x 7 in.); sheet: 24.8 x 31.3 cm (9 3/4 x 12 5/16 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.417"], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. 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Their combined technical skills allowed for the rich tonal variation seen here, made by turning Redon\u2019s lithographic crayon on its side, layering various marks, and even scratching directly into the surface of his stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042665"], "internet_archive": ["https://archive.org/details/clevelandart-1966.413.5-to-all-appearances-i"]}, "citations": [{"citation": "\"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (1967): 302-46.", "page_number": "Mentioned: pp. 344-345", "url": "https://www.jstor.org/stable/25152183"}], "catalogue_raisonne": "Mellerio 164", "url": "https://clevelandart.org/art/1966.413.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.5/1966.413.5_web.jpg", "width": "621", "height": "893", "filesize": "396446", "filename": "1966.413.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.5/1966.413.5_print.jpg", "width": "2364", "height": "3400", "filesize": "6046121", "filename": "1966.413.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.5/1966.413.5_full.tif", "width": "3869", "height": "5565", "filesize": "64622764", "filename": "1966.413.5_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142699, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. 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These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. 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Silver gilt, opaque cloisonn\u00e9 enamel; overall: 17.2 x 5.9 cm (6 3/4 x 2 5/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.500.8", "current_location": "211 Faberg\u00e9", "title": "Tea Strainer", "creation_date": "1887\u201396", "creation_date_earliest": 1887, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "silver gilt, opaque cloisonn\u00e9 enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 17.2 x 5.9 cm (6 3/4 x 2 5/16 in.)", "dimensions": {"overall": {"height": 0.172, "width": 0.059}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "84, St. George? [assay mark for Moscow, 1882-1896]; C. Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; 11494 scratched.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131966", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.507"], "did_you_know": "This tea strainer is part of a larger tea service.", "description": "Faberg\u00e9\u2019s craftsmen in Moscow, especially under the watchful eye of workmaster Feodor R\u00fcckert, became known for their work in the pan-Slavic or neo-Russian style, hearkening back to 17th-century motifs of Russian folk art. Often on rather conventional shapes, R\u00fcckert and his silversmiths created an explosion of color, achieved through the historic technique of cloisonn\u00e9 enamel in which tiny metal lines are soldered to the surface then filled with glass powders in various colors and fired to create a high gloss finish. The result is a spectacular evocation of the 17th-century originals. Far from mere copies, however, R\u00fcckert's designs, such as this tea service, employ naturalistic or abstract motifs in a thoroughly modern adaptation of a remarkable earlier period of Russian art and decoration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757387"], "internet_archive": ["https://archive.org/details/clevelandart-1966.500.8-tea-strainer"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1967.", "page_number": "mentioned & reproduced PP 124-5, cat. no. 59G", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=836254532"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> New Haven: Yale University Press, 2008.", "page_number": "mentioned & reproduced PP 30-1, cat. no. 91", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}], "url": "https://clevelandart.org/art/1966.500.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.8/1966.500.8_web.jpg", "width": "646", "height": "900", "filesize": "132918", "filename": "1966.500.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.8/1966.500.8_print.jpg", "width": "2442", "height": "3400", "filesize": "698531", "filename": "1966.500.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.8/1966.500.8_full.tif", "width": "5826", "height": "8113", "filesize": "141823252", "filename": "1966.500.8_full.tif"}}, "alternate_images": [{"date_created": "2022-01-26T21:13:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.8/1966.500.8_alt0_web.jpg", "width": "649", "height": "900", "filesize": "126752"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.8/1966.500.8_alt0_print.jpg", "width": "2452", "height": "3400", "filesize": "646983"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.8/1966.500.8_alt0_full.tif", "width": "5826", "height": "8079", "filesize": "141228980"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142827, "creators": [{"id": 8894, "description": "Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917)", "extent": null, "qualifier": "attributed to", "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887\u201396", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.500", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:01.850000"}, {"id": 148152, "accession_number": "1975.151", "share_license_status": "CC0", "tombstone": "Mask (Omono or Tana Wurum Bogoro), early 1900s. Africa, West Africa, Mali, Dogon-style blacksmith-carver. Wood and paint; overall: 91.5 cm (36 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.151", "current_location": "108A African", "title": "Mask (Omono or Tana Wurum Bogoro)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1940, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Dogon-style blacksmith-carver"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 91.5 cm (36 in.)", "dimensions": {"overall": {"height": 0.915}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 2, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1975,\" CMA Bulletin LXIII (Feb., 1976), p. 66, no. 35, repr. p. 64", "opening_date": "1976-02-01T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131975", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["929.68"], "did_you_know": "The long-armed figure at the top of this mask is <em>omono</em>, a white-bellied monkey.", "description": "Dogon masks can be interpreted on two fundamentally different levels: \u201cfront speech\u201d (<em>giri so</em>) reflects an early stage of knowledge and consists of a tale that is intended to arouse curiosity; and \u201cspeech of the world\u201d (<em>aduno so</em>) refers to Dogon cosmogony, reserved for highly instructed men and women. Masked dances have recently been organized in Dogon regions for tourists and dignitaries. The character of <em>omono</em> is a rare one among the 80 or so that appear in Dogon masquerades.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1975.151-mask-omono-or-tana-w"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection, no. 2</em>. Cleveland: Cleveland Museum of Art.", "page_number": "", "url": ""}, {"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. 64; Mentioned: p. 66, no. 35", "url": "http://www.jstor.org/stable/25152624"}], "url": "https://clevelandart.org/art/1975.151", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.151/1975.151_web.jpg", "width": "509", "height": "900", "filesize": "80227", "filename": "1975.151_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.151/1975.151_print.jpg", "width": "1922", "height": "3400", "filesize": "692305", "filename": "1975.151_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.151/1975.151_full.tif", "width": "3474", "height": "6144", "filesize": "64063948", "filename": "1975.151_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt0_web.jpg", "width": "505", "height": "893", "filesize": "197643"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt0_print.jpg", "width": "2072", "height": "3400", "filesize": "2824863"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt0_full.tif", "width": "3047", "height": "5000", "filesize": "45716496"}}, {"date_created": "2009-11-02T15:15:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt1_web.jpg", "width": "507", "height": "893", "filesize": "195049"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt1_print.jpg", "width": "1932", "height": "3400", "filesize": "2787371"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt1_full.tif", "width": "3420", "height": "6018", "filesize": "61775936"}}, {"date_created": "2009-11-02T15:14:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt2_web.jpg", "width": "492", "height": "893", "filesize": "207690"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt2_print.jpg", "width": "1873", "height": "3400", "filesize": "3006971"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.151/1975.151_alt2_full.tif", "width": "3342", "height": "6066", "filesize": "60849176"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148152, "creators": [], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Face Mask (Omono or Tana Wurum Bogoro)", "Monkey Mask (omono)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:37.280000"}, {"id": 149641, "accession_number": "1979.37", "share_license_status": "CC0", "tombstone": "Portrait of Napol\u00e9one Elisa Baciocchi, Niece of Napoleon I, 1810\u201312. Lorenzo Bartolini (Italian, 1777\u20131850). Marble; overall: 113 x 39.1 cm (44 1/2 x 15 3/8 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1979.37", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Portrait of Napol\u00e9one Elisa Baciocchi, Niece of Napoleon I", "creation_date": "1810\u201312", "creation_date_earliest": 1810, "creation_date_latest": 1812, "artists_tags": ["male"], "culture": ["Italy, 19th century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 113 x 39.1 cm (44 1/2 x 15 3/8 in.)", "dimensions": {"overall": {"height": 1.13, "width": 0.391}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed in Greek on dog's collar: ARTEMIS (letters originally filled with red pigment)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "Comtesse Lecoat de Kerveguen (Paris, France)", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Wildenstein & Co., Inc. (New York, New York), sold to the Cleveland Museum of Art, 1979.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Felice Pasquale Baciocchi, the father of the subject of this sculpture, was an avid violinist and studied with violin virtuoso Niccol\u00f2 Paganini for a decade.", "description": "To extend power across the continent, Napoleon arranged for his sisters to marry into the courts of Europe. The sitter is his niece, daughter of the Grand-Duke of Tuscany (the bee on her cup is a Napoleonic emblem). While the girl\u2019s nakedness might startle us today, in the early 1800s depicting children nude emphasized their purity and innocence. The work takes its cues from ancient sculpture, and while the pet dog adds a note of tenderness, it also refers to Diana, goddess of the moon and hunt.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746346"], "internet_archive": ["https://archive.org/details/clevelandart-1979.37-portrait-of-napoleon"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThomas L. Fawick Memorial Collection is on View in Year in Review Exhibition,\u201d February 7, 1980, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2737"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "cat. 18, p. 95, repr. p. 68", "url": "www.jstor.org/stable/25159667"}], "url": "https://clevelandart.org/art/1979.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.37/1979.37_web.jpg", "width": "576", "height": "893", "filesize": "185953", "filename": "1979.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.37/1979.37_print.jpg", "width": "2193", "height": "3400", "filesize": "2935119", "filename": "1979.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.37/1979.37_full.tif", "width": "3896", "height": "6039", "filesize": "70622140", "filename": "1979.37_full.tif"}}, "alternate_images": [{"date_created": "2008-01-30T20:12:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.37/1979.37_alt0_web.jpg", "width": "514", "height": "893", "filesize": "169802"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.37/1979.37_alt0_print.jpg", "width": "1956", "height": "3400", "filesize": "2660406"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.37/1979.37_alt0_full.tif", "width": "3496", "height": "6078", "filesize": "63783236"}}], "creditline": "The Thomas L. Fawick Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 149641, "creators": [{"id": 5807, "description": "Lorenzo Bartolini (Italian, 1777\u20131850)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1777", "death_year": "1850", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1810, "date_added_to_oa": null, "date_text": "1810\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": false, "impression": null, "alternate_titles": ["Portrait of Napoloeone Elisa Baciocchi"], "is_highlight": false, "updated_at": "2026-03-26 23:59:44.970000"}, {"id": 160469, "accession_number": "1998.29", "share_license_status": "CC0", "tombstone": "Hat (Kalyeem), possibly early 1900s. Africa, Central Africa, Democratic Republic of the Congo, Kuba-style maker. Raffia, glass beads, cowrie shells, cloth (including wool), thread, and copper alloy; overall: 29 x 23 x 23 cm (11 7/16 x 9 1/16 x 9 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.29", "current_location": "108A African", "title": "Hat (Kalyeem)", "creation_date": "possibly early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo, Kuba-style maker"], "technique": "Raffia, glass beads, cowrie shells, cloth (including wool), thread, and copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 29 x 23 x 23 cm (11 7/16 x 9 1/16 x 9 1/16 in.)", "dimensions": {"overall": {"height": 0.29, "width": 0.23, "depth": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 108): May 11, 2010 - October 20, 2014.", "opening_date": "2010-05-11T00:00:00"}]}, "provenance": [{"description": "(Jacques Hautelet, La Jolla, CA, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1998", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1998-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The imported beads and shells on this hat were expensive, so they showed off its wearers' wealth.", "description": "Kuba men (and some women) show their title and status with hats and hat accessories. The male owner of this heavily beaded and shell-covered hat (<em>kalyeem</em>) had a senior title. A simple coiled basketry hat forms its foundation (similar to 1915.465). Fabric panels stitched with zig-zagging white and blue beads edged in cowries hang from the top. White bead strands with cowrie shells flow downward, pushed out over the forehead by a large brim. Technically and aesthetically, beaded Kuba hats and masks have much in common; artists specializing in beading techniques had the skills to make both, using imported beads and shells.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79981707"], "internet_archive": ["https://archive.org/details/clevelandart-1998.29-hat-kalyeem"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cPainting by 18th-century Italian Master Gaetano Gandolfi among Works Added to CMA Collection,\u201d March 24, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4108"}, {"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": "p. 118, color repr. p. 36 & 53", "url": null}], "url": "https://clevelandart.org/art/1998.29", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.29/1998.29_web.jpg", "width": "718", "height": "893", "filesize": "392968", "filename": "1998.29_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.29/1998.29_print.jpg", "width": "2733", "height": "3400", "filesize": "4786475", "filename": "1998.29_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.29/1998.29_full.tif", "width": "4096", "height": "5095", "filesize": "62628416", "filename": "1998.29_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt0_web.jpg", "width": "682", "height": "893", "filesize": "384971"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt0_print.jpg", "width": "2596", "height": "3400", "filesize": "4507722"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt0_full.tif", "width": "3793", "height": "4967", "filesize": "56540728"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt1_web.jpg", "width": "673", "height": "893", "filesize": "392133"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt1_print.jpg", "width": "2561", "height": "3400", "filesize": "4559746"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt1_full.tif", "width": "3626", "height": "4814", "filesize": "52388636"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt2_web.jpg", "width": "661", "height": "893", "filesize": "381855"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt2_print.jpg", "width": "2516", "height": "3400", "filesize": "4435003"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.29/1998.29_alt2_full.tif", "width": "3543", "height": "4788", "filesize": "50912636"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160469, "creators": [], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hat (Kalyeem)", "Kalyeem Headdress", "Hat"], "is_highlight": false, "updated_at": "2026-03-27 00:09:07.026000"}, {"id": 162195, "accession_number": "2002.101", "share_license_status": "CC0", "tombstone": "Aurora and Cephalus, c.1810. Anne-Louis Girodet de Roucy-Trioson (French, 1767\u20131824). Oil on canvas; framed: 34.9 x 29.9 x 7 cm (13 3/4 x 11 3/4 x 2 3/4 in.); unframed: 22.8 x 16.8 cm (9 x 6 5/8 in.). The Cleveland Museum of Art, Gift of the Painting and Drawing Society of The Cleveland Museum of Art, 2002.101", "current_location": "202 French Neoclassical Decorative Arts", "title": "Aurora and Cephalus", "creation_date": "c.1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 34.9 x 29.9 x 7 cm (13 3/4 x 11 3/4 x 2 3/4 in.); Unframed: 22.8 x 16.8 cm (9 x 6 5/8 in.)", "dimensions": {"framed": {"height": 0.349, "width": 0.299, "depth": 0.07}, "unframed": {"height": 0.228, "width": 0.168}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 219170, "title": "Girodet: Romantic Rebel", "description": "<i>Girodet: Romantic Rebel</i>. Mus\u00e9e du Louvre, Paris, France (September 19, 2005-January 2, 2006); The Art Institute of Chicago, Chicago, IL (February 11-April 30, 2006); The Metropolitan Museum of Art, New York, NY (May 22-August 27, 2006); Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (October 12, 2006-January 21, 2007).", "opening_date": "2005-09-19T00:00:00"}], "legacy": [{"description": "Mus\u00e9e du Louvre, Paris (9/19/2005 - 1/2/2006), Art Institute of Chicago, IL (2/11/2006 - 4/30/2006), Metropolitan Museum of Art, NYC (5/22/2006 - 8/27/2006) and the Mus\u00e9e des Beaux Arts, Montr\u00e9al (10/12/2006 - 1/21/2007): \"Girodet: Romantic Rebel\" ex. cat. 128, p. 458-9.", "opening_date": "2005-09-19T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This myth subverts typical gender dynamics: usually a man captures a woman, but in this story the trope reversed.", "description": "The goddess of the dawn, Aurora, fell in love with the shepherd Cephalus. She eventually seized him at daybreak, bringing him to the heavens while he slept\u2014the scene Girodet has painted here. Later, missing his wife, Procris, Cephalus begs to return. Aurora agrees, giving him a magic spear that kills every target, including his wife, when he mistakes her for an animal in the brush.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478354"], "internet_archive": ["https://archive.org/details/clevelandart-2002.101-aurora-and-cephalus"]}, "citations": [{"citation": "Bellenger, Sylvain. \u201cAurora and Cephalus: A Story of an Acquisition.\u201d <em>Cleveland Studies in the History of Art</em> 8 (2003): 188\u2013199.", "page_number": "Mentioned and reproduced: p. 188, fig. 2", "url": "http://www.jstor.org/stable/20079739"}, {"citation": "Bellenger, Sylvain, ed.<em> Girodet, 1767-1824</em>. [Paris, France]: Gallimard, 2006.", "page_number": "Mentioned and reproduced: pp. 457-458, cat. 128", "url": null}], "url": "https://clevelandart.org/art/2002.101", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.101/2002.101_web.jpg", "width": "658", "height": "893", "filesize": "370705", "filename": "2002.101_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.101/2002.101_print.jpg", "width": "2506", "height": "3400", "filesize": "4870925", "filename": "2002.101_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.101/2002.101_full.tif", "width": "3685", "height": "5000", "filesize": "55288864", "filename": "2002.101_full.tif"}}, "alternate_images": [{"date_created": "2008-02-04T16:11:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.101/2002.101_alt0_web.jpg", "width": "657", "height": "893", "filesize": "346981"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.101/2002.101_alt0_print.jpg", "width": "2502", "height": "3400", "filesize": "4887020"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.101/2002.101_alt0_full.tif", "width": "2996", "height": "4072", "filesize": "36631620"}}], "creditline": "Gift of the Painting and Drawing Society of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 162195, "creators": [{"id": 1697, "description": "Anne-Louis Girodet de Roucy-Trioson (French, 1767\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": "On the advice of his architecture instructor \u00c9tienne-Louis Boull\u00e9e (1728-1799), Girodet enrolled in the atelier of David (q.v.) in 1783 to study painting, working alongside other young artists like Gros (q.v.) and Jean-Baptiste-Joseph Wicar (1762-1834) who were also taught in David's neoclassical style. Girodet's early works display the influence of David in the linear and sculptural quality of his figures. After three consecutive years of competing for the Prix de Rome, he finally won at his fourth effort in 1789. Later that year the Revolution broke out in France and Girodet made numerous drawings of the fall of the Bastille. In 1790 he left for Italy where he stayed for five years. During that time his style changed and softened under the influence of the works of Leonardo (1452-1519) and Correggio (1489/94-1534). Girodet strove to be unique and original in his depictions and even went to great lengths to oppose David's neoclassicism. His new interest in atmospheric and light effects differed from that of his teacher. He made a name for himself at the Salon of 1793, with his submission of Sleep of Endymion (Mus\u00e9e du Louvre, Paris). After his return to Paris from Italy, Girodet became known as a portrait painter and accepted numerous commissions, but many of them were either late in delivery or never completed. Girodet's tendency to interpret commissions to prove his own originality often offended and alienated his patrons. He did not find official success at the Salon again until 1808 and produced little after 1815.", "name_in_original_language": null, "birth_year": "1767", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-12-02T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c.1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:16.710000"}, {"id": 168422, "accession_number": "2010.201", "share_license_status": "CC0", "tombstone": "Snuff Container, 1800s\u20131900s. Africa, Southern Africa, South Africa, Northern Nguni-style maker. Wood, glass beads, shell, and cotton; overall: 20.3 cm (8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.201", "current_location": "108B Southern African", "title": "Snuff Container", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Northern Nguni-style maker"], "technique": "Wood, glass beads, shell, and cotton", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Overall: 20.3 cm (8 in.)", "dimensions": {"overall": {"height": 0.203}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 21", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "(Christie's Paris, France, June 20, 2006, lot 227)", "citations": [], "footnotes": [], "date": "2006", "sortorder": null}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A man likely made the wooden container while a woman likely made the beaded attachment.", "description": "Combining beauty and functionality, this finely carved wooden snuff container is adorned with twisted strands of colorful glass beads. Once an object of status, it signaled the wealth and taste of its owner. Its general shape and the parallel ridges appear to be the skillful imitation of a fruit. Throughout southern Africa and elsewhere on the continent, smoking tobacco and taking snuff are enjoyed as activities that enhance positive social relationships. Both men and women wore these personal and portable objects attached to cloaks, carried in bags, or adorning the neck, arm, or waist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779398"], "internet_archive": ["https://archive.org/details/clevelandart-2010.201-snuff-container"]}, "citations": [{"citation": "Pemberton, John, III. African Beaded Art: Power and Adornment, exh. cat. Northampton, Massachusetts: Smith College Museum of Art, 2008, cat. 93", "page_number": "", "url": ""}, {"citation": "Petridis, Constatine. \"The Art of Daily Life: Portable Objects from Southeast Africa. \" Tribal Art. (Summer 2011). Pg. 66, Fig. 1.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.201", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.201/2010.201_web.jpg", "width": "522", "height": "893", "filesize": "140409", "filename": "2010.201_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.201/2010.201_print.jpg", "width": "1987", "height": "3400", "filesize": "2970528", "filename": "2010.201_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.201/2010.201_full.tif", "width": "3803", "height": "6506", "filesize": "74251504", "filename": "2010.201_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168422, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:36.153000"}, {"id": 168424, "accession_number": "2010.203", "share_license_status": "CC0", "tombstone": "Club (Knobkerrie), 1800s\u20131900s. Africa, Southern Africa, Kingdom of Eswatini, Swazi-style maker. Wood; overall: 66 cm (26 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.203", "current_location": "108B Southern African", "title": "Club (Knobkerrie)", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, Kingdom of Eswatini, Swazi-style maker"], "technique": "Wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Arms and Armor", "measurements": "Overall: 66 cm (26 in.)", "dimensions": {"overall": {"height": 0.66}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 46", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Drs. Noble and Jean Endicott, New York, NY", "citations": [], "footnotes": null, "date": "2005", "sortorder": null}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The term <em>knobkerrie</em> refers to a characteristic spherical knob of wood or head atop a cylindrical shaft.", "description": "Relatively short sticks historically used for hunting and fighting are customarily called knobkerries. A combination of Afrikaans and Shona words, the name refers to the characteristic spherical knob of wood (knop) or head atop a cylindrical shaft (<em>kirri</em>). The knobs on these were carved into a tight whorl and a compressed sphere with a central rib. Even though their basic shapes were derived from real weapons, many of these precious objects were rarely if ever used as such. Highly personal, they instead functioned as ceremonial display items or regalia, symbolizing the masculinity and prowess of their owner.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60754996"], "internet_archive": ["https://archive.org/details/clevelandart-2010.203-club-knobkerrie"]}, "citations": [{"citation": "Ginzberg, Marc, and Lynton Gardiner. 2000. <em>African Forms</em>. 1st ed. Milano, Italy, New York: Skira ; Distributed in North America and Latin America by Abbeville Pub. Group, p. 200.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn, Karel Nel, and Cleveland Museum of Art. 2011. <em>The Art of Daily Life : Portable Objects from Southeast Africa</em>. Cleveland, Milan, New York: Cleveland Museum of Art ; 5 Continents Editions ; Distributed in U.S. by Harry N. Abrams, p. 69, fig. 7.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.203", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.203/2010.203_web.jpg", "width": "557", "height": "893", "filesize": "122378", "filename": "2010.203_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.203/2010.203_print.jpg", "width": "2120", "height": "3400", "filesize": "2916465", "filename": "2010.203_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.203/2010.203_full.tif", "width": "4121", "height": "6608", "filesize": "81718976", "filename": "2010.203_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168424, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:54.227000"}, {"id": 169324, "accession_number": "2011.196", "share_license_status": "CC0", "tombstone": "Helmet Mask, possibly early to mid-1900s. Africa, West Africa, Mali, Bamana-style blacksmith-carver. Wood and organic materials; overall: 36 cm (14 3/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2011.196", "current_location": "108A African", "title": "Helmet Mask", "creation_date": "possibly early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Bamana-style blacksmith-carver"], "technique": "Wood and organic materials", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 36 cm (14 3/16 in.)", "dimensions": {"overall": {"height": 0.36}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The inside of the mask bears the inscription with white ink of the number 107", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 204227, "title": "Senufo: Art and Identity in West Africa", "description": "<i>Senufo: Art and Identity in West Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-May 31, 2015); Saint Louis Art Museum, St. Louis, MO (June 28-September 27, 2015); Mus\u00e9e Fabre, Montpellier, France (November 28, 2015-March 6, 2016).", "opening_date": "2015-02-22T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (2/22/15-5/31/15) Saint Louis Art museum (6/28/15-9/27/15) Mus\u00e9e Fabre,Montpellier, France (11/28/15-3/6/16) \"Senufo: Art and identity in West Africa\"", "opening_date": "2015-02-22T00:00:00"}]}, "provenance": [{"description": "Robert Jacobsen [1912-1993], Copenhagen, Denmark", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Reginauld Groux, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Urs Albrecht, Basel, Switzerland", "citations": [], "footnotes": null, "date": "ca. 1980s\u20132005", "sortorder": 3}, {"description": "Ernst Beyeler [1921-2010], Riehen/Basel, Switzerland (as selling agent for Albrecht)", "citations": [], "footnotes": null, "date": "2005", "sortorder": 4}, {"description": "Private collection, New York, NY", "citations": [], "footnotes": null, "date": "2005\u20132011", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2011\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This mask likely depicts a hyena, an animal known for its intellect and knowledge of the bush.", "description": "Belonging to the Kono association, one of the Bamana people\u2019s most powerful men\u2019s groups, this mask\u2019s shape seems to evoke the hyena, an animal reputed for its intelligence and its knowledge of the bush. The Kono\u2019s main task is to offer its members protection against witchcraft. It is also responsible for fostering fertility, solving conflicts, disciplining troublemakers, and sentencing criminals. Masquerades are among the Kono\u2019s most public expressions; the mask\u2019s performance is characterized by energy and vigor.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2011.196-helmet-mask"]}, "citations": [{"citation": "Colleyn, Jean-Paul, Mary Jo Arnoldi, Museum for African Art (New York, N.Y.), and Museum Rietberg. 2001. <em>Bamana : The Art of Existence in Mali</em>. New York, Zurich, Gent: Museum for African Art ; Museum Rietberg ; Snoek-Ducaju &amp; Zoon, cat. 179.", "page_number": "", "url": ""}, {"citation": "Gagliardi, Susan Elizabeth, and Constantijn Petridis. <em>Senufo Unbound: Dynamics of Art and Identity in West Africa</em>. Cleveland: The Cleveland Museum of Art, 2015.", "page_number": "pp. 260-261, fig. 197", "url": ""}], "url": "https://clevelandart.org/art/2011.196", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2011.196/2011.196_web.jpg", "width": "1029", "height": "893", "filesize": "127715", "filename": "2011.196_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2011.196/2011.196_print.jpg", "width": "3400", "height": "2950", "filesize": "1129568", "filename": "2011.196_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2011.196/2011.196_full.tif", "width": "4420", "height": "3836", "filesize": "50893852", "filename": "2011.196_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.196/2011.196_alt0_web.jpg", "width": "900", "height": "674", "filesize": "86788"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.196/2011.196_alt0_print.jpg", "width": "3400", "height": "2545", "filesize": "769005"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2011.196/2011.196_alt0_full.tif", "width": "6668", "height": "4992", "filesize": "199748664"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169324, "creators": [], "legal_status": "accessioned", "accession_date": "2011-12-05T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:35.646000"}, {"id": 286706, "accession_number": "2016.56", "share_license_status": "CC0", "tombstone": "Ram Mask (Bolo), possibly early 1900s. Africa, West Africa, Burkina Faso, Bobo-style blacksmith-carver. Wood and paint; overall: 45 x 36 x 36 cm (17 11/16 x 14 3/16 x 14 3/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2016.56", "current_location": "108A African", "title": "Ram Mask (Bolo)", "creation_date": "possibly early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, West Africa, Burkina Faso, Bobo-style blacksmith-carver"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 45 x 36 x 36 cm (17 11/16 x 14 3/16 x 14 3/16 in.)", "dimensions": {"overall": {"height": 0.45, "width": 0.36, "depth": 0.36}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338218, "title": "Art d\u2019Afrique dans les collections belges", "description": "<i>Art d\u2019Afrique dans les collections belges</i>. Royal Museum for Central Africa (June 29-October 30, 1963).", "opening_date": "1963-06-29T04:00:00"}], "legacy": [{"description": "Kunsthaus Z\u00fcrich, Z\u00fcrich, Switzerland (October 31, 1970\u2013February 10, 1971)", "opening_date": "1970-10-31T05:00:00Z"}]}, "provenance": [{"description": "Jeanne Raguin, Golfe-Juan, France, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": null, "date": "?\u20131962", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, Belgium, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1962\u20132016", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2016\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The mask was vividly painted while in use. Look closely at its surface to see traces of blue, red, and white paint.", "description": "Bolo masks are primarily danced for entertainment during communal occasions like funerals, male initiations, and harvest celebrations. Comprising both animal and human features, the mask\u2013\u2013always worn by a male dancer\u2013\u2013refers to the cultural significance of the ram, an animal associated with male aggression across sub-Saharan Africa.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2016.56-ram-mask-bolo"]}, "citations": [{"citation": "Maesen, Alebert, et al. <em>Art d\u2019Afrique dans les collections belges</em>, cat. 21. Exh. Cat. Tervuren: Royal Museum for Central Africa, June 29-October 30, 1963.", "page_number": "cat. 21", "url": null}, {"citation": "Leuzinger, Elsy. <em>Die Kunst von Schwarz-Afrika</em>, cat. C6. Exh. Cat. Recklinghausen: Verlag Aurel Bongers, in association with Kunsthaus Z\u00fcrich, October 31, 1970-February 10, 1971.", "page_number": "cat. C6", "url": null}], "url": "https://clevelandart.org/art/2016.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2016.56/2016.56_web.jpg", "width": "775", "height": "900", "filesize": "147479", "filename": "2016.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2016.56/2016.56_print.jpg", "width": "2927", "height": "3400", "filesize": "1593927", "filename": "2016.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2016.56/2016.56_full.tif", "width": "5666", "height": "6581", "filesize": "111897364", "filename": "2016.56_full.tif"}}, "alternate_images": [{"date_created": "2016-08-18T14:12:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt0_web.jpg", "width": "779", "height": "900", "filesize": "165115"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt0_print.jpg", "width": "2942", "height": "3400", "filesize": "1850513"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt0_full.tif", "width": "5913", "height": "6834", "filesize": "121263556"}}, {"date_created": "2016-08-18T15:13:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt1_web.jpg", "width": "784", "height": "900", "filesize": "154935"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt1_print.jpg", "width": "2962", "height": "3400", "filesize": "1721838"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt1_full.tif", "width": "6000", "height": "6888", "filesize": "124018816"}}, {"date_created": "2016-08-19T09:22:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt2_web.jpg", "width": "855", "height": "900", "filesize": "165396"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt2_print.jpg", "width": "3230", "height": "3400", "filesize": "1924255"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt2_full.tif", "width": "6000", "height": "6315", "filesize": "113702896"}}, {"date_created": "2016-08-19T09:49:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt3_web.jpg", "width": "834", "height": "900", "filesize": "168539"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt3_print.jpg", "width": "3149", "height": "3400", "filesize": "1928380"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt3_full.tif", "width": "6000", "height": "6479", "filesize": "116658396"}}, {"date_created": "2016-08-19T11:51:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt4_web.jpg", "width": "820", "height": "900", "filesize": "161339"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt4_print.jpg", "width": "3099", "height": "3400", "filesize": "1817707"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.56/2016.56_alt4_full.tif", "width": "6000", "height": "6582", "filesize": "118512288"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": "edfcda0e03504bd186ad650b9ea39566", "sketchfab_url": "https://sketchfab.com/models/edfcda0e03504bd186ad650b9ea39566", "gallery_donor_text": null, "athena_id": 286706, "creators": [], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Entertainment Mask (Bolo): Ram"], "is_highlight": true, "updated_at": "2026-04-10 07:01:04.709000"}, {"id": 83635, "accession_number": "2020.117", "share_license_status": "CC0", "tombstone": "Breton Landscape, 1891\u201392. Jan Verkade (Dutch, 1868\u20131946). Oil on canvas; unframed: 65.4 x 54.3 cm (25 3/4 x 21 3/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.117", "current_location": "222 Impressionism & Post-Impressionism", "title": "Breton Landscape", "creation_date": "1891\u201392", "creation_date_earliest": 1891, "creation_date_latest": 1892, "artists_tags": ["Nabis", "male"], "culture": ["Netherlands"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 65.4 x 54.3 cm (25 3/4 x 21 3/8 in.)", "dimensions": {"unframed": {"height": 0.654, "width": 0.543}, "framed": {"height": 0.803, "width": 0.698, "depth": 0.051}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "none known", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Jan Verkade, hollandse volgeling van Gauguin</em>. Rijksmuseum, Amsterdam, Netherlands (1989).", "opening_date": "1989-01-01T00:00:00"}]}, "provenance": [{"description": "Edouard Vuillard [1868-1940] Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Solomon Family Collection, Paris, France, by descent", "citations": [], "footnotes": ["<div><!--block-->According to documentation supplied by Galerie Hopkins-Custot. Annette Roussel (1898-1968), Edouard Vuillard\u2019s niece, married Jacques Salomon in 1920.&nbsp;</div>"], "date": null, "sortorder": 2}, {"description": "(Galerie Hopkins, Paris, France, January 2010, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2010\u20132020", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Verkade painted many landscapes, including a drop cloth he painted for a puppet show titled <em>Les Sept Princesses </em>(The Seven Princesses).", "description": "Brittany, in northwestern France, was an important place to Verkade both artistically and spiritually. The artist was captivated by the terrain that differed so greatly from that of Amsterdam, inspiring a series of Breton landscapes. Verkade also converted to Catholicism during his travels to Brittany, shifting the trajectory of his art away from landscapes and toward a revival of religious painting and sacred art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480859"], "internet_archive": ["https://archive.org/details/clevelandart-2020.117-breton-landscape"]}, "citations": [{"citation": "Verkade, Willibrord, and Caroline Boyle-Turner. <em>Jan Verkade : Hollandse Volgeling Van Gauguin</em>. Zwolle, Netherlands: Waanders, 1989.", "page_number": "Reproduced: p. 101", "url": null}, {"citation": "Boyle-Turner, Caroline. \"Jan Verkade.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 74-75. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 74-75; Mentioned: p. 273", "url": ""}], "url": "https://clevelandart.org/art/2020.117", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.117/2020.117_web.jpg", "width": "743", "height": "900", "filesize": "330078", "filename": "2020.117_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.117/2020.117_print.jpg", "width": "2808", "height": "3400", "filesize": "4155648", "filename": "2020.117_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.117/2020.117_full.tif", "width": "9500", "height": "11501", "filesize": "327804660", "filename": "2020.117_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 83635, "creators": [{"id": 59472, "description": "Jan Verkade (Dutch, 1868\u20131946)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891\u201392", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:07.723000"}, {"id": 95343, "accession_number": "1916.1108", "share_license_status": "CC0", "tombstone": "A Low Tide Pentaptych (\u6c50\u5e72\u4e94\u756a\u5185), c. 1830. Utagawa Kuniyoshi (Japanese, 1797\u20131861). Pentaptych of color woodblock prints; each: 21.2 x 18.4 cm (8 3/8 x 7 1/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1108", "current_location": "235A Japanese", "title": "A Low Tide Pentaptych", "title_in_original_language": "\u6c50\u5e72\u4e94\u756a\u5185", "creation_date": "c. 1830", "creation_date_earliest": 1825, "creation_date_latest": 1830, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Pentaptych of color woodblock prints", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Each: 21.2 x 18.4 cm (8 3/8 x 7 1/4 in.)", "dimensions": {"each": {"height": 0.212, "width": 0.184}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Ichiyusai Kuniyoshi ga.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113).</em> The Cleveland Museum of Art, Cleveland, OH (August 25-December 2, 2003).", "opening_date": "2003-08-25T04:00:00Z"}, {"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (July 13-November 17, 2004).", "opening_date": "2004-07-13T04:00:00Z"}]}, "provenance": [{"description": "Mr. Jeptha Homer Wade II [1857\u20131926] and Mrs. Ellen Garretson Wade [1859\u20131917], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A pentaptych is a composition of five parts.", "description": "Five<em> surimono</em> \u5237\u7269, privately commissioned prints known literally as \"printed things,\" make up this image of women collecting sea life at low tide. Ten poems written by members of a poetry salon appear across the upper part of the composition. All but one contain the words \"low tide,\" with the remaining poem describing abalone as a sought-after jewel.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79476626"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1108-a-low-tide-pentaptyc"]}, "citations": [], "url": "https://clevelandart.org/art/1916.1108", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1108/1916.1108_web.jpg", "width": "900", "height": "209", "filesize": "113554", "filename": "1916.1108_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1108/1916.1108_print.jpg", "width": "3400", "height": "791", "filesize": "1134490", "filename": "1916.1108_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1108/1916.1108_full.tif", "width": "43932", "height": "10221", "filesize": "1347116504", "filename": "1916.1108_full.tif"}}, "alternate_images": [{"date_created": "2014-07-07T11:24:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1108/1916.1108_alt0_web.jpg", "width": "900", "height": "208", "filesize": "167069"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1108/1916.1108_alt0_print.jpg", "width": "3400", "height": "787", "filesize": "1071120"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1108/1916.1108_alt0_full.tif", "width": "28429", "height": "6580", "filesize": "561216224"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95343, "creators": [{"id": 23331, "description": "Utagawa Kuniyoshi (Japanese, 1797\u20131861)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the principal Ukiyo-e artists of the late Edo period.", "name_in_original_language": "\u6b4c\u5ddd \u56fd\u82b3", "birth_year": "1797", "death_year": "1861", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-12-05T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "c. 1830", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Five Pictures of Low Tide"], "is_highlight": false, "updated_at": "2026-03-26 23:59:22.823000"}, {"id": 147525, "accession_number": "1973.35", "share_license_status": "CC0", "tombstone": "Seated Female Nude (Self-Portrait?), c. 1899. Paula Modersohn-Becker (German, 1876\u20131907). Charcoal with stumping; sheet: 62.2 x 33.9 cm (24 1/2 x 13 3/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1973.35", "current_location": null, "title": "Seated Female Nude (Self-Portrait?)", "creation_date": "c. 1899", "creation_date_earliest": 1894, "creation_date_latest": 1904, "artists_tags": ["female"], "culture": ["Germany, 19th century"], "technique": "charcoal with stumping", "support_materials": [{"description": "beige(1) modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 62.2 x 33.9 cm (24 1/2 x 13 3/8 in.)", "dimensions": {"sheet": {"height": 0.622, "width": 0.339}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in black crayon: p.m.b.; verso, sale stamp, lower right, in purple-gray ink: Samml. E. Rump / [pag.?] 102 [underlined] [Nr.?] 2 [underlined] [numerals are written in black ink]; upper center, in graphite: 76 [circled]; lower left, in graphite: 75 [circled, partially erased]; lower right, in black ink: Paula Modersohn Becker\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 304508, "title": "German Drawings of the 18th, 19th, and 20th Centuries", "description": "<i>German Drawings of the 18th, 19th, and 20th Centuries</i>. The Cleveland Museum of Art (April 1-July 13, 1980).", "opening_date": "1980-04-01T05:00:00"}, {"id": 309859, "title": "Eastward from the Rhine: Romanticism to Abstraction, 1800-1925", "description": "<i>Eastward from the Rhine: Romanticism to Abstraction, 1800-1925</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-September 9, 1984).", "opening_date": "1984-06-12T04:00:00"}, {"id": 311467, "title": "Directions in Drawing II: The Human Figure", "description": "<i>Directions in Drawing II: The Human Figure</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 299699, "title": "Graphic Discontent: German Expressionism on Paper", "description": "<i>Graphic Discontent: German Expressionism on Paper</i>. The Cleveland Museum of Art (organizer) (January 14-May 27, 2018).", "opening_date": "2018-01-14T05:00:00"}, {"id": 541482, "title": "Paula Modersohn-Becker: I Am Me", "description": "<i>Paula Modersohn-Becker: I Am Me</i>. The Art Institute of Chicago, Chicago, IL (October 12, 2024-January 12, 2025) https://www.artic.edu/exhibitions/9592/paula-modersohn-becker-i-am-me.", "opening_date": "2024-10-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ernst Rump [1872-1921], Hamburg", "citations": [], "footnotes": ["<div><!--block-->Sale stamp on verso.</div>"], "date": "after 1899-by 1921", "sortorder": 1}, {"description": "(probably Dr. Ernst Hauswedell, Hamburg, June 1967, no. 1006)", "citations": [], "footnotes": [], "date": "1967", "sortorder": 2}, {"description": "(Allan Frumkin Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "probably 1967-1973", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1973-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Paula Modersohn-Becker's career was extremely brief but prolific before dying from complications of childbirth at age 31.", "description": "Although Paula Modersohn-Becker died in 1907, just as the Expressionist groups in Dresden and Munich were forming, the themes of her work prefigure the movement. This likely self-portrait exhibits her desire to convey not the idealized appearance of the female body but rather its fundamental essence, stripped of all the world\u2019s trappings. She distilled the human body into flattened forms\u2014achieved by erasing and blending the charcoal\u2014and abbreviated the delineation of the feet, hands, and face. The sitter\u2019s piercing stare invites the viewer to move beyond the body as flesh and blood toward her emotional or spiritual state.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79926751"], "internet_archive": ["https://archive.org/details/clevelandart-1973.35-seated-female-nude-s"]}, "citations": [{"citation": "\u201cThe Year in Review for 1973.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 2 (February 1974): 31\u201378.", "page_number": "Reproduced: p. 50; Mentioned: p. 76, no.100", "url": "http://www.jstor.org/stable/25152513"}, {"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. 240", "url": "https://archive.org/details/CMAHandbook1978/page/n260"}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 226-27, p. 296; Reproduced: p. 227", "url": null}, {"citation": "Ro\u0308ver-Kann, Anne, and Wolfgang Werner, editors. <em>Paula Modersohn-Becker, 1876-1907: Werkverzeichnis der Handzeichnungen.</em> Mu\u0308nchen: Hirmer Verlag, 2023.", "page_number": "Mentioned and reproduced: p. 118-119, no. E II/87, Band I", "url": ""}], "url": "https://clevelandart.org/art/1973.35", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.35/1973.35_web.jpg", "width": "500", "height": "900", "filesize": "220567", "filename": "1973.35_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.35/1973.35_print.jpg", "width": "1888", "height": "3400", "filesize": "2738748", "filename": "1973.35_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.35/1973.35_full.tif", "width": "7081", "height": "12749", "filesize": "270856464", "filename": "1973.35_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt0_web.jpg", "width": "502", "height": "893", "filesize": "335514"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt0_print.jpg", "width": "1913", "height": "3400", "filesize": "5424537"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt0_full.tif", "width": "2573", "height": "4574", "filesize": "35319086"}}, {"date_created": "2013-12-20T09:52:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt1_web.jpg", "width": "497", "height": "900", "filesize": "134996"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt1_print.jpg", "width": "1878", "height": "3400", "filesize": "1970355"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt1_full.tif", "width": "4171", "height": "7552", "filesize": "94527640"}}, {"date_created": "2024-03-22T10:51:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt2_web.jpg", "width": "505", "height": "900", "filesize": "195119"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt2_print.jpg", "width": "1908", "height": "3400", "filesize": "2758211"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.35/1973.35_alt2_full.tif", "width": "7636", "height": "13610", "filesize": "311805796"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147525, "creators": [{"id": 12098, "description": "Paula Modersohn-Becker (German, 1876\u20131907)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1876", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "c. 1899", "collapse_artists": false, "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": true, "updated_at": "2026-03-27 00:09:15.489000"}, {"id": 149113, "accession_number": "1977.44", "share_license_status": "CC0", "tombstone": "In the Salon, c. 1880s. Edgar Degas (French, 1834\u20131917). Monotype; sheet: 24.5 x 18.8 cm (9 5/8 x 7 3/8 in.); image: 11.9 x 16 cm (4 11/16 x 6 5/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1977.44", "current_location": null, "title": "In the Salon", "creation_date": "c. 1880s", "creation_date_earliest": 1880, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "monotype", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Sheet: 24.5 x 18.8 cm (9 5/8 x 7 3/8 in.); Image: 11.9 x 16 cm (4 11/16 x 6 5/16 in.)", "dimensions": {"sheet": {"height": 0.245, "width": 0.188}, "image": {"height": 0.119, "width": 0.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Watermark: HALLINES [with fragment of shield]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 442453, "title": "Degas 1879", "description": "<i>Degas 1879</i>. National Galleries of Scotland, Edinburgh, United Kingdom of Great Britain and Northern Ireland (organizer) (August 13-September 30, 1979).", "opening_date": "1979-08-13T04:00:00"}, {"id": 304540, "title": "Monotypes", "description": "<i>Monotypes</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-July 5, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 410857, "title": "Degas Monotypes", "description": "<i>Degas Monotypes</i>. Ordrupgaard (organizer) (October 13, 1994-January 15, 1995).", "opening_date": "1994-10-13T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 203146, "title": "Monotypes: Painterly Prints", "description": "<i>Monotypes: Painterly Prints</i>. The Cleveland Museum of Art (organizer) (May 31-October 11, 2015).", "opening_date": "2015-05-31T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}], "legacy": [{"description": "<em>Degas 1879</em>. National Gallery of Scotland, Edinburgh (August 13 - September 30, 1979).", "opening_date": "1979-08-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edgar Degas's series of brothel monotypes was never exhibited during his lifetime and remained in the privacy of the artist's studio until his death.", "description": "Edgar Degas's series of monotypes depicting brothels depicted a hidden aspect of Parisian life. Degas's interest in the subject paralleled the theme of the prostitute in naturalist novels of the era by Emile Zola and Edmond and Jules de Goncourt, and echoed the then-contemporary debate about the regulation\u2014or abolition\u2014of prostitution in Paris. In this print, three women await their clients under a luminous globed chandelier. A standing figure reaches out her left arm as if to beckon an unseen visitor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758239"], "internet_archive": ["https://archive.org/details/clevelandart-1977.44-in-the-salon"]}, "citations": [{"citation": "Lockhart, Anne I. \u201cThree Monotypes by Edgar Degas.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 9 (November 1977): 299\u2013306.", "page_number": "Mentioned and reproduced: p. 300-301, fig. 2", "url": "http://www.jstor.org/stable/25159549"}, {"citation": "Pickvance, Ronald. <em>Degas 1879</em>. Exh. Cat. Edinburgh: National Gallery of Scotland, 1979.", "page_number": "Mentioned: p. 75, no. 96", "url": null}, {"citation": "Glaubinger, Jane. \u201cUnique Prints. The museum collection contains a wealth of monotypes, one-off prints that embody creative exploration.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 3 (May/June 2015): 6-8.", "page_number": "Reproduced: p. 6; Mentioned: p. 7", "url": "https://archive.org/details/CMAMM2015-03"}, {"citation": "Lees, Sarah, and Richard R. Brettell. <em>Innovative Impressions: Prints by Cassatt, Degas, and Pissarro</em>. Tulsa, Oklahoma : Philbrook Museum of Art, 2018", "page_number": "Mentioned: p. 68; reproduced: p. 69, fig. 75", "url": null}], "catalogue_raisonne": "not in Janis nor Cachin", "url": "https://clevelandart.org/art/1977.44", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.44/1977.44_web.jpg", "width": "685", "height": "900", "filesize": "174290", "filename": "1977.44_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.44/1977.44_print.jpg", "width": "2589", "height": "3400", "filesize": "2834340", "filename": "1977.44_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.44/1977.44_full.tif", "width": "5693", "height": "7475", "filesize": "127693568", "filename": "1977.44_full.tif"}}, "alternate_images": [{"date_created": "2006-09-13T19:45:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt0_web.jpg", "width": "676", "height": "893", "filesize": "411036"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt0_print.jpg", "width": "2575", "height": "3400", "filesize": "4842512"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt0_full.tif", "width": "3133", "height": "4137", "filesize": "38913692"}}, {"date_created": "2005-12-16T17:36:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt1_web.jpg", "width": "1197", "height": "893", "filesize": "815939"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt1_print.jpg", "width": "3400", "height": "2536", "filesize": "5631168"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt1_full.tif", "width": "5090", "height": "3796", "filesize": "57996060"}}, {"date_created": "2015-02-12T10:30:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt2_web.jpg", "width": "705", "height": "900", "filesize": "160509"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt2_print.jpg", "width": "2663", "height": "3400", "filesize": "2580795"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.44/1977.44_alt2_full.tif", "width": "5854", "height": "7473", "filesize": "131268028"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149113, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-05-10T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1880s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:44.498000"}, {"id": 95253, "accession_number": "1916.1027", "share_license_status": "CC0", "tombstone": "Hampstead Heath, Looking Toward Harrow, c. 1821. John Constable (British, 1776\u20131837). Oil on paper, mounted on canvas; framed: 39 x 44.5 x 5 cm (15 3/8 x 17 1/2 x 1 15/16 in.); unframed: 25.9 x 31.3 cm (10 3/16 x 12 5/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1027", "current_location": "203B British Painting and Decorative Arts", "title": "Hampstead Heath, Looking Toward Harrow", "creation_date": "c. 1821", "creation_date_earliest": 1816, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on paper, mounted on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 39 x 44.5 x 5 cm (15 3/8 x 17 1/2 x 1 15/16 in.); Unframed: 25.9 x 31.3 cm (10 3/16 x 12 5/16 in.)", "dimensions": {"framed": {"height": 0.39, "width": 0.445, "depth": 0.05}, "unframed": {"height": 0.259, "width": 0.313}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 355428, "title": "Exhibition of the Month: Atmospheric Depth in Painting", "description": "<i>Exhibition of the Month: Atmospheric Depth in Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 31, 1947).", "opening_date": "1947-02-10T05:00:00"}, {"id": 355548, "title": "Exhibition of the Month: The Rise of the Landscape in Art", "description": "<i>Exhibition of the Month: The Rise of the Landscape in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 9-September 26, 1948).", "opening_date": "1948-06-09T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 302281, "title": "Landscape", "description": "<i>Landscape</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 9-April 22, 1962).", "opening_date": "1962-01-09T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": [{"description": "<em>The Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art</em>. Kinney and Levan Building, Cleveland, OH (November 25-December 17, 1913)", "opening_date": "1913-11-25T00:00:00"}, {"description": "Allen Memorial Art Museum. Oberlin, OH (May 1963)", "opening_date": "1963-05-01T00:00:00"}]}, "provenance": [{"description": "Isabel Constable, the artist's daughter; [1822-1888], London, United Kingdom", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Tooth and Sons (London, England), purchased by J. H. Wade, 1895.", "citations": [], "footnotes": null, "date": "1895", "sortorder": null}, {"description": "Mr. and Mrs. Jeptha H. Wade, by gift to the Cleveland Museum of Art, 1916.", "citations": [], "footnotes": null, "date": "1895-1916", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Constable was interested in the changing light effects of weather and often worked outdoors, making swift oil sketches on paper. He focused on painting the countryside of his native England, which he never left. He wrote to a fellow artist that he would \u201crather be a poor man [in England] than a rich man abroad.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502309"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1027-hampstead-heath-look"]}, "citations": [{"citation": "Saisselin, Remy. \"Art Is an Imitation of Nature.\" <em>The Bulletin of The</em> <em>Cleveland Museum of Art</em> LII, (1965): 41-42.", "page_number": "Mentioned: p. 41-42; Reproduced: fig. 4", "url": null}, {"citation": "Talbot, William S. \"John Constable: Branch Hill Pond, Hampstead Heath.\" <em>The Bulletin of The Cleveland Museum of Art </em>LIX (1974): 107.", "page_number": "Mentioned and reproduced: p. 107, fig. 11", "url": null}, {"citation": "Hoozee, Robert. <em>L'opera completa di Constable</em>. Milano, Italy: Rizzoli, 1979.", "page_number": "Reproduced: p. 383", "url": null}, {"citation": "Reynolds, Graham. <em>The Later Paintings and Drawings of John Constable</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 1984.", "page_number": null, "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century.</em> Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 53", "url": null}, {"citation": "\"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 1 (1917): 3-12.", "page_number": "Mentioned: p. 3", "url": "http://www.jstor.org/stable/25136053"}], "url": "https://clevelandart.org/art/1916.1027", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1027/1916.1027_web.jpg", "width": "1077", "height": "893", "filesize": "765669", "filename": "1916.1027_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1027/1916.1027_print.jpg", "width": "3400", "height": "2819", "filesize": "6515669", "filename": "1916.1027_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1027/1916.1027_full.tif", "width": "3957", "height": "3281", "filesize": "38980380", "filename": "1916.1027_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 95253, "creators": [{"id": 1536, "description": "John Constable (British, 1776\u20131837)", "extent": null, "qualifier": null, "role": "artist", "biography": "With Turner (q.v.), his exact contemporary, John Constable defined the parameters of genius for a generation of romantic landscape painters. The son of a prosperous miller and gentleman farmer, he entered into his profession late and was basically self-taught. Between 1796 and 1799 Constable had the advice of several artists and connoisseurs influential in the London art scene, primarily that of Sir George Beaumont (1753-1827), John Thomas Smith (1766-1833), and Joseph Farington (1747-1821). With the grudging consent of his parents, he entered the Royal Academy schools in 1799, the same year Turner was elected an associate member. (Twenty years would elapse before the academy conceded Constable that gesture of recognition.) He emerged publicly as a mature and focused painter of naturalistic landscapes in 1802 with the exhibition of his first oil painting at the Royal Academy.1 Shortly afterward he moved to his family home in East Bergholt with the intention of getting \"a pure and unaffected representation of the scenes that may employ me.\" The tours of 1806 produced an important body of Lake District material, especially studies in watercolor and in graphite, a medium Constable employed with unrivaled ability even at this early date. In 1808 he began a period of intense plein-air oil sketching and by 1814 was painting finished pictures like the magnificent Stour Valley and Dedham Village (Museum of Fine Arts, Boston) or Wivenhoe Park, Essex (National Gallery of Art, Washington D.C.)2 entirely out of doors. The Stour River, Flatford Mill, and Dedham Vale were the subjects to which he returned repeatedly with brilliant success. With his bride, Maria Bicknell, the artist moved permanently to London in 1816. His repertoire of subjects would expand to include Brighton, Salisbury, and Hampstead Heath, and both his practice and his fortunes also evolved in a significant new direction when he began his six-foot pictures of Suffolk landscape painted in the London studio. The scale of such works as The White Horse (1819, Frick Collection, New York)3 undoubtedly contributed to his successful bid for associate membership in the Royal Academy that year. With Sir Thomas Lawrence (1769-1830) and Bonington (q.v.), Constable created a sensation at the 1824 Paris Salon, where he exhibited The Hay Wain (National Gallery, London) and View on the Stour near Dedham (Huntington Art Gallery, San Marino),4 although French artists had known and admired his work since 1820. After the death of his wife in 1828 and his election as full academician in 1829, Constable turned toward consolidating his reputation through writing, lecturing, and the medium of printmaking. He published English Landscape (1830-32) in collaboration with the mezzotint engraver David Lucas, but it was commercially unsuccessful. He never ceased to work from nature, but the later masterworks Salisbury Cathedral from the Meadows (1831, National Gallery, London), The Opening of Waterloo Bridge (1832, Tate Gallery, London), and Arundel Mill and Castle (1837, Toledo Museum of Art)5 are pictures in which an expressionistic use of the medium struggles against an ever-increasing imaginative formalization of natural motifs.\r\n1. Probably Edge of the Wood (Art Gallery of Ontario); see Reynolds 1996, no. 2.1.\r\n2. Reynolds 1996, no. 15.1; Reynolds 1984, no. 17.4.\r\n3. Reynolds 1984, no. 2:19.1.\r\n4. Reynolds 1984, no. 21.1; Reynolds 1984, 22.1.\r\n5. Reynolds 1984, no. 31.1; Reynolds 1984, no. 32.1; Reynolds 1984, no. 37.1.", "name_in_original_language": null, "birth_year": "1776", "death_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "c. 1821", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:27.770000"}, {"id": 148672, "accession_number": "1976.130", "share_license_status": "CC0", "tombstone": "Angel Blowing a Trumpet, 1857\u201359. Edgar Degas (French, 1834\u20131917). Black chalk; sheet: 44.1 x 54 cm (17 3/8 x 21 1/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1976.130", "current_location": null, "title": "Angel Blowing a Trumpet", "creation_date": "1857\u201359", "creation_date_earliest": 1857, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk", "support_materials": [{"description": "gray wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 44.1 x 54 cm (17 3/8 x 21 1/4 in.)", "dimensions": {"sheet": {"height": 0.441, "width": 0.54}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "verso, lower right, in graphite: 43 53 / 93 99 [underlined] / 65 75", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "lower right, in graphite: [illegible] ppl[illegible] [sumi?] [natural?] T A", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 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": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 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": 224087, "title": "Degas and Music", "description": "<i>Degas and Music</i>. The Hyde Collection, Glens Falls, NY (organizer) (July 12-October 18, 2009).", "opening_date": "2009-07-12T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "Monsieur Romanelli", "citations": [], "footnotes": [], "date": "?-1936", "sortorder": 1}, {"description": "(H\u00f4tel Drouot, Paris, Dessins, tableaux, estampes par C\u00e9zanne, Degas, Forain...tout appartenant \u00e0 monsieur R., November 21, 1936, no. 8)", "citations": [], "footnotes": ["<div><!--block-->As <em>Joueuse de fl\u00fbte</em>.</div>"], "date": "1936", "sortorder": 2}, {"description": "Professor Fran\u00e7ois Lyon, Lyon", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 3}, {"description": "(Hector Brame-Jean Lorenceau, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1976", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1976-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Related studies suggest that the subject is a male model; Degas added breasts almost as an afterthought.", "description": "The figure in this drawing closely resembles a number of trumpeting angels in drawings that Edgar Degas made between 1856 and 1858 in preparation for an ambitious but ultimately unrealized history painting on the subject of Saint John the Evangelist accompanied by an angel. Rather than referring to any single passage in the Book of Revelation, Degas distilled an image from passages describing seven trumpeting angels who unleash destruction on earth with their blasts, the voice of Christ that addresses John in loud tones \"like a trumpet,\" and individual angels who lead and instruct the Evangelist.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760263"], "internet_archive": ["https://archive.org/details/clevelandart-1976.130-angel-blowing-a-trum"]}, "citations": [{"citation": "Letter from Philippe Brame to Louise S. Richards, September 2, 1976. The Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "<em>The Print Club of Cleveland, 1919-1969</em>. Cleveland: The Print Club of Cleveland, 1969.", "page_number": "Reproduced: p. 82", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1976.\" <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 2 (1977): 39-78.", "page_number": "Reproduced: pp. 41, 52, 75, no. 53", "url": "https://www.jstor.org/stable/25152676"}, {"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. 213", "url": "https://archive.org/details/CMAHandbook1978/page/n233"}, {"citation": "Nathanson, Carol A., and Edward J. Olszewski. \"Degas's Angel of the Apocalypse.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 8 (1980): 243-55.", "page_number": "Mentioned and reproduced: pp. 243-55", "url": "http://www.jstor.org/stable/25159690"}, {"citation": "Thomson, Richard. <em>Degas: The Nudes</em>. London: Thames and Hudson, 1988.", "page_number": "Mentioned and reproduced: pp. 36-39, 234, fig. 34", "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. 131", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: P. 5, 130-31, 290; Reproduced: P. 131, cat. no. 51", "url": null}, {"citation": "DeVonyar, Jill, and Richard Kendall. <em>Degas and Music.</em> Glen Falls, NY: Hyde Collection, 2009.", "page_number": "Mentioned and reproduced: p. 44, 45, no. 2", "url": null}, {"citation": "Franklin, David. <em>The Cleveland Museum of Art: Director's Choice</em>. London: Scala, 2012.", "page_number": "Reproduced: p. 58-59", "url": null}], "url": "https://clevelandart.org/art/1976.130", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.130/1976.130_web.jpg", "width": "1086", "height": "893", "filesize": "679929", "filename": "1976.130_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.130/1976.130_print.jpg", "width": "3400", "height": "2796", "filesize": "8516457", "filename": "1976.130_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.130/1976.130_full.tif", "width": "5908", "height": "4860", "filesize": "86165796", "filename": "1976.130_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.130/1976.130_alt0_web.jpg", "width": "1092", "height": "893", "filesize": "627315"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.130/1976.130_alt0_print.jpg", "width": "1879", "height": "1536", "filesize": "2103020"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.130/1976.130_alt0_full.tif", "width": "1879", "height": "1536", "filesize": "8661684"}}, {"date_created": "2013-03-11T17:52:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.130/1976.130_alt1_web.jpg", "width": "1082", "height": "893", "filesize": "111996"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.130/1976.130_alt1_print.jpg", "width": "3400", "height": "2805", "filesize": "1482597"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.130/1976.130_alt1_full.tif", "width": "5262", "height": "4342", "filesize": "68567544"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148672, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-12-09T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857\u201359", "collapse_artists": false, "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": "2026-03-27 00:04:18.814000"}, {"id": 126773, "accession_number": "1949.189", "share_license_status": "CC0", "tombstone": "Woman Meditating, after 1868. Copy after Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; unframed: 59.4 x 42.9 cm (23 3/8 x 16 7/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1949.189", "current_location": null, "title": "Woman Meditating", "creation_date": "after 1868", "creation_date_earliest": 1868, "creation_date_latest": 1875, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 59.4 x 42.9 cm (23 3/8 x 16 7/8 in.)", "dimensions": {"unframed": {"height": 0.594, "width": 0.429}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 518443, "title": "Work of Camille Corot", "description": "<i>Work of Camille Corot</i>. The Art Institute of Chicago, Chicago, IL (organizer) (October 5-November 13, 1960).", "opening_date": "1960-10-05T04:00:00"}, {"id": 304646, "title": "Barbizon School", "description": "<i>Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 24-March 3, 1963).", "opening_date": "1963-01-24T05:00:00"}, {"id": 515538, "title": "Corot Exhibition", "description": "<i>Corot Exhibition</i>. Gallery of the Royal Scottish Academy, Edinburgh (organizer) (August 14-September 12, 1965); National Gallery, London, London, United Kingdom of Great Britain and Northern Ireland (October 1-November 7, 1965).", "opening_date": "1965-08-14T04:00:00"}], "legacy": [{"description": "San Francisco, Palace of Fine Arts. Golden Gate International Exposition (1940), no. 247 (repr.).", "opening_date": "1940-01-01T00:00:00"}, {"description": "New York, Metropolitan Museum of Art. French Painting from David to Toulouse-Lautrec (1941), no. 14, Corot, Pensive Woman, lent by Jakob Goldschmidt (repr.).", "opening_date": "1941-01-01T00:00:00"}, {"description": "New York, Wildenstein &amp; Co. The Serene World of Corot (1942), no. 42, La Femme pensive, lent by J. Goldschmidt (repr.).", "opening_date": "1942-01-01T00:00:00"}, {"description": "Art Institute of Chicago. Corot 1796-1875 (1960), no. 87 (repr.).", "opening_date": "1960-01-01T00:00:00"}, {"description": "Indianapolis, Herron Museum. The Romantic Era: Birth and Flowering, 1750-1850 (1965), no. 45 (repr.).", "opening_date": "1965-01-01T00:00:00"}, {"description": "Edinburgh International Festival. Corot (1965), no. 77 (repr.).", "opening_date": "1965-01-01T00:00:00"}]}, "provenance": [{"description": "Probably Gottfried Tanner, Bahnhofstrasse 39, Z\u00fcrich. Galerie Matthiesen, Berlin. (According to notes in the file on \"Matthiesen Gallery, London\" in the cma archive, the Berlin gallery's records were destroyed during World War II.) Jakob Goldschmidt, New York, by 1941. Jacques Seligmann & Co., New York. Purchased by the CMA in 1949.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Scholars speculate that Camille Corot's model for this painting was Emma Dobigny, the frail young girl who posed for the two versions of Pierre Puvis de Chavannes's painting <em>Hope</em> of 1872 (Mus\u00e9e du Louvre, Paris; Walters Art Gallery, Baltimore).<br><br>This painting, acquired by the Cleveland Museum of Art in 1949, as a work by Corot, proved to be a copy when the signed original reappeared at a public auction in New York in 1981.", "description": "This painting, acquired by the Cleveland Museum of Art in 1949, as a work by Corot, proved to be a copy when the signed original reappeared at a public auction in New York in 1981. Although the original, <em>Jeune Femme Pensive</em> or <em>La M\u00e9ditation</em>, is not in the Corot catalogue raisonn\u00e9 compiled by his friend Alfred Robaut, that painting does have an unquestionable origin. According to one source, Corot painted the original version in Paris in 1866\u201368 and allowed his pupil, Eug\u00e8ne Lavieille, to make a copy with permission.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515672"], "internet_archive": ["https://archive.org/details/clevelandart-1949.189-woman-meditating"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 495", "url": "https://archive.org/details/CMAHandbook1958/page/n91"}, {"citation": "Coe, Nancy. \"'Woman Meditating' by Corot.\" <em>The Bulletin of the Cleveland Museum of Art </em>45, no. 2 (February 1958): 23-26.", "page_number": "Reproduced: p. 25; Mentioned: p. 26", "url": "https://www.jstor.org/stable/25142260"}, {"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. 168", "url": "https://archive.org/details/CMAHandbook1966/page/n192"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 158-159, Vol. I, no. 60", "url": ""}, {"citation": "<em>Paintings in the Cleveland Museum of Art: Picture Book No. 4 .</em> [Cleveland]: The Cleveland Museum of Art, 1952.", "page_number": "Reproduced: p. 34", "url": "https://archive.org/details/CMAPaintings1952"}], "url": "https://clevelandart.org/art/1949.189", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.189/1949.189_web.jpg", "width": "646", "height": "893", "filesize": "72630", "filename": "1949.189_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.189/1949.189_print.jpg", "width": "2460", "height": "3400", "filesize": "1136695", "filename": "1949.189_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.189/1949.189_full.tif", "width": "5471", "height": "7559", "filesize": "124087748", "filename": "1949.189_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.189/1949.189_alt0_web.jpg", "width": "651", "height": "893", "filesize": "458169"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.189/1949.189_alt0_print.jpg", "width": "1494", "height": "2048", "filesize": "2493549"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.189/1949.189_alt0_full.tif", "width": "1494", "height": "2048", "filesize": "9182596"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126773, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": "copy after", "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-06-14T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "after 1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:13.482000"}, {"id": 81391, "accession_number": "2020.109", "share_license_status": "CC0", "tombstone": "Drying the Linen, or Moonrise at the Priory, 1894. Maurice Denis (French, 1870\u20131943). Oil on canvas glued to cardboard; unframed: 34.9 x 31.4 x 0.6 cm (13 3/4 x 12 3/8 x 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.109", "current_location": null, "title": "Drying the Linen, or Moonrise at the Priory", "creation_date": "1894", "creation_date_earliest": 1894, "creation_date_latest": 1894, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "oil on canvas glued to cardboard", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 34.9 x 31.4 x 0.6 cm (13 3/4 x 12 3/8 x 1/4 in.)", "dimensions": {"unframed": {"height": 0.349, "width": 0.314, "depth": 0.006}, "framed": {"height": 0.484, "width": 0.448, "depth": 0.041}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower left: MAVD 94, Signed lower right: MAVD", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>9\u00e8 expositi</em>on.Le Barc de Boutteville, Paris, France (1895).", "opening_date": null}, {"description": "<em>La Libre Esth\u00e9tique</em>. Brussels,Belgium (1896).", "opening_date": null}, {"description": "<em>R\u00e9trospective Maurice Denis Union Centrale des Arts d\u00e9coratifs 1888-1924</em>. Pavillon de Marsan, Paris, France (1924).", "opening_date": "1924-01-01T00:00:00"}, {"description": "Galerie Louis Carr\u00e9, Paris, France (1941).", "opening_date": "1941-01-01T00:00:00"}, {"description": "<em>Maurice Denis.</em> Mus\u00e9e d' Art Moderne, Paris, France (1945).", "opening_date": "1945-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Mus\u00e9e des Beaux-Arts, Lyon, France (September 29-December 18, 1994); Wallraf-Richartz Museum, Cologne, Germany (January 10-March 25, 1995); Walker Art Gallery, Liverpool, United Kingdom (April 21-June 18, 1995); Van Gogh Museum, Amsterdam, Netherlands", "opening_date": "1994-09-29T00:00:00"}, {"description": "(June 22-September 17, 1995).", "opening_date": "1995-06-22T00:00:00"}, {"description": "<em>Maurice Denis</em>. Mus\u00e9e d'Orsay, Paris, France (October 31, 2006-January 21, 2007); Mus\u00e9e des Beaux-Arts de Montr\u00e9al, Montreal, Quebec (February 22-May 20, 2007).", "opening_date": "2007-02-22T00:00:00"}]}, "provenance": [{"description": "Pierre Gu\u00e9guen [1889-1965] Paris, France, by gift from the artist", "citations": [], "footnotes": ["<div><!--block-->[1] According to <em>Maurice Denis, 1870-1943</em> (Paris: Re\u0301union des Muse\u0301es Nationaux, 1994), p. 182, cat. no. 56, Gu\u00e9guen received this painting as a gift from the artist while it was exhibited at the Galerie Carr\u00e9 \u2013 CDV no. 1640. It remained in Gu\u00e9guen\u2019s collection until at least 1945.</div>"], "date": "1941\u2013at least 1945", "sortorder": 1}, {"description": "Claude R. Cueto, Paris, France", "citations": [], "footnotes": [], "date": "after 1945\u20131987", "sortorder": 2}, {"description": "Claude R. Cueto, December 22, 1987, sold to the Sam Josefowitz Family", "citations": [], "footnotes": null, "date": "1987", "sortorder": 3}, {"description": "The Sam Josefowitz Family, New York, NY, April 2010, sold to Nancy F. and Joseph P. Keithley", "citations": [], "footnotes": ["<div><!--block-->[2] According to documents in the curatorial file.</div>"], "date": "1987\u20132010", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2010\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Denis began creating religious art in 1894, the year this painting was completed. A priory, as described in the title, is a religious building where monks and nuns live under the leadership of a prior.", "description": "This painting depicts the enclosed backyard garden of a former priory\u2014a religious building where monks and nuns live under the leadership of a prior\u2014that Maurice Denis purchased in 1914. He transformed the building into a home for his large family and lived there for the last 30 years of his life. A woman dressed in black hangs linens to dry, so that\u2014according to custom\u2014they will be bleached by moonlight. The full moon casts a golden glow over the entire nighttime scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480839"], "internet_archive": ["https://archive.org/details/clevelandart-2020.109-drying-the-linen-or"]}, "citations": [{"citation": "<em>Maurice Denis, 1870-1943: Lyon, Muse\u0301e Des Beaux-Arts, 29 September-18 December 1994 : Cologne, Wallraf-Richarts Museum, 22 January-2 April 1995 : Liverpool, Walker Art Gallery, 21 April-18 June 1995 : Amsterdam, Van Gogh Museum, 7 July-17 September 1995.</em> Ghent: Snoeck-Ducaju &amp; Zoon, 1994.", "page_number": "Mentioned and reproduced: p. 182, no.56", "url": null}, {"citation": "Heilbrun, Franc\u0327oise, Saskia Ooms, and Nathalie Bondil. <em>Maurice Denis.</em> Paris: Muse\u0301e d'Orsay, 2006.", "page_number": "Mentioned and Reproduced: P. 125-126, no. 11", "url": null}, {"citation": "Sanchez, Pierre, and Dominique Lobstein. <em>Les Expositions de la Galerie Le Barc de Boutteville (1891-1899) et du Salon des Cent (1894-1903): Re\u0301pertoire des Artistes et de Leurs Oeuvres.</em> 2012.", "page_number": "Mentioned: P. 235, no. 37", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cIn the Garden.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 194-217. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 201; Reproduced: P. 214, no. 143", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.109", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.109/2020.109_web.jpg", "width": "790", "height": "900", "filesize": "395175", "filename": "2020.109_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.109/2020.109_print.jpg", "width": "2983", "height": "3400", "filesize": "4686902", "filename": "2020.109_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.109/2020.109_full.tif", "width": "6749", "height": "7693", "filesize": "155787692", "filename": "2020.109_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 81391, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "1894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Lever de lune au Prieur"], "is_highlight": false, "updated_at": "2026-03-26 23:59:47.929000"}, {"id": 373570, "accession_number": "2019.233", "share_license_status": "Copyrighted", "tombstone": "Petites sc\u00e8nes famili\u00e8res pour piano, 1893\u201395. Pierre Bonnard (French, 1867\u20131947). Album of lithographs; overall: 35.6 x 27.6 x 0.7 cm (14 x 10 7/8 x 1/4 in.). The Cleveland Museum of Art, The Jane B. Tripp Charitable Lead Annuity Trust, 2019.233. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Petites sc\u00e8nes famili\u00e8res pour piano", "creation_date": "1893\u201395", "creation_date_earliest": 1893, "creation_date_latest": 1895, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "album of lithographs", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Overall: 35.6 x 27.6 x 0.7 cm (14 x 10 7/8 x 1/4 in.)", "dimensions": {"overall": {"height": 0.356, "width": 0.276, "depth": 0.007}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Estampes Martinez, Paris, France)", "citations": [], "footnotes": null, "date": "?-2019", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 2, 2019", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bonnard made this album of lithographic illustrations for his brother-in-law, Claude Terrasse, who was a pianist and composer.", "description": "In the early 1890s, Pierre Bonnard spent significant time creating lithographic illustrations for two books of musical scores for children. These series of illustrations were made in collaboration with the artist\u2019s brother-in-law, Claude Terrasse, a pianist and composer. Bonnard\u2019s illustrations for <em>Petites Sc\u00e8nes famili\u00e8res </em>are full of whimsy and humor, but also have a more serious side; some suggest reverie, melancholy, and even nightmares.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279921"], "internet_archive": ["https://archive.org/details/clevelandart-2019.233-petites-scenes-famil"]}, "citations": [{"citation": "Bonnard, Pierre, Colta Feller Ives, Helen Emery Giambruni, and Sasha M. Newman. Pierre Bonnard, the Graphic Art. New York: Metropolitan Museum of Art, 1989.", "page_number": "cat. no. 40", "url": ""}], "url": "https://clevelandart.org/art/2019.233", "images": {}, "alternate_images": [], "creditline": "The Jane B. Tripp Charitable Lead Annuity Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 373570, "creators": [{"id": 306281, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, 1867-1947", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u201395", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:03.728000"}, {"id": 157333, "accession_number": "1994.197", "share_license_status": "CC0", "tombstone": "The Garden Court, 1870\u201375. Edward Burne-Jones (British, 1833\u20131898). Graphite and watercolor, heightened with white gouache; matted: 54.3 x 81.4 x 0.8 cm (21 3/8 x 32 1/16 x 5/16 in.); frame: 61.3 x 88.9 x 3.2 cm (24 1/8 x 35 x 1 1/4 in.); image: 32.3 x 60.2 cm (12 11/16 x 23 11/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1994.197", "current_location": null, "title": "The Garden Court", "creation_date": "1870\u201375", "creation_date_earliest": 1870, "creation_date_latest": 1875, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite and watercolor, heightened with white gouache", "support_materials": [{"description": "white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Matted: 54.3 x 81.4 x 0.8 cm (21 3/8 x 32 1/16 x 5/16 in.); Frame: 61.3 x 88.9 x 3.2 cm (24 1/8 x 35 x 1 1/4 in.); Image: 32.3 x 60.2 cm (12 11/16 x 23 11/16 in.)", "dimensions": {"image": {"height": 0.323, "width": 0.602}, "matted": {"height": 0.543, "width": 0.814, "depth": 0.008}, "frame": {"height": 0.613, "width": 0.889, "depth": 0.032}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 361610, "title": "English Romantic Art 1840-1920. Pre-Raphaelites, Academics, Symbolistes: Drawings, Watercolours, Graphics, and Paintings", "description": "<i>English Romantic Art 1840-1920. Pre-Raphaelites, Academics, Symbolistes: Drawings, Watercolours, Graphics, and Paintings</i>. Shepherd Gallery, New York, NY (October 5-November 9, 1994).", "opening_date": "1994-10-05T04:00:00"}, {"id": 311645, "title": "Visions of Love and Life: Pre-Raphaelite Art from the Birmingham Collection, England", "description": "<i>Visions of Love and Life: Pre-Raphaelite Art from the Birmingham Collection, England</i>. The Cleveland Museum of Art, Cleveland, OH (May 31-July 16, 1995).", "opening_date": "1995-05-31T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}, {"id": 202597, "title": "Imagining the Garden", "description": "<i>Imagining the Garden</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24, 2015-March 6, 2016).", "opening_date": "2015-10-24T00:00:00"}, {"id": 543573, "title": "Fairy Tales and Fables: Illustration and Storytelling in Art", "description": "<i>Fairy Tales and Fables: Illustration and Storytelling in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-September 8, 2024).", "opening_date": "2024-05-04T04:00:00"}], "legacy": [{"description": "<em>Exhibition of Drawings and Studies by Sir Edward Burne-Jones Bart. </em>Burlington Fine Arts Club, London (1899).", "opening_date": null}]}, "provenance": [{"description": "Charles Edward Hall\u00e9 [1846-1914], London", "citations": [], "footnotes": null, "date": "?-by 1914", "sortorder": 1}, {"description": "(sale, Sotheby's, London, November 26, 1926, no. 22)", "citations": [], "footnotes": null, "date": "1926", "sortorder": 2}, {"description": "(sale, Christie's, London, June 11, 1993, no. 93)", "citations": [], "footnotes": null, "date": "1993", "sortorder": 3}, {"description": "(J. S. Maas and Son, London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "probably 1993-1994", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1994-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Art historian Andrea Wolk Rager has interpreted this drawing as related to Edward Burne-Jones's socialist beliefs, identifying the weaver at right in the work as a personification of artistic labor, dormant in industrialized Victorian society.", "description": "The story of Briar Rose (known popularly as \"Sleeping Beauty\") occupied Edward Burne-Jones on and off for much of his career. He completed three related sets of paintings of the subject over a 30-year period. This drawing probably relates to the first series, now in the Museo de Arte in Ponce, Puerto Rico. Here, vines twist in arabesques against a flat, chartreuse background, as though ensnaring the six servants asleep at a loom and well.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79973452"], "internet_archive": ["https://archive.org/details/clevelandart-1994.197-the-garden-court"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Cartwright, Julia. <em>The Life and Work of Sir Edward Burne-Jones Bart</em>. London: Art Journal, 1894.", "page_number": "Mentioned: p. 24-5", "url": "https://hdl.handle.net/2027/yale.39002088543872"}, {"citation": "<em>Exhibition of Drawings and Studies by Edward Coley Burne-Jones.</em> Exh. Cat. London: Burlington Fine Arts Club, 1899.", "page_number": "Mentioned: pp. xv, 18, no. 88", "url": "https://hdl.handle.net/2027/hvd.fl2svu"}, {"citation": "Bell, Malcolm. <em>Sir Edward Burne-Jones: A Record and Review</em>. London: 1903", "page_number": "Reproduced: opposite p. 66", "url": "https://hdl.handle.net/2027/uc1.31970027688560"}, {"citation": "De Lisle, Fortun\u00e9e. <em>Burne-Jones</em>. London: Methuen, 1907.", "page_number": "Mentioned: p. 183, n. 1; Reproduced: opposite p. 139", "url": "https://hdl.handle.net/2027/gri.ark:/13960/t4pk3zr9w"}, {"citation": "Hartnoll, Julian and Christopher Wood.<em> English Romantic Art 1840-1920, Pre-Raphaelites, Academics, Symbolistes: Drawings, Watercolours, Graphics and Paintings.</em> Exh. Cat. New York: Shepherd Gallery Associates, 1994.", "page_number": "Mentioned: no. 29", "url": null}, {"citation": "Wildman, Stephen. <em>Visions of Love and Life: Pre-Raphaelite Art from the Birmingham Collection, England</em>. Exh. Cat. Seattle: Seattle Art Museum, 1995.", "page_number": "Mentioned: pp. 325-6, under no. 115", "url": null}, {"citation": "Cleveland Museum of Art, \u201cNew Acquisitions Enter the Cleveland Museum of Art\u2019s Permanent Collection,\u201d February 14, 1995, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3939/page/n1"}, {"citation": "Wildman, Stephen and John Christian. <em>Edward Burne-Jones: Victorian Artist-Dreamer</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1998.", "page_number": "Mentioned: pp. 157-8, n. 1", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 11, 197-8, 295, no. 81; Reproduced: p. 198", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 122-5, 144, no. 41; Reproduced: pp. 123-5", "url": null}, {"citation": "Cheney, Liana de Girolami. <em>Edward Burne-Jones on Nature: Physical and Metaphysical Realms. </em>Newcastle upon Tyne : Cambridge Scholars Publishing, 2021.", "page_number": "Mentioned: P. 213; Reproduced: Pl. LIX", "url": ""}], "url": "https://clevelandart.org/art/1994.197", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.197/1994.197_web.jpg", "width": "1263", "height": "689", "filesize": "220961", "filename": "1994.197_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.197/1994.197_print.jpg", "width": "2048", "height": "1094", "filesize": "1915447", "filename": "1994.197_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.197/1994.197_full.tif", "width": "2048", "height": "1094", "filesize": "6723908", "filename": "1994.197_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157333, "creators": [{"id": 1399, "description": "Edward Burne-Jones (British, 1833\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Edward Burne-Jones and Morris met as undergraduates at Oxford University, where both studied theology, planning to enter the church. Instead, a mutual love of poetry and medieval art led these lifelong friends toward careers in art, design, and literature. A successful painter, Burne-Jones also contributed to Morris &amp; Co. as a designer of stained glass and tapestry, as well as to the Kelmscott Press as an illustrator of books", "name_in_original_language": null, "birth_year": "1833", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-12-06T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "1870\u201375", "collapse_artists": false, "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": ["Briar Rose: The Garden Court"], "is_highlight": false, "updated_at": "2026-03-27 00:02:30.369000"}, {"id": 447789, "accession_number": "2021.165", "share_license_status": "CC0", "tombstone": "Footpath in the Woods, 1882\u201384. Paul Cezanne (French, 1839\u20131906). Watercolor and graphite on modern laid paper; support: 51.6 x 35.9 cm (20 5/16 x 14 1/8 in.); matted: 62.9 x 48.3 x 0.6 cm (24 3/4 x 19 x 1/4 in.); image: 47.9 x 31.4 cm (18 7/8 x 12 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2021.165", "current_location": null, "title": "Footpath in the Woods", "creation_date": "1882\u201384", "creation_date_earliest": 1882, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["France"], "technique": "watercolor and graphite on modern laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Support: 51.6 x 35.9 cm (20 5/16 x 14 1/8 in.); Matted: 62.9 x 48.3 x 0.6 cm (24 3/4 x 19 x 1/4 in.); Image: 47.9 x 31.4 cm (18 7/8 x 12 3/8 in.)", "dimensions": {"image": {"height": 0.479, "width": 0.314}, "support": {"height": 0.516, "width": 0.359}, "matted": {"height": 0.629, "width": 0.483, "depth": 0.006}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, in pencil, on verso: Vollard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "Possibly <em>Watercolors by Paul Cezanne</em>. Galerie Amboise Vollard, Paris (June 1905).", "opening_date": "1905-06-01T00:00:00"}, {"description": "<em>C\u00e9zanne, Aquarelle und Zeichnungen, Bronzen von Edgar Degas</em>. Galerie Flechtheim, Berlin (May 19\u2013June 16, 1927).", "opening_date": "1927-06-16T00:00:00"}, {"description": "<em>Ein Jahrhundert franz\u00f6sischer Zeichnung</em>. Paul Cassirer, Berlin (December 1929\u2013January 1930).", "opening_date": "1929-12-01T00:00:00"}, {"description": "<em>Paul C\u00e9zanne Aquarelle</em>. Kunsthalle T\u00fcbingen (January 16\u2013March 21, 1982); Kunsthaus Z\u00fcrich (April 2\u2013May 31, 1982).", "opening_date": "1982-03-21T00:00:00"}, {"description": "<em>Matisse, C\u00e9zanne, Picasso: L\u2019Aventure des Stein</em>. Grand Palais, Paris (October 5, 2011\u2013January 16, 2012).", "opening_date": "2011-10-05T00:00:00"}, {"description": "<em>Reconstructing Cezanne: Sequence and Process in Paul Cezanne\u2019s Works on Paper</em>. Luxembourg &amp; Dayan, London (October 2\u2013December 7, 2019).", "opening_date": "2019-12-07T00:00:00"}]}, "provenance": [{"description": "(Ambroise Vollard [1867\u20131939], Paris, presumably sold to Princess Murat, Paris)", "citations": [], "footnotes": null, "date": "probably 1895 - ?", "sortorder": 1}, {"description": "Princess Murat [1878\u20131936], Paris", "citations": [], "footnotes": null, "date": "after 1906 - probably 1913", "sortorder": 2}, {"description": "Leo [1872\u20131947] and Gertrude [1874\u20131946] Stein, Paris, owned jointly", "citations": [], "footnotes": null, "date": "1913 - 1914", "sortorder": 3}, {"description": "Gertrude Stein, Paris", "citations": [], "footnotes": null, "date": "1914 - ?", "sortorder": 4}, {"description": "(Bernheim-Jeune, Paris)", "citations": [], "footnotes": null, "date": "1926 - 1929", "sortorder": 5}, {"description": "(Paul Cassirer, Berlin, sold to Hertha Harries-von Siemens, Berlin)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 6}, {"description": "Hertha Harries-von Siemens [1870\u20131939], Berlin, by descent", "citations": [], "footnotes": null, "date": "1929 - 1939", "sortorder": 7}, {"description": "private collection, Munich", "citations": [], "footnotes": null, "date": "1939 - 2004", "sortorder": 8}, {"description": "(Walter Feilchenfeldt, Zurich)", "citations": [], "footnotes": null, "date": "probably 2004", "sortorder": 9}, {"description": "private collection, Switzerland", "citations": [], "footnotes": null, "date": "2004 - 2021", "sortorder": 10}, {"description": "(Luxembourg & Co., London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2021", "sortorder": 11}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was once owned by collectors Leo and Gertrude Stein, in whose Parisian apartment it would have been seen by a young Pablo Picasso.", "description": "Paul Cezanne is known for moving beyond the visible brushwork of Impressionism toward a \u201cconstructive stroke,\u201d in which each mark built a cohesive whole. He favored subjects that he saw as timeless, including landscape, the focus of this watercolor. Cezanne depicted chestnut trees at the Jas de Bouffan, his family estate outside Aix-en-Provence in southern France. He used graphite lines and areas of muted watercolor, but also the whiteness of his sheet of paper to represent the scene. The artist worked in watercolor throughout his entire career, seeing it as a site of experimentation and for developing new ideas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246986"], "internet_archive": ["https://archive.org/details/clevelandart-2021.165-footpath-in-the-wood"]}, "citations": [{"citation": "<em>C\u00e9zanne, Aquarelle und Zeichnungen, Bronzen von Edgar Degas</em>. Exh. cat. Berlin: Galerie Flechtheim, 1927.", "page_number": "Mentioned: no. 38", "url": ""}, {"citation": "Scheffler, Karl. \u201cFranz\u00f6sische Zeichnungen des neunzehnten Jahrhunderts bei Paul Cassirer.\u201d <em>Kunst und K\u00fcnstler </em>28, no. 5 (1930): 192.", "page_number": "", "url": ""}, {"citation": "Venturi, Lionello. <em>C\u00e9zanne: Son art, son \u0153uvre</em>. Paris: Paul Rosenberg, 1936.", "page_number": "Mentioned: vol. 1, p. 242, no. 838; Reproduced vol. 2, pl. 273", "url": ""}, {"citation": "Adriani, G\u00f6tz. <em>C\u00e9zanne Watercolors. </em>Translated by Russell M. Stockman. New York: Abrams, 1981.", "page_number": "Mentioned: p. 288, no. 124", "url": ""}, {"citation": "Rewald, John. <em>Paul C\u00e9zanne: The Watercolors.</em> Boston: Little, Brown, 1983.", "page_number": "Mentioned and reproduced: pp. 126\u201327, no. 170", "url": ""}, {"citation": "Rewald, John. <em>C\u00e9zanne and America: Dealers, Collectors, Artists and Critics, 1891\u20131921. </em> Princeton: Princeton University Press, 1989.", "page_number": "Mentioned and reproduced: pp. 61\u201362", "url": ""}, {"citation": "Bishop, Janet, C\u00e9cile Debray, and Rebecca Rabinow, eds. <em>The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde</em>, 366, 369, 372, 397 (ill.), no. 16. Exh. cat. New York: Metropolitan Museum of Art, 2011.", "page_number": "Mentioned: pp. 366, 369, 372, no. 16; Reproduced: p. 397", "url": ""}, {"citation": "Bishop, Janet, C\u00e9cile Debray, Rebecca Rabinow, and Gary Tinterow, eds. <em>Matisse, C\u00e9zanne, Picasso: L\u2019Aventure des Stein. </em>Exh. cat. Paris: R\u00e9union des mus\u00e9es nationaux, 2011.", "page_number": "Mentioned: p. 153; Reproduced: p. 396", "url": ""}, {"citation": "Ruppen, Fabienne. <em>Reconstructing Cezanne: Sequence and Process in Paul Cezanne\u2019s Works on Paper. </em>Exh. cat. London: Luxembourg &amp; Dayan, 2019.", "page_number": "Mentoined: pp. 22, 66, no. 10; Reproduced: p. 67", "url": ""}, {"citation": "Feilchenfeldt, Walter, Jayne Warman, and David Nash. <em>The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonn\u00e9.</em> Published online, 2020.", "page_number": "Mentioned and reproduced: no. 1118", "url": "http://www.cezannecatalogue.com"}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: Acquiring the now-on-view Cleveland collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 63, no. 1 (2023): 8-9.", "page_number": "Reproduced and Mentioned: P. 9.", "url": "https://archive.org/details/CMAMM2023-01/page/n7"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 132-135, no. 23", "url": ""}], "catalogue_raisonne": "Venturi 838; Rewald 170; FWN 1118", "url": "https://clevelandart.org/art/2021.165", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.165/2021.165_web.jpg", "width": "595", "height": "900", "filesize": "197704", "filename": "2021.165_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.165/2021.165_print.jpg", "width": "2249", "height": "3400", "filesize": "3433867", "filename": "2021.165_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.165/2021.165_full.tif", "width": "8216", "height": "12423", "filesize": "306231148", "filename": "2021.165_full.tif"}}, "alternate_images": [{"date_created": "2021-11-04T09:03:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.165/2021.165_alt0_web.jpg", "width": "601", "height": "900", "filesize": "226749"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.165/2021.165_alt0_print.jpg", "width": "2271", "height": "3400", "filesize": "3298816"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.165/2021.165_alt0_full.tif", "width": "8270", "height": "12381", "filesize": "307197593"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 447789, "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": "2021-12-06T05:00:00Z", "sortable_date": 1882, "date_added_to_oa": null, "date_text": "1882\u201384", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Sentier en for\u00eat"], "is_highlight": false, "updated_at": "2026-03-27 00:10:23.559000"}, {"id": 109198, "accession_number": "1927.477.2", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): First a Pool of Water, Then a Prostitute, the Corner of a Temple, a Soldier's Face, a Chariot with Two White, Rearing Horses, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 29.1 x 20.8 cm (11 7/16 x 8 3/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.2", "current_location": null, "title": "First a Pool of Water, Then a Prostitute, the Corner of a Temple, a Soldier's Face, a Chariot with Two White, Rearing Horses", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 29.1 x 20.8 cm (11 7/16 x 8 3/16 in.)", "dimensions": {"image": {"height": 0.291, "width": 0.208}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. I / ......d'abord une flaque d'eau, ensuite une prostitu\u00e9e, le coin d'un temple, une figure de soldat, un char avec deux chevaux blancs qui se cabrent.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.350"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723673"], "internet_archive": ["https://archive.org/details/clevelandart-1927.350-first-a-pool-of-wate", "https://archive.org/details/clevelandart-1927.477.2-first-a-pool-of-wate"]}, "citations": [{"citation": "Yamamoto, Atsuko. <em>Redon, His Life and Works: I Want to Know More</em>. Tokyo: Bijutsu, 2011.", "page_number": "Mentioned and reproduced: p. 32", "url": null}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: D'abord une flaque d'eau.", "page_number": "Mentioned: p. 57", "url": "https://archive.org/details/Lithography/page/n63"}], "catalogue_raisonne": "Mellerio 84", "url": "https://clevelandart.org/art/1927.477.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.2/1927.477.2_web.jpg", "width": "648", "height": "893", "filesize": "432136", "filename": "1927.477.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.2/1927.477.2_print.jpg", "width": "2469", "height": "3400", "filesize": "6152726", "filename": "1927.477.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.2/1927.477.2_full.tif", "width": "3500", "height": "4819", "filesize": "50630084", "filename": "1927.477.2_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109198, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): First a Pool of Water, Then a Prostitute, the Corner of a Temple, a Soldier's Face, a Chariot with Two White, Rearing Horses", "D'abord une flaque d'eau"], "is_highlight": false, "updated_at": "2026-03-27 00:02:49.181000"}, {"id": 160709, "accession_number": "1998.69", "share_license_status": "CC0", "tombstone": "Fear, 1866. Odilon Redon (French, 1840\u20131916). Etching; image: 11 x 20 cm (4 5/16 x 7 7/8 in.); platemark: 14 x 22.3 cm (5 1/2 x 8 3/4 in.); sheet: 27.4 x 35.1 cm (10 13/16 x 13 13/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1998.69", "current_location": null, "title": "Fear", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching", "support_materials": [{"description": "cream laid paper", "watermarks": ["MBM"]}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 11 x 20 cm (4 5/16 x 7 7/8 in.); Platemark: 14 x 22.3 cm (5 1/2 x 8 3/4 in.); Sheet: 27.4 x 35.1 cm (10 13/16 x 13 13/16 in.)", "dimensions": {"sheet": {"height": 0.274, "width": 0.351}, "image": {"height": 0.11, "width": 0.2}, "platemark": {"height": 0.14, "width": 0.223}}, "state_of_the_work": "III/III", "edition_of_the_work": "first edition (edition of 30)", "copyright": null, "inscriptions": [{"inscription": "signed in green crayon, lower margin: \"\u00e0 J. K. Huysmans / mon ami / Odilon Redon\"", "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": 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"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "H. M. Petiet [1894-1980; L. 5031], Paris", "citations": [], "footnotes": ["<div><!--block-->stamped on verso</div>"], "date": "?-1997", "sortorder": 1}, {"description": "(Hotel Drouot, Estampes modernes Henri M. Petiet, 13th sale, Paris, September 25, 1997, no. 157)", "citations": [], "footnotes": null, "date": "1997", "sortorder": 2}, {"description": "(Ian Mackenzie Fine Art, London, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1997", "sortorder": 3}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An impression of this etching was exhibited in a group of Odilon Redon's work at the 1913 Armory Show, which introduced the artist's work to American audiences.", "description": "Odilon Redon used parallel lines of varying density throughout this etching to enhance its tonal and emotional darkness. The subject was inspired by Johann Wolfgang Goethe's 1782 poem describing a father who discovered his child's death after a cold and windy nighttime journey. The figures and the man's white cape contrast dramatically with the scale and tone of their surroundings. Redon made few etchings during his career. This one was a gift to his friend, French art critic and novelist Joris-Karl Huysmans, and features a personalized dedication at the bottom of the sheet.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982326"], "internet_archive": ["https://archive.org/details/clevelandart-1998.69-fear"]}, "citations": [{"citation": "<em>Estampes modernes Henri M. Petiet, treizi\u00e8me vente</em>. Paris: Hotel Drouot, 1997. Lot 157.", "page_number": "Mentioned and reproduced: no. 157", "url": null}, {"citation": "Cleveland Museum of Art, \u201cPainting by 18th-century Italian Master Gaetano Gandolfi among Works Added to CMA Collection,\u201d March 24, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4108"}], "catalogue_raisonne": "Mellerio 6, Harrison 7", "url": "https://clevelandart.org/art/1998.69", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.69/1998.69_web.jpg", "width": "1263", "height": "782", "filesize": "804262", "filename": "1998.69_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.69/1998.69_print.jpg", "width": "3400", "height": "2106", "filesize": "5605090", "filename": "1998.69_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.69/1998.69_full.tif", "width": "4928", "height": "3052", "filesize": "45151680", "filename": "1998.69_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160709, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-13T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "presentation proof", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:21.305000"}, {"id": 118159, "accession_number": "1939.269", "share_license_status": "CC0", "tombstone": "Bathers Playing with a Crab, c. 1897. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; framed: 75.5 x 85.5 x 10 cm (29 3/4 x 33 11/16 x 3 15/16 in.); unframed: 54.6 x 65.7 cm (21 1/2 x 25 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1939.269", "current_location": null, "title": "Bathers Playing with a Crab", "creation_date": "c. 1897", "creation_date_earliest": 1892, "creation_date_latest": 1902, "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: 75.5 x 85.5 x 10 cm (29 3/4 x 33 11/16 x 3 15/16 in.); Unframed: 54.6 x 65.7 cm (21 1/2 x 25 7/8 in.)", "dimensions": {"framed": {"height": 0.755, "width": 0.855, "depth": 0.1}, "unframed": {"height": 0.546, "width": 0.657}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Renoir \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 300859, "title": "The Venetian Tradition", "description": "<i>The Venetian Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (November 8, 1956-January 1, 1957).", "opening_date": "1956-11-08T05:00:00"}, {"id": 224426, "title": "Renoir", "description": "<i>Renoir</i>. K\u00fcnsthalle Tubingen (organizer) (January 20-May 26, 1996).", "opening_date": "1996-01-20T00:00:00"}, {"id": 216637, "title": "Idol of the Moderns:  Pierre-Auguste Renoir and American Painting", "description": "<i>Idol of the Moderns:  Pierre-Auguste Renoir and American Painting</i>. San Diego Museum of Art, San Diego, CA (organizer) (June 29-September 15, 2002); El Paso Museum of Art, El Paso, TX (November 3, 2002-February 16, 2003).", "opening_date": "2002-06-29T00:00:00"}, {"id": 216550, "title": "Renoir in the 20th Century", "description": "<i>Renoir in the 20th Century</i>. Galeries Nationales du Grand Palais (September 23, 2009-January 4, 2010); Los Angeles County Museum of Art, Los Angeles, CA (organizer) (February 14-May 9, 2010); Philadelphia Museum of Art, Philadelphia, PA (June 12-September 5, 2010).", "opening_date": "2009-09-23T00:00:00"}, {"id": 232454, "title": "A Summer at the Water's Edge: Leisure Activities and Impressionism", "description": "<i>A Summer at the Water's Edge: Leisure Activities and Impressionism</i>. Mus\u00e9e des Beaux-Arts de Caen, Caen, France (April 27-September 29, 2013).", "opening_date": "2013-04-27T00:00:00"}, {"id": 220360, "title": "Renoir: Intimacy", "description": "<i>Renoir: Intimacy</i>. Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (October 18, 2016-January 22, 2017); Museo de Bellas Artes, Bilbao, 48011 Bilbao, Spain (February 7-May 15, 2017).", "opening_date": "2016-10-18T00:00:00"}, {"id": 310379, "title": "Renoir: The Body, The Senses", "description": "<i>Renoir: The Body, The Senses</i>. Sterling and Francine Clark Art Institute, Williamstown, MA (organizer) (June 8-September 22, 2019); Kimbell Art Museum, Fort Worth, TX (October 27, 2019-January 26, 2020).", "opening_date": "2019-06-08T04:00:00"}], "legacy": [{"description": "CMA. French Paintings of the Later XIX Century (1921), no cat., lent by Ralph Coe.", "opening_date": "1921-01-01T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute; cma. Exhibition of Paintings: Edouard Manet, Pierre Renoir, Berthe Morisot (1924-25), no. 38, lent by R. M. Coe; repr. opp. title page (no cat. for Cleveland showing).", "opening_date": "1924-01-01T00:00:00"}, {"description": "CMA. French Art since 1800 (1929), in CMA Bulletin 16 (1929): 162.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Philadelphia, Pennsylvania Museum. Paintings by Manet and Renoir (1933), in The Pennsylvania Museum Bulletin 29 (December 1933): 19, Baigneuses, 1897, Ralph M. Coe, Cleveland.", "opening_date": "1933-12-01T00:00:00"}, {"description": "CMA. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 307, pl. 66.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Metropolitan Museum of Art. Renoir: A Special Exhibition of His Paintings (1937), 9, no. 56 (repr.).", "opening_date": "1937-01-01T00:00:00"}, {"description": "New York, Museum of Modern Art. Art in Our Time (1939), no. 52 (repr.).", "opening_date": "1939-01-01T00:00:00"}, {"description": "Washington, D.C., Phillips Memorial Gallery. Emotional Design in Painting (1940), no. 2.", "opening_date": "1940-01-01T00:00:00"}, {"description": "New York, World's Fair. Masterpieces of Art (1940), no. 331, as dated 1897.", "opening_date": "1940-01-01T00:00:00"}, {"description": "New York, Duveen Galleries. Centennial Loan Exhibition 1841-1941: Renoir (1941), 19, no. 64, pl. 64, as dated 1892.", "opening_date": "1941-01-01T00:00:00"}, {"description": "New York, Paul Rosenberg &amp; Co. Loan Exhibition of Masterpieces by Delacroix and Renoir (1948), 73 (repr.), no. 24.", "opening_date": "1948-01-01T00:00:00"}, {"description": "Omaha, Joslyn Memorial Art Museum. Twentieth Anniversary Exhibition-The Beginnings of Modern Painting: France 1800-1900 (1951), 5.", "opening_date": "1951-01-01T00:00:00"}, {"description": "Fort Wayne (Ind.) Art School and Museum. Picture of the Month (May 1953), no cat.", "opening_date": "1953-05-01T00:00:00"}, {"description": "CMA. The Venetian Tradition (1956), no. 37 (as dated 1897), pl. 56.", "opening_date": "1956-01-01T00:00:00"}, {"description": "Minneapolis Institute of Arts. The Past Rediscovered: French Painting 1800-1900 (1969), no. 71 (repr.).", "opening_date": "1969-01-01T00:00:00"}, {"description": "Kunsthalle T\u00fcbingen. Renoir (1996), no. 86 (repr.).", "opening_date": "1996-01-01T00:00:00"}, {"description": "San Diego Museum of Art (6/29/2002 - 9/15/2002) and El Paso Museum of Art (11/3/2002-2/16/2003), \"Idol of the Moderns:  Pierre-Auguste Renoir and American Painting\"", "opening_date": "2002-06-29T00:00:00"}, {"description": "RMN (organizer); Galeries Nationales du Grand Palais (9/23/2009-1/4/2010), LACMA (2/14/2010-5/9/2010), and Philadelphia Museum of Art (6/12/2010-9/5/2010):  \"Pierre-Auguste Renoir\"", "opening_date": "2009-09-23T00:00:00"}, {"description": "RMN (organizer); Mus\u00e9e des Beaux-Arts de Caen, France (4/27/2013 - 9/23/2013):  \"A Summer at the Water's Edge: Leisure Activities and Impressionism\"", "opening_date": "2013-04-27T00:00:00"}, {"description": "Museo Thyssen-Bornemisza, Madrid, Spain (10/18/2016 \u2013 1/22/2017) and Museo de Bellas Artes de Bilbao, Spain (2/7/2017 \u2013 5/15/2017):  \"Renoir: Intimacy\"", "opening_date": "2016-10-18T00:00:00"}]}, "provenance": [{"description": "[Galerie Georges Bernheim, Paris.]", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Ralph M. Coe, Cleveland, OH, purchased on February 18, 1920", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, purchased on May 29, 1939", "citations": [], "footnotes": null, "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "After viewing Renaissance paintings on a trip to Italy in 1881, Renoir attempted to bring greater order and stability to Impressionism by merging flickering light effects with solid forms. He conveyed this new ambition in a series of paintings of nude bathers, a subject that preoccupied him from 1883 until his death in 1919. Avant-garde artists of the 20th century admired his ability to blend modernist and classicizing tendencies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514285"], "internet_archive": ["https://archive.org/details/clevelandart-1939.269-bathers-playing-with"]}, "citations": [{"citation": "Francis, Henry. \"Renoir's 'Three Bathers.'\" <em>The Bulletin of the Cleveland Museum of Art </em>27, no. 2 (February: 1940): 17-18", "page_number": "Reproduced: p. 14; Mentioned: p. 17", "url": "https://www.jstor.org/stable/25138071"}, {"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": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 35", "url": "https://archive.org/details/CMAPaintings1945/page/n43"}, {"citation": "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. 507", "url": "https://archive.org/details/CMAHandbook1958/page/n94"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1966/page/n200"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 176", "url": "https://archive.org/details/CMAHandbook1969/page/n200"}, {"citation": "Fezzi, Elda. <em>L'opera completa di Renoir nel periodo impressionista, 1869-1883.</em> Milano: Rizzoli, 1972.", "page_number": "Reproduced: p. 120, fig. 690", "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. 218", "url": "https://archive.org/details/CMAHandbook1978/page/n238"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 552-555, Vol. II, no. 186", "url": ""}, {"citation": "Solana, Guillermo. <em>Renoir: Intimacy.</em> Madrid: Museo Thyssen-Bornemisza, 2016.", "page_number": "Reproduced: p. 167, cat. no. 68", "url": null}, {"citation": "Bell, Esther. \"Renoir and the Rococo Nude.\" In <em>Renoir: The Body, the Senses.</em> Esther Bell and George T. M. Shackelford, eds., 51-67. <br>Williamstown, Massachusetts: Clark Art Institute; New Haven: distributed by Yale University Press,  2019.", "page_number": "Mentioned: P. 59; Reproduced: P. 62, fig. 52; cat. no. 45", "url": null}], "url": "https://clevelandart.org/art/1939.269", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1939.269/1939.269_web.jpg", "width": "900", "height": "748", "filesize": "257732", "filename": "1939.269_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1939.269/1939.269_print.jpg", "width": "3400", "height": "2824", "filesize": "4162481", "filename": "1939.269_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1939.269/1939.269_full.tif", "width": "13687", "height": "11370", "filesize": "466895756", "filename": "1939.269_full.tif"}}, "alternate_images": [{"date_created": "2007-07-09T18:21:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt0_web.jpg", "width": "1084", "height": "893", "filesize": "689310"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt0_print.jpg", "width": "3400", "height": "2800", "filesize": "7018451"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt0_full.tif", "width": "6000", "height": "4941", "filesize": "88971656"}}, {"date_created": "2017-05-30T12:36:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt1_web.jpg", "width": "900", "height": "721", "filesize": "268822"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt1_print.jpg", "width": "3400", "height": "2725", "filesize": "4141117"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt1_full.tif", "width": "14973", "height": "12000", "filesize": "539059776"}}, {"date_created": "2017-05-30T13:11:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt2_web.jpg", "width": "662", "height": "900", "filesize": "252072"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt2_print.jpg", "width": "2499", "height": "3400", "filesize": "3953508"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.269/1939.269_alt2_full.tif", "width": "11759", "height": "16000", "filesize": "564462576"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118159, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-05-29T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "c. 1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Three Bathers"], "is_highlight": false, "updated_at": "2026-03-27 00:09:08.050000"}, {"id": 149943, "accession_number": "1980.177", "share_license_status": "CC0", "tombstone": "Portrait of \u014czora Buzaemon (\u5927\u7a7a\u6b66\u5de6\u885b\u9580\u50cf), 1827. Watanabe Kazan (Japanese, 1793\u20131841). Hanging scroll; ink and color on paper; image: 221.8 x 117.8 cm (87 5/16 x 46 3/8 in.); overall: 256.8 x 131 cm (101 1/8 x 51 9/16 in.); with knobs: 256.8 x 140.5 cm (101 1/8 x 55 5/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1980.177", "current_location": null, "title": "Portrait of \u014czora Buzaemon", "title_in_original_language": "\u5927\u7a7a\u6b66\u5de6\u885b\u9580\u50cf", "creation_date": "1827", "creation_date_earliest": 1827, "creation_date_latest": 1827, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll; ink and color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Image: 221.8 x 117.8 cm (87 5/16 x 46 3/8 in.); Overall: 256.8 x 131 cm (101 1/8 x 51 9/16 in.); with knobs: 256.8 x 140.5 cm (101 1/8 x 55 5/16 in.)", "dimensions": {"image": {"height": 2.218, "width": 1.178}, "overall": {"height": 2.568, "width": 1.31}, "with knobs": {"height": 2.568, "width": 1.405}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 309646, "title": "Reflections of Reality in Japanese Art", "description": "<i>Reflections of Reality in Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 16-May 1, 1983).", "opening_date": "1983-03-16T04:00:00"}, {"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": 309887, "title": "The Twain Shall Meet", "description": "<i>The Twain Shall Meet</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 30, 1985-January 5, 1986).", "opening_date": "1985-10-30T05:00:00"}, {"id": 211775, "title": "Highlights of Asian Paintings from The Cleveland Museum of Art", "description": "<i>Highlights of Asian Paintings from The Cleveland Museum of Art</i>. Nara National Museum (organizer) (February 21-March 29, 1998); Suntory Museum of Art (April 28-June 21, 1998).", "opening_date": "1998-02-21T00:00:00"}, {"id": 196054, "title": "Streams and Mountains Without End: Asian Art and the Legacy of Sherman E. Lee at the Cleveland Museum of Art", "description": "<i>Streams and Mountains Without End: Asian Art and the Legacy of Sherman E. Lee at the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 27-August 23, 2009).", "opening_date": "2009-06-27T04:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 311658, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (January 7-July 8, 2019).", "opening_date": "2019-01-07T05:00:00"}], "legacy": [{"description": "<em>Later Japanese Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (March 18-July 13, 2004).", "opening_date": "2004-03-18T00:00:00"}]}, "provenance": [{"description": "(Mayuyama and Company, Tokyo, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131980", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Watanabe Kazan was interested in <em>Rangaku</em> (Dutch Learning).", "description": "Over seven feet tall, \u014czora Buzaemon became a tabloid sensation when he arrived in Edo (Tokyo) in 1827 . His handprints were cherished souvenirs, and his image was sold on woodblock prints. As inscriptions on the scroll detail, Watanabe Kazan met Buzaemon at the residence of a noted Confucian scholar. Using a camera obscura\u2013type device\u2014a tool that uses light to project an image onto a surface\u2014he made this preliminary drawing for a painting. The portrayal depicts Buzaemon\u2019s discomfort in being stared at.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474342"], "internet_archive": ["https://archive.org/details/clevelandart-1980.177-portrait-of-ozora-bu"]}, "citations": [{"citation": "Neils, Jenifer. \u201cThe Twain Shall Meet.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 72, no. 6, 1985, pp. 326\u2013359.", "page_number": "Reproduced: p. 355, fig. 59", "url": "https://www.jstor.org/stable/25159914"}, {"citation": "Cunningham, Michael R., Stanislaw J. Czuma, Anne E. Wardwell, and J. Keith Wilson.<em> Masterworks of Asian Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1998.", "page_number": "Mentioned and Reproduced: pp. 228\u2013229", "url": ""}, {"citation": "<em>T\u014dy\u014d kaiga no seika: tokubetsuten: Kur\u012bvurando Bijutsukan no korekushon kara </em>[\u6771\u6d0b\u7d75\u753b\u306e\u7cbe\u83ef: \u7279\u522b\u5c55: \u30af\u30ea\u30fc\u30f4\u30e9\u30f3\u30c8\u7f8e\u8853\u9928\u306e\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u304b\u3089= Highlights of Asian painting from the Cleveland Museum of Art]. Nara, Japan: Nara National Museum, 1998.", "page_number": "Mentioned and Reproduced: p 139, cat. no. 92", "url": ""}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55 : \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8e Kur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Mentioned and Reproduced: pp. 68\u201369, cat. no. 22.", "url": null}, {"citation": "Morland, Carol. \"Images of Sato Issai and the Early Portraiture of Watanabe Kazan.\" <em>Orientations</em>, 50, no.1 (Jan./Feb. 2019): 114-121.", "page_number": "Mentioned: p. 118; Reproduced: p.119, fig. 8", "url": null}, {"citation": "Vilbar, Sin\u00e9ad. \u201cTriumphant Returns: Treasured paintings on loan to Japanese museums and archaeological collections go back on display in Cleveland.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 1 (January/February 2019): 12-13.", "page_number": "Reproduced: P. 13; Mentioned: P. 12", "url": "https://archive.org/details/CMAMM2019-01/page/n5/mode/2up"}], "url": "https://clevelandart.org/art/1980.177", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.177/1980.177_web.jpg", "width": "489", "height": "893", "filesize": "323764", "filename": "1980.177_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.177/1980.177_print.jpg", "width": "1863", "height": "3400", "filesize": "4520447", "filename": "1980.177_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.177/1980.177_full.tif", "width": "3584", "height": "6542", "filesize": "70376104", "filename": "1980.177_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt0_web.jpg", "width": "469", "height": "893", "filesize": "74535"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt0_print.jpg", "width": "807", "height": "1536", "filesize": "226539"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt0_full.tif", "width": "807", "height": "1536", "filesize": "235833"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt1_web.jpg", "width": "469", "height": "893", "filesize": "337277"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt1_print.jpg", "width": "807", "height": "1536", "filesize": "994989"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt1_full.tif", "width": "807", "height": "1536", "filesize": "3720068"}}, {"date_created": "2009-05-26T14:53:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt2_web.jpg", "width": "475", "height": "893", "filesize": "297282"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt2_print.jpg", "width": "1808", "height": "3400", "filesize": "4166725"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt2_full.tif", "width": "3354", "height": "6306", "filesize": "63483440"}}, {"date_created": "2009-05-26T15:45:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt3_web.jpg", "width": "690", "height": "893", "filesize": "439524"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt3_print.jpg", "width": "2439", "height": "3156", "filesize": "5667394"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt3_full.tif", "width": "2439", "height": "3156", "filesize": "23125480"}}, {"date_created": "2009-05-26T16:37:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt4_web.jpg", "width": "1156", "height": "893", "filesize": "727276"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt4_print.jpg", "width": "3400", "height": "2627", "filesize": "6026156"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.177/1980.177_alt4_full.tif", "width": "4872", "height": "3765", "filesize": "55063496"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149943, "creators": [{"id": 6169, "description": "Watanabe Kazan (Japanese, 1793\u20131841)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6e21\u8fba\u5d0b\u5c71", "birth_year": "1793", "death_year": "1841", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-11-13T00:00:00", "sortable_date": 1827, "date_added_to_oa": null, "date_text": "1827", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of Ozora Buzaemon"], "is_highlight": true, "updated_at": "2026-03-27 00:08:15.012000"}, {"id": 143822, "accession_number": "1968.242.c", "share_license_status": "CC0", "tombstone": "Stand for Covered Tureen, 1812. Paul Storr (British, 1771\u20131844). Silver; overall: 50.8 cm (20 in.). The Cleveland Museum of Art, Gift of Thomas F. Grasselli in memory of Thomas S. and Emilie S. Grasselli, 1968.242.c", "current_location": "203A British Painting and Decorative Arts", "title": "Stand for Covered Tureen", "creation_date": "1812", "creation_date_earliest": 1812, "creation_date_latest": 1812, "artists_tags": ["male"], "culture": ["England, London, 19th century"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 50.8 cm (20 in.)", "dimensions": {"overall": {"width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}], "legacy": []}, "provenance": [{"description": "Thomas F. Grasselli [1907-1970] Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1968", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is a stand for a tureen. See cover record.", "description": "Silver fulfilled a prominent role in projecting wealth, status, power, and ritual in British life during the 1600s and 1700s. Elaborate forms such as this tureen stand, with its acanthus leaves and fluted detailing, not only represented wealth in its sheer silver weight but also provided royal and aristocratic owners a surface for displaying engraved coats of arms. 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Grasselli in memory of Thomas S. and Emilie S. Grasselli", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143822, "creators": [{"id": 8523, "description": "Paul Storr (British, 1771\u20131844)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1771", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1812, "date_added_to_oa": null, "date_text": "1812", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1968.242", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:54.961000"}, {"id": 149950, "accession_number": "1980.183", "share_license_status": "CC0", "tombstone": "Ewer (aigui\u00e8re), c. 1817. Jean Baptiste Claude Odiot (French). Silver gilt; overall: 24.6 x 11.6 x 9.9 cm (9 11/16 x 4 9/16 x 3 7/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1980.183", "current_location": "202 French Neoclassical Decorative Arts", "title": "Ewer (aigui\u00e8re)", "creation_date": "c. 1817", "creation_date_earliest": 1812, "creation_date_latest": 1822, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "silver gilt", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 24.6 x 11.6 x 9.9 cm (9 11/16 x 4 9/16 x 3 7/8 in.)", "dimensions": {"overall": {"height": 0.246, "width": 0.116, "depth": 0.099}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[Excise mark for medium-sized work, Paris, 1809-1819, on edge of base]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Two maker's marks of Jean-Baptiste-Claude Odiot after the Revolution, inside foot]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Official assay mark for first standard silver, Paris, 1809-1819, near exterior upper rim]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Applied coat of arms of the count Alfred de la Chapelle, Seigneur of Morton and Beaulieu, P\u00e9rigord \u201caccol\u00e9\u201d with an alternate version of de la Chapelle, exterior of foot]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "[Struck twice, interior foot]: \"ODIOT\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The coat of arms on the foot of this ewer belongs to the count Alfred de la Chapelle who owned this silver dinner service during the second half of the 19th century.", "description": "Jean-Baptiste-Claude Odiot\u2019s reputation stretched internationally. Commissioned by Russian count Nikolei Demidoff, this ewer was one part of an extensive silver dinner service. 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"web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.183/1980.183_alt15_web.jpg", "width": "1263", "height": "675", "filesize": "606237"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.183/1980.183_alt15_print.jpg", "width": "3400", "height": "1817", "filesize": "3509453"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.183/1980.183_alt15_full.tif", "width": "3607", "height": "1928", "filesize": "20887340"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149950, "creators": [{"id": 13615, "description": "Jean Baptiste Claude Odiot (French)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1812, "date_added_to_oa": null, "date_text": "c. 1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 16:32:38.381000"}, {"id": 155652, "accession_number": "1990.91", "share_license_status": "CC0", "tombstone": "Armchair, c. 1891\u201393. Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Primavera with inlays of brass and various woods; overall: 82.9 x 63.2 x 64.3 cm (32 5/8 x 24 7/8 x 25 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1990.91", "current_location": "208 American Gilded Age and Realism", "title": "Armchair", "creation_date": "c. 1891\u201393", "creation_date_earliest": 1891, "creation_date_latest": 1893, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Primavera with inlays of brass and various woods", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 82.9 x 63.2 x 64.3 cm (32 5/8 x 24 7/8 x 25 5/16 in.)", "dimensions": {"overall": {"height": 0.829, "width": 0.632, "depth": 0.643}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 358650, "title": "Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany", "description": "<i>Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 20, 2019-October 4, 2020).", "opening_date": "2019-10-20T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1990-", "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Embellished with elaborate carved flowers and inlaid wooden mosaics, this armchair repeats many of the motifs found in Tiffany\u2019s lamps.", "description": "Louis Comfort Tiffany began his artistic career as a painter, having studied with George Innes and Samuel Colman in America as well as with various artists in Paris. While he achieved some early success with his orientalist works, his interests were soon drawn to interior furnishings and design. He collaborated with other artisans to form Associated Artists in 1879 and began work on major commissions such as the Mark Twain House (1881) and the White House for President Chester Arthur (1882). He debuted designs for furniture at the 1893 Chicago world's fair, and this armchair is believed to have been among those pieces. Even after he achieved enormous success with his glass production, Tiffany continued to produce interior furnishings and design schemes for artistic interiors throughout the rest of his career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756723"], "internet_archive": ["https://archive.org/details/clevelandart-1990.91-armchair"]}, "citations": [{"citation": "Hawley, Henry. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 81", "url": "https://www.jstor.org/stable/25161319"}], "url": "https://clevelandart.org/art/1990.91", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.91/1990.91_web.jpg", "width": "705", "height": "893", "filesize": "240813", "filename": "1990.91_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.91/1990.91_print.jpg", "width": "2683", "height": "3400", "filesize": "957038", "filename": "1990.91_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.91/1990.91_full.tif", "width": "4992", "height": "6325", "filesize": "94756008", "filename": "1990.91_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 155652, "creators": [{"id": 7424, "description": "Louis Comfort Tiffany (American, 1848\u20131933)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1933", "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1990-12-18T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "c. 1891\u201393", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:56.447000"}, {"id": 160037, "accession_number": "1997.298", "share_license_status": "CC0", "tombstone": "Nautilus Reading Lamp, c. 1899\u20131902. Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Bronze, leaded glass; overall: 34.5 x 21.3 x 13.4 cm (13 9/16 x 8 3/8 x 5 1/4 in.). The Cleveland Museum of Art, Bequest of Virginia Hubbell, 1997.298", "current_location": "209 Tiffany", "title": "Nautilus Reading Lamp", "creation_date": "c. 1899\u20131902", "creation_date_earliest": 1899, "creation_date_latest": 1902, "artists_tags": ["gender unknown"], "culture": ["America, early 20th Century"], "technique": "bronze, leaded glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Overall: 34.5 x 21.3 x 13.4 cm (13 9/16 x 8 3/8 x 5 1/4 in.)", "dimensions": {"overall": {"height": 0.345, "width": 0.213, "depth": 0.134}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped on underside: Tiffany Studios/New York/25891/TDGCo", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 219076, "title": "Louis Comfort Tiffany: Artist for the Ages", "description": "<i>Louis Comfort Tiffany: Artist for the Ages</i>. Seattle Art Museum, Seattle, WA (October 13, 2005-January 4, 2006); The Toledo Museum of Art, Toledo, OH (February 2-April 30, 2006); The Dallas Museum of Art, Dallas, TX (May 30-September 3, 2006); Carnegie Museum of Art, Pittsburgh, PA (October 14, 2006-January 14, 2007).", "opening_date": "2005-10-13T00:00:00"}], "legacy": [{"description": "Seattle Museum of Art (10/13/2005 - 1/4/2006), Toledo Museum of Art (2/2/2006 - 4/30/2006), Dallas Museum of Art (5/30/2006 - 9/3/2006) and Carnegie Museum of Art (10/14/2006 - 1/14/2007): \"Louis Comfort Tiffany: Artis for the Ages\"", "opening_date": "2005-10-13T00:00:00"}]}, "provenance": [{"description": "Virginia Hubbell [1901-1997], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1997", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1997-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A lamp of this design was first featured in Siegfried Bing's 1899 display of Louis Comfort Tiffany's designs at the Grafton Galleries in London then in Tiffany's own stand at the 1900 Paris Exposition Universelle.", "description": "Benjamin Hubbell, the architect of the Cleveland Museum of Art, acquired this vase from Louis Comfort Tiffany, with whom he collaborated on various projects. The shape of the nautilus shell provides the perfect space to conceal a light bulb, the newest form of technology at the time. As a result, this lamp was a critical success and sold both in this original form and with the later alteration of a bronze mermaid for the stand and an actual nautilus shell for the shade.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980593"], "internet_archive": ["https://archive.org/details/clevelandart-1997.298-nautilus-reading-lam"]}, "citations": [{"citation": "Johnson, Marilynn. <em>Louis Comfort Tiffany: Artist for the Ages</em>. London, UK: Scala, 2005.", "page_number": "Reproduced: Pg. 120 (Cat. No. 21); Discussed: Pg. 120", "url": null}], "url": "https://clevelandart.org/art/1997.298", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.298/1997.298_web.jpg", "width": "656", "height": "893", "filesize": "274803", "filename": "1997.298_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.298/1997.298_print.jpg", "width": "2497", "height": "3400", "filesize": "4748729", "filename": "1997.298_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.298/1997.298_full.tif", "width": "3767", "height": "5129", "filesize": "58005300", "filename": "1997.298_full.tif"}}, "alternate_images": [{"date_created": "2008-02-11T19:15:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.298/1997.298_alt0_web.jpg", "width": "669", "height": "893", "filesize": "265354"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.298/1997.298_alt0_print.jpg", "width": "2549", "height": "3400", "filesize": "4061138"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.298/1997.298_alt0_full.tif", "width": "3840", "height": "5123", "filesize": "59059676"}}], "creditline": "Bequest of Virginia Hubbell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160037, "creators": [{"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "c. 1899\u20131902", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:44.679000"}, {"id": 168415, "accession_number": "2010.198", "share_license_status": "CC0", "tombstone": "Headrest, 1800s\u20131900s. Africa, Southern Africa, South Africa, Zulu-style carver. Wood; overall: 10.2 cm (4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.198", "current_location": "108B Southern African", "title": "Headrest", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Zulu-style carver", "Africa, Southern Africa, South Africa, Kingdom of Eswatini, Swazi-style carver"], "technique": "Wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Furniture and woodwork", "measurements": "Overall: 10.2 cm (4 in.)", "dimensions": {"overall": {"height": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 6", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Michael Rhodes, New York, NY", "citations": [], "footnotes": null, "date": "1992", "sortorder": null}, {"description": "Marc and Denyse Ginzberg, New York, NY", "citations": [], "footnotes": null, "date": "1992\u20132006", "sortorder": 2}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Headrests served to protect the elaborate coiffures highly fashionable until the early to mid-20th century and also enhanced contact with the ancestral realm through dreams.", "description": "The shape of this four-legged headrest alludes to cattle, whether bull, ox, or cow. This reference services from the fact that these animals are a source of wealth but also act as mediators between the living and the dead. In earlier days, both headrests and cattle were used in dowry transactions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758108"], "internet_archive": ["https://archive.org/details/clevelandart-2010.198-headrest"]}, "citations": [{"citation": "Ginzberg, Marc. African Forms, exh. cat., Museum for African Art, New York. 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Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168415, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:30.907000"}, {"id": 168416, "accession_number": "2010.199", "share_license_status": "CC0", "tombstone": "Pipe, 1800s\u20131900s. Africa, Southern Africa, South Africa, Xhosa-style maker(s). Wood, copper, glass beads, sinew, leather, and thread; overall: 20.3 cm (8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.199", "current_location": "108B Southern African", "title": "Pipe", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Xhosa-style maker(s)"], "technique": "Wood, copper, glass beads, sinew, leather, and thread", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 20.3 cm (8 in.)", "dimensions": {"overall": {"width": 0.203}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life: Portable Objects from Southeast Africa\" cat. no. 10", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Finch & Co., London", "citations": [], "footnotes": [], "date": "2004", "sortorder": null}, {"description": "(Jacaranda Tribal, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The basic form of pipes like this one derives from examples made from clay, which the Dutch introduced at the end of the 1500s.", "description": "Mothers often used long-stemmed pipes like this because they helped direct smoke away from the babies they carried on their backs. Carved by men, pipes were used by both men and women. A female maker added beaded fringe using a color scheme typical of Xhosa beadwork. The miniature apron suspended from the fringe suggests a woman\u2019s garment, and thus ownership of this pipe. Social and leisure practices, smoking and snuffing tobacco were also associated with the ancestors and with ideas of fertility and procreation. Inherited between individuals and families, pipes have connected clans and generations and thus linked the worldly present with the ancestral past.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757219"], "internet_archive": ["https://archive.org/details/clevelandart-2010.199-pipe"]}, "citations": [{"citation": "Pemberton, John, and Smith College Museum of Art. <em>African Beaded Art: Power and Adornment</em>. Northampton, MA, Smith College Museum of Art, 2008", "page_number": "cat. 114", "url": "https://ingallslibrary.on.worldcat.org/oclc/191867911"}], "url": "https://clevelandart.org/art/2010.199", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.199/2010.199_web.jpg", "width": "1173", "height": "893", "filesize": "443179", "filename": "2010.199_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.199/2010.199_print.jpg", "width": "3400", "height": "2589", "filesize": "4679000", "filename": "2010.199_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.199/2010.199_full.tif", "width": "5467", "height": "4164", "filesize": "68319860", "filename": "2010.199_full.tif"}}, "alternate_images": [{"date_created": "2010-08-26T17:31:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.199/2010.199_alt0_web.jpg", "width": "1039", "height": "893", "filesize": "419617"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.199/2010.199_alt0_print.jpg", "width": "3400", "height": "2921", "filesize": "5447572"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.199/2010.199_alt0_full.tif", "width": "5355", "height": "4601", "filesize": "73941700"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168416, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:10.475000"}, {"id": 168421, "accession_number": "2010.200", "share_license_status": "CC0", "tombstone": "Snuff Container, 1800s\u20131900s. Africa, Southern Africa, South Africa, Zimbabwe or Mozambique, Northern Nguni-style or Shona-style maker. Gourd and copper alloy; overall: 7.5 cm (2 15/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.200", "current_location": "108B Southern African", "title": "Snuff Container", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Zimbabwe or Mozambique, Northern Nguni-style or Shona-style maker"], "technique": "Gourd and copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Overall: 7.5 cm (2 15/16 in.)", "dimensions": {"overall": {"height": 0.075}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 17", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Marc and Denyse Ginzberg, New York, NY", "citations": [], "footnotes": null, "date": "1981\u20132007", "sortorder": null}, {"description": "(Sotheby's, Paris, France, Sept. 10, 2007, lot 96)", "citations": [], "footnotes": null, "date": "2007", "sortorder": 2}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The snuff and tobacco held in this container were believed to enable communication between humans and ancestors.", "description": "The shape and material of gourd snuff containers\u2014like a woman\u2019s womb, the gourd contains and nurtures the seed\u2014suggest they were made for female users and allude to procreation and fecundity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779558"], "internet_archive": ["https://archive.org/details/clevelandart-2010.200-snuff-container"]}, "citations": [{"citation": "Klopper, Sandra. The Zulu Kingdom. New York: Rosen Publishing Group and Franklin Watts Library Edition (First Books on African Civilizations), 1998, cover; Ginzberg, Marc. African Forms, exh. cat., Museum for African Art, New York. Milan: Skira, 2000, p. 120; Sotheby's. \"Collection Marc et Denyse Ginzberg.\" Paris, Sept. 10, 2007, lot 96", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.200", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.200/2010.200_web.jpg", "width": "1090", "height": "893", "filesize": "494817", "filename": "2010.200_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.200/2010.200_print.jpg", "width": "3400", "height": "2785", "filesize": "5346141", "filename": "2010.200_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.200/2010.200_full.tif", "width": "4357", "height": "3569", "filesize": "46676428", "filename": "2010.200_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168421, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Snuff Gourd"], "is_highlight": false, "updated_at": "2026-03-27 00:10:13.642000"}, {"id": 168480, "accession_number": "2010.232", "share_license_status": "CC0", "tombstone": "Club (Knobkerrie), late 1800s or early 1900s. Southern Africa, South Africa, Northern Ngun-style or Zulu-style maker. Wood; overall: 66 cm (26 in.). The Cleveland Museum of Art, Gift of Dori and Daniel Rootenberg, Jacaranda Tribal, New York, 2010.232", "current_location": "108B Southern African", "title": "Club (Knobkerrie)", "creation_date": "late 1800s or early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Southern Africa, South Africa, Northern Ngun-style or Zulu-style maker"], "technique": "Wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Arms and Armor", "measurements": "Overall: 66 cm (26 in.)", "dimensions": {"overall": {"height": 0.66}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 44", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Merton Simpson, New York, NY", "citations": [], "footnotes": null, "date": "1992", "sortorder": null}, {"description": "Marc and Denyse Ginzberg, New York, NY", "citations": [], "footnotes": null, "date": "1992\u20132005", "sortorder": 2}, {"description": "Dori and Daniel Rootenberg, Jacaranda Tribal, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The term <em>knobkerrie</em> refers to a characteristic spherical knob of wood or head atop a cylindrical shaft.", "description": "Relatively short sticks historically used for hunting and fighting are customarily called knobkerries. A combination of Afrikaans and Shona words, the name refers to the characteristic spherical knob of wood (knop) or head atop a cylindrical shaft (<em>kirri</em>). The knobs on these were carved into a tight whorl and a compressed sphere with a central rib. Even though their basic shapes were derived from real weapons, many of these precious objects were rarely if ever used as such. Highly personal, they instead functioned as ceremonial display items or regalia, symbolizing the masculinity and prowess of their owner.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778413"], "internet_archive": ["https://archive.org/details/clevelandart-2010.232-club-knobkerrie"]}, "citations": [{"citation": "Ginzberg, Marc, and Lynton Gardiner. 2000. <em>African Forms</em>. 1st ed. Milano, Italy, New York: Skira ; Distributed in North America and Latin America by Abbeville Pub. Group, p. 203.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.232", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.232/2010.232_web.jpg", "width": "566", "height": "893", "filesize": "127637", "filename": "2010.232_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.232/2010.232_print.jpg", "width": "2156", "height": "3400", "filesize": "3014983", "filename": "2010.232_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.232/2010.232_full.tif", "width": "3782", "height": "5964", "filesize": "67693440", "filename": "2010.232_full.tif"}}, "alternate_images": [{"date_created": "2010-08-20T19:44:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.232/2010.232_alt0_web.jpg", "width": "539", "height": "893", "filesize": "127377"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.232/2010.232_alt0_print.jpg", 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"https://openaccess-cdn.clevelandart.org/alternate/2010.232/2010.232_alt6_web.jpg", "width": "668", "height": "893", "filesize": "189234"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.232/2010.232_alt6_print.jpg", "width": "2545", "height": "3400", "filesize": "4052780"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.232/2010.232_alt6_full.tif", "width": "4992", "height": "6668", "filesize": "99884708"}}], "creditline": "Gift of Dori and Daniel Rootenberg, Jacaranda Tribal, New York", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168480, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s or early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:05.198000"}, {"id": 300665, "accession_number": "2017.208", "share_license_status": "CC0", "tombstone": "Vase, 1889. Walter Crane (British, 1845\u20131915), Maw & Co. (British (modern), 1850\u20131969). Earthenware; 22.4 x 22.7 cm (8 13/16 x 8 15/16 in.). The Cleveland Museum of Art, Gift of Katharine Lee Reid, 2017.208", "current_location": "221 19th Century Decorative Arts", "title": "Vase", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male", "gender unknown"], "culture": ["Britain"], "technique": "Earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "22.4 x 22.7 cm (8 13/16 x 8 15/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.224, "width": 0.227}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 299473, "title": "William Morris: Designing an Earthly Paradise", "description": "<i>William Morris: Designing an Earthly Paradise</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24, 2017-January 14, 2019).", "opening_date": "2017-10-24T04:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art (10/29/2017-1/13/2019): \"William Morris: Designing an Earthly Paradise\"", "opening_date": "2017-10-29T00:00:00"}]}, "provenance": [{"description": "Katherin Lee Reid, Chapel Hill, NC, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2017", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2017\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The red glaze on this vase resembles the color of oxblood.", "description": "Walter Crane was one of the leading figures of the British Arts and Crafts movement. His work helped establish a renewed interest in Renaissance ceramics and the importance of illustration in decorative ceramics. He collaborated with several major manufacturers of decorative furnishings including Maw &amp; Co., an important manufacturer of aesthetic period tiles and other decorative ceramics. This vase is one of a series of vases that Crane designed for Maw around 1889 when they first appear listed in the catalogue of the Arts and Crafts Exhibition Society in London of that year, described along with a series of tiles that Crane also designed for Maw. Its brilliant ruby-red luster surface is a hallmark of Maw\u2019s work featuring Crane\u2019s lyrical designs while referencing earlier 15th- and 16th-century Spanish lusterware.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781263"], "internet_archive": ["https://archive.org/details/clevelandart-2017.208-vase"]}, "citations": [{"citation": "Hepburn, Victoria. \"The Kelmscott Press.\" IN <em>William Morris: Designing an Earthly Paradise.</em> Cory Korkow and Victoria Hepburn, 24-39. Cleveland, Ohio : Cleveland Museum of Art, 2017", "page_number": "Reproduced and mentioned: p. 33, fig. 30.", "url": null}], "url": "https://clevelandart.org/art/2017.208", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2017.208/2017.208_web.jpg", "width": "869", "height": "900", "filesize": "180418", "filename": "2017.208_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2017.208/2017.208_print.jpg", "width": "3283", "height": "3400", "filesize": "1691834", "filename": "2017.208_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2017.208/2017.208_full.tif", "width": "5912", "height": "6123", "filesize": "108628268", "filename": "2017.208_full.tif"}}, "alternate_images": [{"date_created": "2017-09-25T14:26:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt0_web.jpg", "width": "888", "height": "900", "filesize": "178814"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt0_print.jpg", "width": "3353", "height": "3400", "filesize": "1642128"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt0_full.tif", "width": "5910", "height": "5993", "filesize": "106286588"}}, {"date_created": "2017-09-25T13:48:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt1_web.jpg", "width": "900", "height": "888", "filesize": "187571"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt1_print.jpg", "width": "3400", "height": "3354", "filesize": "1697872"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt1_full.tif", "width": "5907", "height": "5827", "filesize": "103291176"}}, {"date_created": "2017-09-26T08:28:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt2_web.jpg", "width": "675", "height": "900", "filesize": "224878"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "1946697"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144032964"}}, {"date_created": "2017-09-26T08:52:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt3_web.jpg", "width": "780", "height": "900", "filesize": "252501"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt3_print.jpg", "width": "2948", "height": "3400", "filesize": "2217865"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2017.208/2017.208_alt3_full.tif", "width": "5797", "height": "6686", "filesize": "116310084"}}], "creditline": "Gift of Katharine Lee Reid", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 300665, "creators": [{"id": 50825, "description": "Walter Crane (British, 1845\u20131915)", "extent": null, "qualifier": null, "role": null, "biography": "Walter Crane was a prolific designer and painter, but he is best known as a muralist and a children\u2019s book illustrator. Examples of his mural designs can be seen in downtown Cleveland inside the former Society for Savings, now KeyBank. While his incorporation of classical elements diverges from the assertive medievalism of Morris, both men found inspiration in the English garden. As passionate Socialists, they shared a fear of industrialized Britain and endeavored to bring art to all classes", "name_in_original_language": null, "birth_year": "1845", "death_year": "1915", "use_in_caption": true, "include_extent": false, "weight": 0}, {"id": 300663, "description": "Maw & Co. (British (modern), 1850\u20131969)", "extent": null, "qualifier": null, "role": null, "biography": "English tile manufacturer, 1850-1969", "name_in_original_language": null, "birth_year": "1850", "death_year": "1969", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2017-12-04T00:00:00-05:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:45.740000"}, {"id": 119922, "accession_number": "1940.723", "share_license_status": "CC0", "tombstone": "The Golden Age: Alarums and Excursions, 1899. Maxfield Parrish (American, 1870\u20131966). Brush and black and gray wash, with white gouache, over graphite, framing lines in pen and black ink; image: 27.9 x 17.7 cm (11 x 6 15/16 in.); sheet: 37.5 x 24.8 cm (14 3/4 x 9 3/4 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.723", "current_location": null, "title": "Alarums and Excursions", "series": "The Golden Age", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["America"], "technique": "brush and black and gray wash, with white gouache, over graphite, framing lines in pen and black ink", "support_materials": [{"description": "beige wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Image: 27.9 x 17.7 cm (11 x 6 15/16 in.); Sheet: 37.5 x 24.8 cm (14 3/4 x 9 3/4 in.)", "dimensions": {"sheet": {"height": 0.375, "width": 0.248}, "image": {"height": 0.279, "width": 0.177}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed in image, lower right, in black watercolor: M . P; lower left, by artist, across bottom margin, in graphite: \"Alarums and Excursions.\" . . . Once again were damsels rescued, dragons / disembowelled, and giants . . . etc.; verso, by artist, in top half: no. 225 [inside a box] / Maxfield Parrish. / \"The Oaks\" / Windsor: Vermont. / June of 1899.; on fragment of old mount, now removed, in brown ink: Original pen + ink drawing by Maxfield Parrish. / Being one of the illustrations of \"The Golden Age\" / by Kenneth Grahame (John Lane Co. 1899); on fragment of old mount, now removed: B[ought?] of Frd'k Keppel Co. / 1899-$50-\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355403, "title": "Maxfield Parrish, Master of Make-Believe", "description": "<i>Maxfield Parrish, Master of Make-Believe</i>. Brandywine Museum of Art (organizer) (May 31-September 2, 1974).", "opening_date": "1974-05-31T04:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}, {"id": 212979, "title": "Maxfield Parrish:  1870-1966", "description": "<i>Maxfield Parrish:  1870-1966</i>. Pennsylvania Academy of Fine Arts, Museum of American Art (June 19-September 26, 1999).", "opening_date": "1999-06-19T00:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 543573, "title": "Fairy Tales and Fables: Illustration and Storytelling in Art", "description": "<i>Fairy Tales and Fables: Illustration and Storytelling in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-September 8, 2024).", "opening_date": "2024-05-04T04:00:00"}], "legacy": [{"description": "Exhibition of Maxfield Parrish\u2019s drawings for book commissions, including <em>The Golden Age</em>, held at Keppel Gallery, New York, NY (1899).", "opening_date": null}]}, "provenance": [{"description": "(Frederick Keppel & Co., New York, NY.)", "citations": [], "footnotes": null, "date": "1899-?", "sortorder": null}, {"description": "James C. [1855-1931] and Alice W. [1862-1940] Parmelee, Cleveland, OH, bequest to The Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "?-1940", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": null, "date": "1940-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Parrish employs a technique called <em>sgraffito </em>(\u201cto scratch\u201d) on the serpent\u2019s tongue, producing its mottled texture by scraping away the upper layer of paper.", "description": "<em>Alarums and Excursions</em> is one of nineteen illustrations the young Maxfield Parrish created for Kenneth Grahame\u2019s <em>The Golden Age, </em>a children\u2019s book published in 1899. In the chapter <em>Alarums </em>accompanies, the narrator persuades a friend to join him in a make-believe of Arthurian legends. Parrish depicted one of the boys in the midst of their playful fantasy, as he prepares to strike an enormous, coiled serpent. Parrish rendered the scene in crisp detail, using flat, delicate washes of monochrome ink, strong linear contours, and scintillating pricks of white gouache on the boy\u2019s chainmail. Parrish\u2019s designs found mainstream success in a variety of print media, making him one of the best-known illustrators of the 20th century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80015229"], "internet_archive": ["https://archive.org/details/clevelandart-1940.723-alarums-and-excursio"]}, "citations": [{"citation": "Grahame, Kenneth. <em>The Golden Age</em>. John Lane Co.: London &amp; New York [printed], 1899.", "page_number": "Reproduced: opp. p. 42 and in 1904 edition.", "url": null}, {"citation": "Ludwig, Coy L.. \u201cFrom Parlor Print to Museum: The Art of Maxfield Parrish.\u201d <em>Art Journal </em>25, no. 2 (Winter 1965-1966): 143-146.", "page_number": "Mentioned and Reproduced: p. 143-144, fig 2.", "url": null}, {"citation": "Ludwig, Coy L., Diane Casella Hines, Robert Fillie, and James Craig. <em>Maxfield Parrish</em>. New York, NY: Watson-Guptill Publications, 1973.", "page_number": "Mentioned: pp. 28-29, 206; Reproduced: p. 32, fig. 20.", "url": null}, {"citation": "Brandywine River Museum, and Maxfield Parrish. <em>Maxfield Parrish, Master of Make-Believe: An Exhibition, June 1 Through September 2, 1974</em>. 1974.", "page_number": "Reproduced: pp. 40-41, no. 105", "url": null}, {"citation": "Bharucha, Fershid and Rosalie Gomes. <em>Black &amp; White: Being the Early Illustrations of Maxfield Parrish</em>. New York, NY: Thumbtack Books, 1982.", "page_number": "Reproduced: p. 85", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, Ohio: The Museum, 1991.", "page_number": "Reproduced: p. 138", "url": null}, {"citation": "Yount, Sylvia, Mark Bockrath, Serena Rattazzi, Daniel Rosenfeld, and Maxfield Parrish. <em>Maxfield Parrish, 1870-1966</em>. New York: Harry N. Abrams in association with the Pennsylvania Academy of the Fine Arts, 1999.", "page_number": "Mentioned: p. 54, Reproduced: p. 56", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 92, p. 5, pp. 220-221; p. 296", "url": null}, {"citation": "Dowd, Douglas Bevan, and Stephanie Haboush Plunkett. <em>Stick Figures: Drawing As a Human Practice.</em> St. Louis, Missouri: Spartan Holiday Books, 2018.", "page_number": "Reproduced: P. 140' fig. 77", "url": ""}, {"citation": "Montan\u0303\u00e9s-lleras, Susana. \u201cFairy Tales and Fables: The transformation of illustration in the long 19th century.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 64, no. 1 (2024): 10-11.", "page_number": "Reproduced and Mentioned: P. 11", "url": "https://archive.org/details/CMAMM-2024-01/page/10/mode/2up"}, {"citation": "Montan\u0303\u00e9s-lleras, Susana. \u201cOf Technology and Fantasy: fairy tales, fables, and the transformation of illustration in the long 19th century.\u201d <em>Gramarye : The Journal of the Sussex Centre for Folklore, Fairy Tales and Fantasy</em> 28 (Winter 2025): 51-65.", "page_number": "Reproduced p. 57, fig. 6, Mentioned: p. 60.", "url": ""}], "url": "https://clevelandart.org/art/1940.723", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.723/1940.723_web.jpg", "width": "596", "height": "893", "filesize": "389936", "filename": "1940.723_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.723/1940.723_print.jpg", "width": "2271", "height": "3400", "filesize": "5699827", "filename": "1940.723_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.723/1940.723_full.tif", "width": "4027", "height": "6030", "filesize": "72881808", "filename": "1940.723_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.723/1940.723_alt0_web.jpg", "width": "572", "height": "893", "filesize": "437468"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.723/1940.723_alt0_print.jpg", "width": "1312", "height": "2048", "filesize": "2315679"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.723/1940.723_alt0_full.tif", "width": "1312", "height": "2048", "filesize": "8063844"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119922, "creators": [{"id": 4097, "description": "Maxfield Parrish (American, 1870\u20131966)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1966", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:22.544000"}, {"id": 170741, "accession_number": "2013.261", "share_license_status": "CC0", "tombstone": "Cordelia Parting from her Sisters, 1854. Ford Madox Brown (British, 1821\u20131893). Pen and oil on paper on panel; framed: 30.5 x 36.8 x 3.5 cm (12 x 14 1/2 x 1 3/8 in.); unframed: 19.5 x 26.5 cm (7 11/16 x 10 7/16 in.). The Cleveland Museum of Art, Gift in memory of Helen Borowitz, 2013.261", "current_location": "203B British Painting and Decorative Arts", "title": "Cordelia Parting from her Sisters", "creation_date": "1854", "creation_date_earliest": 1854, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "pen and oil on paper on panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 30.5 x 36.8 x 3.5 cm (12 x 14 1/2 x 1 3/8 in.); Unframed: 19.5 x 26.5 cm (7 11/16 x 10 7/16 in.)", "dimensions": {"framed": {"height": 0.305, "width": 0.368, "depth": 0.035}, "unframed": {"height": 0.195, "width": 0.265}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}], "legacy": []}, "provenance": [{"description": "July/August 1854 - D.T. White (dealer), acquired for \u00a310", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "by February 1855 - B.G. Windus", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "July 19 1862 - Windus auction, Christie's, London (43), sold as Goneril and Regan", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "June 1873 - Tooth, London, auction, acquired by John Miller for \u00a316, who exchanged it with the artist for a portrait of himself (Miller)", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "1874 - Edward Bright, purchased from the artist for \u00a365", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "by 1897 - Thomas Reid Wilkinson, Manchester", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "November 11, 1960 - Christie's, London (lot 109), bought by J.S. Maas & Co. Ltd., \u00a322.2s.od", "citations": [], "footnotes": [], "date": null, "sortorder": 7}, {"description": "Charles Handley-Reid, London [?]", "citations": [], "footnotes": [], "date": null, "sortorder": 8}, {"description": "by 1973 - Robert Walker, Paris", "citations": [], "footnotes": [], "date": null, "sortorder": 9}, {"description": "J.S. Maas & Co., sold to private collection", "citations": [], "footnotes": [], "date": null, "sortorder": 10}, {"description": "Helen [1929-2012] and Albert Borowitz, Cleveland, Ohio, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1973-2013", "sortorder": 11}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1861, Ford Madox Brown became a founding member of William Morris\u2019s decorative arts company. Besides painting, he also designed stained glass and furniture.", "description": "Reimagining English history was one way that Victorian (1837\u20131901) artists rooted themselves during a period of tremendous social and political change and life-altering technological advances. Ford Madox Brown\u2019s expressive and vividly colored sketch for an unrealized project takes a story from Britain\u2019s most famous playwright, Shakespeare. The artist chooses the dramatic moment when King Lear\u2019s daughter Cordelia parts ways with her sisters.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60481092"], "internet_archive": ["https://archive.org/details/clevelandart-2013.261-cordelia-parting-fro"]}, "citations": [{"citation": "Borowitz, Helen O. \"King Lear in the Art of Ford Madox Brown.\" <em>Victorian Studies</em>, Vol 21, no. 3 (Spring, 1978). Indiana University Press, Bloomington, IN: 309-334.", "page_number": "Mentioned: p. 326-328; Reproduced: p. 327", "url": null}, {"citation": "Surtees, Virginia. <em>The Diary of Ford Madox Brown</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 1981.", "page_number": "Mentioned: p. 71, 80, 82, 123, 125, 131", "url": null}, {"citation": "Macleod, Dianne Sachko. <em>Art and the Victorian Middle Class: Money and the Making of Cultural Identity</em>. New York, NY: Cambridge University Press, 1996.", "page_number": "Mentioned and reproduced: p. 451-452", "url": null}, {"citation": "Bennett, Mary, and Ford Madox Brown. <em>Ford Madox Brown: A Catalogue Raisonne\u0301</em>. New Haven, CT: Yale University Press, 2010.", "page_number": "Reproduced: p. 178", "url": null}], "url": "https://clevelandart.org/art/2013.261", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.261/2013.261_web.jpg", "width": "900", "height": "654", "filesize": "177949", "filename": "2013.261_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.261/2013.261_print.jpg", "width": "3400", "height": "2469", "filesize": "1922220", "filename": "2013.261_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.261/2013.261_full.tif", "width": "7237", "height": "5256", "filesize": "114139340", "filename": "2013.261_full.tif"}}, "alternate_images": [{"date_created": "2013-04-30T19:10:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.261/2013.261_alt0_web.jpg", "width": "900", "height": "746", "filesize": "236481"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.261/2013.261_alt0_print.jpg", "width": "3400", "height": "2820", "filesize": "2811219"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.261/2013.261_alt0_full.tif", "width": "7234", "height": "6000", "filesize": "130241336"}}, {"date_created": "2013-05-01T14:57:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.261/2013.261_alt1_web.jpg", "width": "900", "height": "786", "filesize": "241989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.261/2013.261_alt1_print.jpg", "width": "3400", "height": "2970", "filesize": "2837821"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.261/2013.261_alt1_full.tif", "width": "5586", "height": "4880", "filesize": "81811968"}}], "creditline": "Gift in memory of Helen Borowitz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Ellen and Bruce Mavec Gallery", "athena_id": 170741, "creators": [{"id": 63368, "description": "Ford Madox Brown (British, 1821\u20131893)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1893", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1854, "date_added_to_oa": null, "date_text": "1854", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["King Lear"], "is_highlight": false, "updated_at": "2026-03-27 00:03:30.034000"}, {"id": 160859, "accession_number": "1999.15.1", "share_license_status": "CC0", "tombstone": "Cho Hyun-myeong from Punhyang Cho Family (\uc870\ud604\uba85 \ucd08\uc0c1 [\u8d99\u986f\u547d\u8096\u50cf]), 1800s. Korea, Joseon dynasty (1392\u20131910). Album painting, ink and color on silk; image: 35.6 x 27.3 cm (14 x 10 3/4 in.); mounted: 44.4 x 33.2 cm (17 1/2 x 13 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.15.1", "current_location": null, "title": "Cho Hyun-myeong from Punhyang Cho Family", "title_in_original_language": "\uc870\ud604\uba85 \ucd08\uc0c1 [\u8d99\u986f\u547d\u8096\u50cf]", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "album painting, ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Image: 35.6 x 27.3 cm (14 x 10 3/4 in.); Mounted: 44.4 x 33.2 cm (17 1/2 x 13 1/16 in.)", "dimensions": {"image": {"height": 0.356, "width": 0.273}, "mounted": {"height": 0.444, "width": 0.332}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art (June 12, 2013-January 28, 2014).", "opening_date": "2013-06-12T00:00:00"}]}, "provenance": [{"description": "(M. Richard Fish [1941\u20132018], Massachusetts sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131999", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1999\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These two men belonged to the Pungyang Cho Clan, one of the most important political power houses in 18th-century Korea.", "description": "These two portraits are of members of the Cho family, which originated from the area of Pungyang. Cho Jae-ho (1702-1762) on the left is the cousin of Cho Hyun-myeong on the right. Both were High State Councilors, called yeong-uijeong, and the Cho family ordered these two portraits as a family honor. Korean portraits were copied for sharing at each family Confucian ritual; similar portraits are still in the collection of the Cho family in Korea.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477716"], "internet_archive": ["https://archive.org/details/clevelandart-1999.15.1-cho-hyun-myeong-from"]}, "citations": [{"citation": "<em>Korea portraits from the collection of the National Museum </em>[\ud55c\uad6d\uc758\ucd08\uc0c1\ud654 : \uad6d\ub9bd\uc911\uc559\ubc15\ubb3c\uad00\uc18c\uc7a5\uc870\uc120\uc2dc\ub300\ucd08\uc0c1\ud654\ud2b9\ubcc4\uc804]. Seoul: National Museum of Korea, 1979.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Portrait Paintings in Korea </em>[\ud55c\uad6d\ucd08\uc0c1\ud654 \uc5f0\uad6c]. Seoul: Youlhwadang, 1983.", "page_number": null, "url": null}, {"citation": "Yi Tae-ho. \"Portrait of Joseon Period [\uc870\uc120\uc2dc\ub300\uc758 \ucd08\uc0c1\ud654].\" <em>Misulsa Yeongu: Journal of Art History</em>, vol. 12 (December, 1998): 207\u2013224.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE00195368"}, {"citation": "Kang, Kwan-sik and Tae-ho Yi. \"Image of Figure, Image of Mind: The Portrait of Gentleman in Joseon Period [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\uc758 \u5716\u50cf\uacfc \u5fc3\u50cf: \uc870\uc120 \uc911\ud6c4\uae30 \uc120\ube44 \ucd08\uc0c1\ud654\uc758 \u4fee\u5df1\u7684 \uc758\ubbf8\ub97c \ud1b5\ud574\uc11c \ubcf8 \u518d\u73fe\u7684 \u5716\u50cf\uc758 \u5be6\u5b58\u7684 \uc758\ubbf8\uc640 \uae30\ub2a5\uc5d0 \ub300\ud55c \uc131\ucc30].\" <em>Art History</em>, vol. 15 (August 2001): 7\u201355.", "page_number": null, "url": "http://www.dbpia.co.kr/Journal/ArticleDetail/NODE00758188"}, {"citation": "Kang, Kwan-sik. \"The Hair and Eye Ritual Assumption and Modelistio Theme for Portraits of the Joseon Dynasty [\ud138\uacfc \ub208: \uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\uc758 \u796d\u5100\u7684 \u547d\u984c\uc640 \u9020\u5f62\u7684 \u8ab2\u984c].\" <em>Korean Journal of Art History</em> (December 2005): 95\u2013129.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00999447"}, {"citation": "<em>Portraits of the Joseon Period</em> [\uc870\uc120 \uc2dc\ub300 \ucd08\uc0c1\ud654]. Seoul: National Museum of Korea, 2007.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Great Korean Portraits.</em> Seoul: Dolbegae Publishers, 2010.", "page_number": null, "url": null}, {"citation": "Kang, Kwan-sik. \"Five Codes for the Reading Portraits of Joseon [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\ub97c \uc77d\ub294 \ub2e4\uc12f \uac00\uc9c0 \ucf54\ub4dc].\" <em>Misulsahakbo: Reviews on the Art History</em>, no. 38 (June 2012): 135\u2013183.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE01889721"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Yi, Yon-suk. \"Formation of DaeChongChung of Poongyang Cho Family and Publication of Family Genealogy during the 18th and 19th Centuries [18\u223c19\uc138\uae30 \ud48d\uc591\uc870\uc528\uc758 \ub300\uc885\uc911 \ud615\uc131\uacfc \uc871\ubcf4\uac04\ud589].\" <em>Journal of Korean Classics,</em> vol. 43 (June, 2014): 335\u2013370.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE02437306"}], "url": "https://clevelandart.org/art/1999.15.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.15.1/1999.15.1_web.jpg", "width": "687", "height": "893", "filesize": "113484", "filename": "1999.15.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.15.1/1999.15.1_print.jpg", "width": "2616", "height": "3400", "filesize": "2127998", "filename": "1999.15.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.15.1/1999.15.1_full.tif", "width": "4646", "height": "6037", "filesize": "84166948", "filename": "1999.15.1_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160859, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1999.15", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Cho Chae-ho, Duke of Pung won (born im-o)", "Double Portrait; Cho Chae-ho, Duke of Pung won (born im-o) and Cho Hyun-myong, Duke of Pung won (born simmi)"], "is_highlight": false, "updated_at": "2026-04-08 11:09:03.337000"}, {"id": 150748, "accession_number": "1982.167", "share_license_status": "CC0", "tombstone": "The Spanish Steps, 1898\u201399. Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924). Color monotype; image: 29.7 x 19 cm (11 11/16 x 7 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1982.167", "current_location": null, "title": "The Spanish Steps", "creation_date": "1898\u201399", "creation_date_earliest": 1898, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["America"], "technique": "color monotype", "support_materials": [], "department": "Prints", "collection": "PR - Monotype", "type": "Monotype", "measurements": "Image: 29.7 x 19 cm (11 11/16 x 7 1/2 in.)", "dimensions": {"image": {"height": 0.297, "width": 0.19}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 224184, "title": "Prendergast in Italy", "description": "<i>Prendergast in Italy</i>. Museum of Fine Arts, Houston, Houston, TX (February 14-May 9, 2010).", "opening_date": "2009-07-18T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 203146, "title": "Monotypes: Painterly Prints", "description": "<i>Monotypes: Painterly Prints</i>. The Cleveland Museum of Art (organizer) (May 31-October 11, 2015).", "opening_date": "2015-05-31T00:00:00"}], "legacy": [{"description": "<em>Water Color Club Fourteenth Annual Exhibition. </em>Boston Water Color Club, Boston, MA (March 1-16, 1901)", "opening_date": "2016-03-01T00:00:00"}, {"description": "Davis &amp; Long Company, New York, 1979, no. 76, ill. (Exhibition catalogue by Cecily Langdale)", "opening_date": "1979-01-01T00:00:00"}, {"description": "The Art of Maurice Brazil Prendergast, Los Angeles County Museum of Art (February 21-April 22, 1991), The Phillips Collection, Washington, D.C. (May 18-August 25, 1991)", "opening_date": "1991-02-21T00:00:00"}, {"description": "<em>Centennial Exhibition of Maurice Prendergast, 1859-1924. </em>Museum of Fine Arts Boston, Boston, MA (1960\u201361).", "opening_date": "1924-01-01T00:00:00"}]}, "provenance": [{"description": "Leona E. Prasse [1896-1984], Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1982", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "November 16, 1982", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["137.1981"], "did_you_know": "Maurice Prendergast became influenced by Impressionism after studying for two years in Paris during the 1880s.", "description": "Executed during Prendergast's first trip to Italy, he selected a classic Roman tourist site, theatrical with its sweeping curves, and depicted three dozen red-robed Catholic seminarians flowing down the carefully delineated monumental staircase.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79933446"], "internet_archive": ["https://archive.org/details/clevelandart-1982.167-the-spanish-steps"]}, "citations": [{"citation": "Mathews, Nancy Mowll, Maurice Prendergast, and Elizabeth Kennedy. <em>Prendergast in Italy</em>. 2009.", "page_number": "fig. 41, p. 120 and p. 182", "url": null}, {"citation": "Lee, Sherman E. \"Year in Review for 1982.\" <em>The Bulletin of the Cleveland Museum of Art</em> 70, no. 1 (1983): 3-55.", "page_number": "p. 52, no. 52", "url": "www.jstor.org/stable/25159799"}, {"citation": "Rhys, Hedley Howell. Maurice Prendergast, 1859-1924. Cambridge: Harvard University Press, 1960.", "page_number": "no. 130", "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. 357", "url": ""}], "url": "https://clevelandart.org/art/1982.167", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.167/1982.167_web.jpg", "width": "584", "height": "900", "filesize": "228488", "filename": "1982.167_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.167/1982.167_print.jpg", "width": "2208", "height": "3400", "filesize": "3211823", "filename": "1982.167_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.167/1982.167_full.tif", "width": "7828", "height": "12053", "filesize": "283084700", "filename": "1982.167_full.tif"}}, "alternate_images": [{"date_created": "2005-03-24T16:34:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.167/1982.167_alt0_web.jpg", "width": "603", "height": "893", "filesize": "440588"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.167/1982.167_alt0_print.jpg", "width": "2297", "height": "3400", "filesize": "6315084"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.167/1982.167_alt0_full.tif", "width": "3727", "height": "5517", "filesize": "61707516"}}], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150748, "creators": [{"id": 3246, "description": "Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1924", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-11-16T00:00:00", "sortable_date": 1898, "date_added_to_oa": null, "date_text": "1898\u201399", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:34.465000"}, {"id": 108406, "accession_number": "1926.140.11", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: And Bound Him a Thousand Years, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 29.8 x 21 cm (11 3/4 x 8 1/4 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.11", "current_location": null, "title": "And Bound Him a Thousand Years", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 29.8 x 21 cm (11 3/4 x 8 1/4 in.)", "dimensions": {"image": {"height": 0.298, "width": 0.21}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: .....et le lia pour mille ans;", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.137"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723661"], "internet_archive": ["https://archive.org/details/clevelandart-1926.140.11-and-bound-him-a-thou"]}, "citations": [], "catalogue_raisonne": "Mellerio 182", "url": "https://clevelandart.org/art/1926.140.11", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.11/1926.140.11_web.jpg", "width": "612", "height": "893", "filesize": "348454", "filename": "1926.140.11_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.11/1926.140.11_print.jpg", "width": "2329", "height": "3400", "filesize": "5645342", "filename": "1926.140.11_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.11/1926.140.11_full.tif", "width": "2592", "height": "3784", "filesize": "29455912", "filename": "1926.140.11_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108406, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67505, "description": "Blanchard", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Haunted House: We Both Saw a Large Pale Light"], "is_highlight": false, "updated_at": "2026-03-27 00:07:27.425000"}, {"id": 108397, "accession_number": "1926.140.3", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: And His Name That Sat on Him Was Death, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 31 x 22.5 cm (12 3/16 x 8 7/8 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.3", "current_location": null, "title": "And His Name That Sat on Him Was Death", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 31 x 22.5 cm (12 3/16 x 8 7/8 in.)", "dimensions": {"image": {"height": 0.31, "width": 0.225}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "Initialed in stone at lower right: OR; printed at lower left, below image: ......et celui qui \u00e9tait mont\u00e9 dessus se nommait la Mort,", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.129"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723645"], "internet_archive": ["https://archive.org/details/clevelandart-1926.140.3-and-his-name-that-sa"]}, "citations": [], "catalogue_raisonne": "Mellerio 176", "url": "https://clevelandart.org/art/1926.140.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.3/1926.140.3_web.jpg", "width": "637", "height": "893", "filesize": "448728", "filename": "1926.140.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.3/1926.140.3_print.jpg", "width": "2427", "height": "3400", "filesize": "6893918", "filename": "1926.140.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.3/1926.140.3_full.tif", "width": "2718", "height": "3808", "filesize": "31083128", "filename": "1926.140.3_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108397, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67505, "description": "Blanchard", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Apocalypse of Saint John: And His Name That Sat on Him Was Death"], "is_highlight": false, "updated_at": "2026-03-27 00:06:36.716000"}, {"id": 109199, "accession_number": "1927.477.3", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): It Is the Devil, Bearing Beneath His Two Wings the Seven Deadly Sins, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 25.4 x 20 cm (10 x 7 7/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.3", "current_location": null, "title": "It Is the Devil, Bearing Beneath His Two Wings the Seven Deadly Sins", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 25.4 x 20 cm (10 x 7 7/8 in.)", "dimensions": {"image": {"height": 0.254, "width": 0.2}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. II / C'est le diable, portant sous ses deux ailes les sept p\u00e9ch\u00e9s capitaux.....", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.351"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723676"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.3-it-is-the-devil-bear"]}, "citations": [], "catalogue_raisonne": "Mellerio 85", "url": "https://clevelandart.org/art/1927.477.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.3/1927.477.3_web.jpg", "width": "707", "height": "893", "filesize": "492122", "filename": "1927.477.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.3/1927.477.3_print.jpg", "width": "2690", "height": "3400", "filesize": "6710577", "filename": "1927.477.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.3/1927.477.3_full.tif", "width": "3334", "height": "4214", "filesize": "42179560", "filename": "1927.477.3_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109199, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): It Is the Devil, Bearing Beneath His Two Wings the Seven Deadly Sins"], "is_highlight": false, "updated_at": "2026-03-27 00:07:28.345000"}, {"id": 109203, "accession_number": "1927.477.7", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): It Is a Skull Wreathed with Roses. It Dominates a Woman's Torso of Pearly Whiteness, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 29.6 x 21.3 cm (11 5/8 x 8 3/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.7", "current_location": null, "title": "It Is a Skull Wreathed with Roses. It Dominates a Woman's Torso of Pearly Whiteness", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 29.6 x 21.3 cm (11 5/8 x 8 3/8 in.)", "dimensions": {"image": {"height": 0.296, "width": 0.213}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. VI. / C'est une t\u00eate de mort, avec une couronne de roses. Elle domine un torse de femme d'une blancheur nacr\u00e9e.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.355"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723686"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.7-it-is-a-skull-wreath"]}, "citations": [], "catalogue_raisonne": "Mellerio 89", "url": "https://clevelandart.org/art/1927.477.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.7/1927.477.7_web.jpg", "width": "668", "height": "893", "filesize": "412750", "filename": "1927.477.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.7/1927.477.7_print.jpg", "width": "2544", "height": "3400", "filesize": "6141814", "filename": "1927.477.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.7/1927.477.7_full.tif", "width": "3804", "height": "5084", "filesize": "58048408", "filename": "1927.477.7_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109203, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): It Is a Skull Wreathed with Roses. It Dominates a Woman's Torso of Pearly Whiteness"], "is_highlight": false, "updated_at": "2026-03-26 23:59:42.354000"}, {"id": 135512, "accession_number": "1958.51", "share_license_status": "CC0", "tombstone": "Study for \"Bathers at Asni\u00e8res\", c. 1883\u201384. Georges Seurat (French, 1859\u20131891). Oil on wood panel; framed: 32 x 41 x 5 cm (12 5/8 x 16 1/8 x 1 15/16 in.); unframed: 15.7 x 24.9 cm (6 3/16 x 9 13/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.51", "current_location": null, "title": "Study for \"Bathers at Asni\u00e8res\"", "creation_date": "c. 1883\u201384", "creation_date_earliest": 1883, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 32 x 41 x 5 cm (12 5/8 x 16 1/8 x 1 15/16 in.); Unframed: 15.7 x 24.9 cm (6 3/16 x 9 13/16 in.)", "dimensions": {"framed": {"height": 0.32, "width": 0.41, "depth": 0.05}, "unframed": {"height": 0.157, "width": 0.249}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 213618, "title": "Seurat and \"The Bathers\"", "description": "<i>Seurat and \"The Bathers\"</i>. National Gallery, London (organizer) (July 2-September 28, 1997).", "opening_date": "1997-07-02T00:00:00"}, {"id": 216741, "title": "Seurat and the Making of \"La Grande Jatte\"", "description": "<i>Seurat and the Making of \"La Grande Jatte\"</i>. The Art Institute of Chicago, Chicago, IL (organizer) (June 16-September 19, 2004).", "opening_date": "2004-06-16T00:00:00"}, {"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"}], "legacy": [{"description": "This cannot be confirmed by the museum but it is very possible, as Leonard C. Hanna Jr. lent his paintings regularly to this institution, his alma mater).Yale University Art Gallery, New Haven, CT (May 1955).", "opening_date": "1955-05-01T00:00:00"}]}, "provenance": [{"description": "Estate of the artist, distributed to Th\u00e9o van Rysselberghe1", "citations": [], "footnotes": ["<div><!--block-->Upon Seurat\u2019s death in 1891, the artist's family appointed Paul Signac, F\u00e9lix F\u00e9n\u00e9on, and Maximilien Luce to inventory the contents of the his studio and to distribute works to his friends and colleagues. This painting was No. 80 in the posthumous inventory, dated May 3, 1891.</div>"], "date": "c. 1883/1884-1891", "sortorder": 1}, {"description": "Th\u00e9o van Rysselberghe [1862-1926], Saint-Clair, Var, France", "citations": [], "footnotes": ["<div><!--block-->Belgian Neo-Impressionist and friend of Seurat, Th\u00e9o van Rysselberghe received a number of works from Seurat\u2019s estate, among them, this painting. &nbsp;</div>"], "date": "1891-?", "sortorder": 2}, {"description": "Felix F\u00e9n\u00e9on [1861-1944], Paris, sold to Anson Conger Goodyear through de Hauke & Co", "citations": [], "footnotes": ["<div><!--block-->On August 4, 1929, F\u00e9n\u00e9on wrote to de Hauke, offering three works by Seurat, including the Cleveland picture, ultimately selling it, as indicated by the correspondence among F\u00e9n\u00e9on, de Hauke, and Goodyear in the Seligmann/de Hauke &amp; Co. records, to Goodyear in a sale brokered by de Hauke &amp; Co.&nbsp; De Hauke invoiced Goodyear for the Seurat study on October 22, 1929.&nbsp;</div>"], "date": "Until 1929", "sortorder": 3}, {"description": "Anson Conger Goodyear [1877-1964], Old Westbury, NY", "citations": [], "footnotes": [], "date": "1929-", "sortorder": 4}, {"description": "(Paul Rosenberg & Co., New York)", "citations": [], "footnotes": [], "date": "?", "sortorder": 5}, {"description": "Walter Bareiss [1919-2007], Greenwich, CT", "citations": [], "footnotes": [], "date": "?", "sortorder": 6}, {"description": "(Paul Rosenberg & Co., New York, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": null, "sortorder": 7}, {"description": "(Leonard C. Hanna, Jr. [1889-1957], Cleveland, OH, bequeathed to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1952-1958", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1958-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Seurat\u2019s approach to painting differed greatly from the Impressionist painters who worked outdoors in plein-air. In contrast, he worked in the studio preparing his compositions from drawings and preparatory studies.", "description": "This oil sketch is one of many preparatory studies Seurat made for his monumental painting Bathers at Asni\u00e8res (1883-84), depicting men leisurely bathing in the Seine near an industrial suburb of Paris. Seurat borrowed the brilliant colors of Impressionism to suggest outdoor light, but added structure by emphasizing basic geometric shapes and firm outlines. As a leader of the movement to reform Impressionism, his style became known as Neo-Impressionism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465161"], "internet_archive": ["https://archive.org/details/clevelandart-1958.51-study-for-bathers-at"]}, "citations": [{"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "de Hauke, Ce\u0301sar M. <em>Seurat et son \u0153uvre.</em> Paris: Gru\u0308nd, 1962.", "page_number": null, "url": null}, {"citation": "Anson Conger Goodyear, letter to de Hauke &amp; Co., Oct. 29, 1929. Jacques Seligmann &amp; Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution.  [Box 385, folder 23, page 39 \u2013 digitzed: <a href=\"http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530\">http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530</a>].", "page_number": null, "url": null}, {"citation": "F\u00e9lix F\u00e9n\u00e9on, letter to de Hauke &amp; Co., Aug. 4, 1929. Jacques Seligmann &amp; Co. records, 1904-1978, bulk 1913-1974, 9.1.3: Foreign Correspondence, 1925-1940, undated, Archives of American Art, Smithsonian Institution.  [Box 393, folder 24, page 16 \u2013 digitzed: http://www.aaa.si.edu/collections/container/viewer/F%C3%A9n%C3%A9on-Felix--293794].", "page_number": null, "url": null}, {"citation": "De Hauke &amp; Co., invoice to Anson Conger Goodyear, Oct. 22, 1929. Jacques Seligmann &amp; Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution.  [Box 385, folder 23, page 42 \u2013 digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530].", "page_number": null, "url": null}, {"citation": "de Hauke, Ce\u0301sar M. <em>Seurat et son \u0153uvre.</em> Paris: Gru\u0308nd, 1962.", "page_number": null, "url": null}, {"citation": "De Hauke &amp; Co., invoice to Anson Conger Goodyear, Oct. 22, 1929. Jacques Seligmann &amp; Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution.  [Box 385, folder 23, page 42 \u2013 digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530].", "page_number": null, "url": null}, {"citation": "Anson Conger Goodyear, letter to de Hauke &amp; Co., Oct. 29, 1929. Jacques Seligmann &amp; Co. records, 1904-1978, bulk 1913-1974, 9.1.2: Domestic Correspondence, 1926-1931, undated, Archives of American Art, Smithsonian Institution.  [Box 385, folder 23, page 39 \u2013 digitzed: http://www.aaa.si.edu/collections/container/viewer/Goodyear-A-Conger--293530].<ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise,Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "de Hauke, Ce\u0301sar M. <em>Seurat et son \u0153uvre.</em> Paris: Gru\u0308nd, 1962.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 35", "url": null}, {"citation": "<em>The Bulletin of The Cleveland Museum of Art LXVI,</em> no. 6 (June, 1959): 122.", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Dorra, Henri, Georges Wildenstein, John Rewald, and Fe\u0301lix Fe\u0301ne\u0301on. <em>Seurat</em>. Paris, France: Les Beaux-arts, 1959.", "page_number": null, "url": null}, {"citation": "Hauke, Ce\u0301sar M. de. <em>Seurat et son \u0153uvre</em>. Paris, France: Grund, 1961.", "page_number": null, "url": null}, {"citation": "Hauke, Ce\u0301sar M. de. <em>Seurat et son \u0153uvre</em>. Paris, France: Grund, 1961.", "page_number": "Reproduced: p. 198", "url": null}, {"citation": "Russell, John. <em>Seurat</em>. London, United Kingdom: Thames and Hudson, 1965.", "page_number": "Reproduced: fig. 123", "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. 180", "url": "https://archive.org/details/CMAHandbook1966/page/n204"}, {"citation": "Courthion, Pierre, and Norbert Guterman. <em>Georges Seurat</em>. New York, NY: H.N. Abrams, 1968.", "page_number": "Reproduced: p. 23", "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. 180", "url": "https://archive.org/details/CMAHandbook1969/page/n204"}, {"citation": "Minervino, Fiorella . <em>L'opera completa di Seurat</em>. Milano, Italy: Rizzoli, 1972.", "page_number": "Reproduced: p. 90", "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. 223", "url": "https://archive.org/details/CMAHandbook1978/page/n243"}, {"citation": "Monneret, Sophie. <em>L'impressionnisme et son e\u0301poque: dictionnaire international illustre\u0301</em>. Paris, France: Denoe\u0308l, 1978.", "page_number": "Reproduced: p. 242, vol. 2", "url": null}, {"citation": "Alexandrian, Sarane. <em>Seurat</em>. Norwalk, CT: Easton Press, 1983.", "page_number": "Reproduced: p. 22", "url": null}, {"citation": "Clark, T. J. <em>The Painting of Modern Life: Paris in the Art of Manet and His Followers</em>. New York, NY: Knopf, 1984.", "page_number": "Reproduced: p. 157-158. fig. 58", "url": null}, {"citation": "Rewald, John. <em>Seurat: A Biography</em>. New York, NY: Harry N. Abrams, 1990.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Herbert, Robert L., and Georges Seurat. <em>Georges Seurat, 1859-1891</em>. New York, NY: Metropolitan Museum of Art, 1991.", "page_number": null, "url": null}, {"citation": "Zimmermann, Michael F. <em>Seurat and the Art Theory of His Time</em>. Antwerp, Belgium: Fonds Mercator, 1991.", "page_number": "Reproduced: p. 158, fig. 296", "url": null}, {"citation": "Fohr, Robert. \"Une Baignade, Asnieres.\" <em>Dossier de l'Art</em> (April/May 1991): 10-15.", "page_number": "Reproduced: p. 14", "url": null}, {"citation": "Robinson, Fred Miller. <em>The Man in the Bowler Hat: His History and Iconography</em>. Chapel Hill, NC: University of North Carolina Press, 1993.", "page_number": "Reproduced: p. 35, fig. 7", "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. 221", "url": null}, {"citation": "Leighton, John, and Richard Thomson. <em>Seurat and the Bathers</em>. London, United Kingdom: National Gallery Publications, 1997.", "page_number": "Reproduced: p. 155; Mentioned: p. 58-60", "url": null}, {"citation": "Clark, T. J. <em>The Painting of Modern Life: Paris in the Art of Manet and His Followers</em>. Princeton, N.J.: Princeton University Press, 1999.", "page_number": "Reproduced: p. 157, no. 58", "url": null}, {"citation": "Prette, Maria Carla, and Alfonso De Giorgis. <em>Leggere l'arte: storia, linguaggi, epoche, stili</em>. Firenze, Italy: Giunti, 1999.", "page_number": "Reproduced: p. 126, no. 3", "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. 2, p. 589-592, no. 207", "url": null}], "url": "https://clevelandart.org/art/1958.51", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.51/1958.51_web.jpg", "width": "1263", "height": "796", "filesize": "883125", "filename": "1958.51_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.51/1958.51_print.jpg", "width": "3400", "height": "2144", "filesize": "6533451", "filename": "1958.51_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.51/1958.51_full.tif", "width": "5079", "height": "3203", "filesize": "48838064", "filename": "1958.51_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135512, "creators": [{"id": 1816, "description": "Georges Seurat (French, 1859\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Georges Seurat entered the \u00c9cole Municipale de Sculpture et de Dessin in Paris at the age of fifteen, where he studied with the sculptor Justin Lequien (1826-1882) and met Aman-Jean (q.v.). At the \u00c9cole des Beaux-Arts three years later he was taught by Henri Lehmann (1814-1882), a former pupil of Ingres (q.v.). He developed an interest in the color theory of Michel-Eug\u00e8ne Chevreul, who had postulated how the isolation and juxtaposition of colors can affect their perception. In the Louvre he studied the works of two master colorists, Rubens (1577-1640) and Delacroix (q.v.). Seurat attended the Fourth Impressionist Exhibit in 1879, and he later confessed to be particularly shocked by the works of Monet (q.v.) and Pissarro (q.v.). After spending a year in military service on the Breton coast, Seurat started experimenting with drawing, using cont\u00e9 crayon and heavily textured \"Ingres\" paper to build up his figures through a wide range of tones, avoiding contour outlines. He also probably read Ogden Rood's Th\u00e9orie Scientifique des Couleurs, which further investigated the perception of color and advocated the use of pure color in painting. Seurat additionally undertook to analyze the optical and emotional effects of various color combinations in his paintings, initiating studies for the Bathers at Asni\u00e8res (1883, National Gallery, London). This painting appeared at the 1884 Salon des Ind\u00e9pendants, where he met Paul Signac (1863-1935), who became an important spokesman for neo-impressionism. Seurat's next major painting, Sunday Afternoon on the Island of La Grande Jatte (1884-86, Art Institute of Chicago), established him as the leader of the neo-impressionists. He began spending his summers on the Normandy coast, where he often started his large canvases that he would finish in his Paris studio during the winter. He was protective of his position as leader of the neo-impressionists, causing arguments with Pissarro and Signac in the late 1880s. His interest in using pure color influenced the symbolists as well as later \"hard edge\" painters of the modern era.", "name_in_original_language": null, "birth_year": "1859", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1883, "date_added_to_oa": null, "date_text": "c. 1883\u201384", "collapse_artists": false, "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": ["Banks of the Seine at Suresnes"], "is_highlight": false, "updated_at": "2026-03-27 00:05:11.249000"}, {"id": 122935, "accession_number": "1943.189", "share_license_status": "CC0", "tombstone": "Centerpiece from the Nereid Service, c. 1900. Goldsmith's & Silversmith's Company (British). Silver; overall: 66.1 x 97.8 cm (26 x 38 1/2 in.); base: 79.5 x 97.8 cm (31 5/16 x 38 1/2 in.). The Cleveland Museum of Art, The Thomas S. Grasselli Memorial Collection, 1943.189", "current_location": null, "title": "Centerpiece from the Nereid Service", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1900, "artists_tags": ["gender unknown"], "culture": ["England, late 19th-early 20th century"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 66.1 x 97.8 cm (26 x 38 1/2 in.); Base: 79.5 x 97.8 cm (31 5/16 x 38 1/2 in.)", "dimensions": {"overall": {"height": 0.661, "width": 0.978}, "base": {"height": 0.795, "width": 0.978}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 704978, "title": "Three Centuries of English Silver", "description": "<i>Three Centuries of English Silver</i>. Los Angeles County Museum of Art, Los Angeles, CA (organizer) (September 29-November 12, 1950).", "opening_date": "1950-09-29T05:00:00"}, {"id": 445505, "title": "Paul Storr: Silver in American Collections", "description": "<i>Paul Storr: Silver in American Collections</i>. Indianapolis Museum of Art, Indianapolis, IN (organizer) (February 7-March 12, 1972); Dayton Art Institute, Dayton, OH (March 24-April 30, 1972).", "opening_date": "1972-02-07T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 223988, "title": "Edwardian Opulence", "description": "<i>Edwardian Opulence</i>. Yale Center for British Art, New Haven, CT (organizer) (February 28-June 2, 2013).", "opening_date": "2013-02-28T00:00:00"}], "legacy": [{"description": "Paris Exposition of 1900.", "opening_date": "1900-01-01T00:00:00"}, {"description": "<em>Three Centuries of English Silver. </em>Los Angeles County Museum of Art (September 29-November 12, 1950). Published in the Bulletin of the Art Division of the Los Angeles County Museum, Vol. 3, no. 3, Fall, 1950, no. 220.", "opening_date": "1950-09-29T00:00:00"}, {"description": "<em>Paul Storr Silver in American Collections</em>. Indianapolis Museum of Art, Indianapolis, IN (February 7-March 12, 1972); Dayton Art Institute, Dayton, OH (march 24-April 30, 1972).", "opening_date": "1972-02-07T00:00:00"}]}, "provenance": [{"description": "formerly in the collection of the Earl of Abercorn; Thomas S. Grasselli.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This centerpiece is actually the product of many hands since the Goldsmiths' and Silversmiths' Company operated as a cooperative of silversmiths who sold their work through the company.", "description": "Originally thought to have been made by the early 19th-century London silversmith Paul Storr because it had been marked with spurious Storr hallmarks, more recent scholarship has revealed that this service, representing the triumph of Great Britain on the high seas through the allegorical images of Grecian nymphs (nereids), was actually made to display at the 1900 world's fair in Paris. Such nationalistic fervor permeated design at the turn of the 20th century, especially in the years leading up to the First World War, when national pride was brought to its heels in Europe through a devastating conflict.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019480"], "internet_archive": ["https://archive.org/details/clevelandart-1943.189-centerpiece-from-the"]}, "citations": [{"citation": "Clark, Mark A. <em>Paul Storr Silver in American Collections</em>. 1972.", "page_number": "cat. no.25, p. 11", "url": null}, {"citation": "<em>The Magazine Antiques </em>44, no. 4 (October 1943).", "page_number": "mentioned P 188", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=STIDN&submit=Search&request=0161-9284"}, {"citation": "Marcus, Margaret Fairbanks, and Anson Howe Smith. <em>Period Flower Arrangement.</em> New York: M. Barrows, 1952.", "page_number": "mentioned & reproduced P 155", "url": null}, {"citation": "Penzer, N. M.<em> Paul Storr, the Last of the Goldsmiths</em>. London: Batsford, 1954.", "page_number": "reproduced P 130", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=2974640"}, {"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 & reproduced cat. no. 274", "url": "https://archive.org/details/CMAHandbook1958/page/n56"}, {"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 163", "url": "https://archive.org/details/CMAHandbook1966/page/n187"}, {"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 163", "url": "https://archive.org/details/CMAHandbook1969/page/n187"}, {"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 195", "url": "https://archive.org/details/CMAHandbook1978/page/n215"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino.<em> Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "mentioned & reproduced PP XIII & 29, cat. no. 110", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}, {"citation": "Trumble, Angus, and Andrea Wolk Rager. <em>Edwardian Opulence: British Art at the Dawn of the Twentieth Century.</em> New Haven: Yale Center for British Art, 2013.", "page_number": "mentioned & reproduced PP 329-30, cat. no. 73", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=811239062"}], "url": "https://clevelandart.org/art/1943.189", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.189/1943.189_web.jpg", "width": "1213", "height": "893", "filesize": "607868", "filename": "1943.189_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.189/1943.189_print.jpg", "width": "3400", "height": "2504", "filesize": "4632896", "filename": 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Grasselli Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122935, "creators": [{"id": 56994, "description": "Goldsmith's & Silversmith's Company (British)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:08.441000"}, {"id": 127953, "accession_number": "1950.582", "share_license_status": "CC0", "tombstone": "The Garden of the Rousseau Family, 1885. James Ensor (Belgian, 1860\u20131949). Oil on fabric; framed: 96.2 x 82.6 x 9.3 cm (37 7/8 x 32 1/2 x 3 11/16 in.); unframed: 75.5 x 61 cm (29 3/4 x 24 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1950.582", "current_location": null, "title": "The Garden of the Rousseau Family", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["Belgium, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 96.2 x 82.6 x 9.3 cm (37 7/8 x 32 1/2 x 3 11/16 in.); Unframed: 75.5 x 61 cm (29 3/4 x 24 in.)", "dimensions": {"framed": {"height": 0.962, "width": 0.826, "depth": 0.093}, "unframed": {"height": 0.755, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in blue lower left: ensor\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355724, "title": "Ways of Painting Landscapes", "description": "<i>Ways of Painting Landscapes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 13-May 6, 1953).", "opening_date": "1953-03-13T05:00:00"}, {"id": 218209, "title": "James Ensor Retrospective", "description": "<i>James Ensor Retrospective</i>. Mus\u00e9e d'Art Moderne, Mus\u00e9es Royaux des Beaux-Arts de Belgique, Brussels, Belgium (September 24, 1999-February 13, 2000).", "opening_date": "1999-09-24T00:00:00"}, {"id": 224290, "title": "Impressionist Gardens", "description": "<i>Impressionist Gardens</i>. National Galleries of Scotland (July 31-October 17, 2010); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (November 23, 2010-February 27, 2011).", "opening_date": "2010-07-31T00:00:00"}, {"id": 201332, "title": "Painting the Modern Garden: Monet to Matisse", "description": "<i>Painting the Modern Garden: Monet to Matisse</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 6, 2015-January 5, 2016).", "opening_date": "2015-10-06T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "<em>Modern Belgian Art in Private American Collections</em>. Van Diemen-Lillienfield Galleries, New York, NY (1950).", "opening_date": "1950-01-01T00:00:00"}]}, "provenance": [{"description": "James Ensor, sold to Ernst and/or Mariette Rousseau at the salon of Les XX (no. 11)", "citations": [], "footnotes": [], "date": "1885-1890", "sortorder": 1}, {"description": "Ernest [1831-1908] and/or Mariette [1850-1926] Rousseau, Brussels", "citations": [], "footnotes": ["<div><!--block-->This painting depicts the garden of Ernest and Mariette Rousseau at their second home in Watermael-Bosvoorde, outside of Brussels.&nbsp; Friends of Ensor, the Rousseau appear in many of the artist\u2019s works.&nbsp; The painting was first published in 1908, when Emile Verhaeren listed it as belonging to Ernest Rousseau, but it may very well have been painted for Mariette, a biologist whose father was a botanist.&nbsp;</div>"], "date": "1890-at least 1908", "sortorder": 2}, {"description": "Henry van de Velde [1863-1957], Wassenaar, the Netherlands", "citations": [], "footnotes": ["<div><!--block-->Henry van de Velde was a painter, architect, and part of the artists\u2019 group Les XX, of which Ensor was a founding member.&nbsp; Van de Velde participated in a number of exhibitions with Ensor.&nbsp;</div>"], "date": null, "sortorder": 3}, {"description": "(Galerie Giroux, Brussels, sale, February 10, 1930, lot 41)", "citations": [], "footnotes": ["<div><!--block-->Both the consignor and the buyer of the painting at this sale are unknown, although the former may be van de Velde.&nbsp;</div>"], "date": "1930", "sortorder": 4}, {"description": "(Sam Salz, New York, sold to Leonard C. Hanna, Jr.)", "citations": [], "footnotes": [], "date": "After 1930-1946", "sortorder": 5}, {"description": "Leonard C. Hanna Jr., Cleveland, OH, by gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1946-1950", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1950-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": ["428.46", "2482.48"], "did_you_know": "James Ensor painted in a wide variety of styles and techniques, his subjects varying from realistic landscapes like this one to fantastical imagined scenes from literature and theater. The sea in his hometown of Ostend, Belgium, was also a favorite subject.", "description": "This painting depicts the garden of the artist\u2019s close friends Ernest and Mariette Rousseau, with whom he often stayed at their home in Brussels, Belgium. He rendered this view of their garden in a technique of bold color applied with strong, broken brushstrokes. It is not known whether Ensor painted this work from life or memory, but the garden, empty of people, hints at feelings of social alienation, a dominant theme in his work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515786"], "internet_archive": ["https://archive.org/details/clevelandart-1950.582-the-garden-of-the-ro"]}, "citations": [{"citation": "Verhaeren, Emile. <em>James Ensor</em>. Bruxelles: G. Van Oest &amp; cie, 1908.", "page_number": null, "url": null}, {"citation": "Galerie Georges Giroux, and J.-F Elsander. <em>Bulletin Et Catalogue Des Expositions James Ensor, 7. Au 18. Jan. 1920</em>. Bruxelles.", "page_number": "Reproduced: no. 20", "url": null}, {"citation": "Le Roy, Gre\u0301goire. <em>James Ensor</em>. Bruxelles, Belgium : G. van Oest, 1922.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Haesaerts, Luc, and Paul Haesaerts. <em>Flandre; essai sur l'art flamand depuis 1880</em>. Paris, France: E\u0301ditions des Chroniques du jour, G. di San Lazzaro, e\u0301diteur, 1931.", "page_number": "Reproduced: p. 662", "url": null}, {"citation": "Van Diemen-Lilienfeld Galleries (New York, N.Y.). <em>Modern Belgian Art in Private American Collections: [Exhibit] at the Van Diemen-Lilienfeld Galleries, from May 13th to May 26th, 1950</em>. New York, NY: [publisher not identified], 1950.", "page_number": "Reproduced: no.11", "url": null}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d July, 1951, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0023"}, {"citation": "Tricot, Xavier. <em>James Ensor: Catalogue Raisonne\u0301 of the Paintings</em>. Antwerp, Belgium: Pandora Ortelius, 1992.", "page_number": null, "url": null}, {"citation": "Tricot, Xavier. <em>James Ensor: Catalogue Raisonn\u00e9 of the Paintings. </em>London: P. Wilson, 1992.", "page_number": null, "url": null}, {"citation": "Ollinger-Zinque, Gise\u0300le. <em>Ensor: Muse\u0301es Royaux Des Beaux-Arts De Belgique, </em>Brussels, Belgium. Wommelgem: Blonde\u0301 Artprinting International, 1999.", "page_number": "Reproduced: p. 134, no. 71", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 256-258, Vol. I, no. 93", "url": ""}, {"citation": "Tricot, Xavier. <em>James Ensor</em>. Ostfildern: Hatje Cantz, 2009.", "page_number": null, "url": null}, {"citation": "Willsdon, Clare A. P. <em>Impressionist Gardens</em>. Edinburgh, Scotland: National Galleries of Scotland, 2010.", "page_number": "Mentioned: p. 100-101; Reproduced: p. 163, fig. 66p.", "url": null}, {"citation": "Willsdon, Clare A. P. <em>Jardines impresionistas</em>. Madrid, Spain: Museo Thyssen-Bornemisza, 2010.", "page_number": "Reproduced: p. 162", "url": null}, {"citation": "Ensor, James. <em>James Ensor</em>. Lyon: Fage Editions, 2023.", "page_number": "Reproduced: p. 17", "url": ""}], "url": "https://clevelandart.org/art/1950.582", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.582/1950.582_web.jpg", "width": "725", "height": "900", "filesize": "459757", "filename": "1950.582_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.582/1950.582_print.jpg", "width": "2738", "height": "3400", "filesize": "6214178", "filename": "1950.582_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.582/1950.582_full.tif", "width": "9773", "height": "12138", "filesize": "355902764", "filename": "1950.582_full.tif"}}, "alternate_images": [{"date_created": "2007-07-09T20:06:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt0_web.jpg", "width": "721", "height": "893", "filesize": "613987"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt0_print.jpg", "width": "2746", "height": "3400", "filesize": "8488741"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt0_full.tif", "width": "4846", "height": "6000", "filesize": "87263136"}}, {"date_created": "2020-11-05T12:15:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt1_web.jpg", "width": "778", "height": "900", "filesize": "241996"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt1_print.jpg", "width": "2938", "height": "3400", "filesize": "2411029"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt1_full.tif", "width": "10113", "height": "11704", "filesize": "355114064"}}, {"date_created": "2020-11-05T12:20:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt2_web.jpg", "width": "766", "height": "900", "filesize": "282955"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt2_print.jpg", "width": "2893", "height": "3400", "filesize": "3509405"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt2_full.tif", "width": "10004", "height": "11756", "filesize": "352848208"}}, {"date_created": "2020-11-05T11:57:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt3_web.jpg", "width": "740", "height": "900", "filesize": "336660"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt3_print.jpg", "width": "2795", "height": "3400", "filesize": "3821678"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.582/1950.582_alt3_full.tif", "width": "10035", "height": "12206", "filesize": "367489444"}}], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127953, "creators": [{"id": 1773, "description": "James Ensor (Belgian, 1860\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": "The painter's father, James Frederic Ensor (1835-1887), studied engineering in England and Germany and married Maria Catherina Haegheman (1835-1915) in Ostend. He was a cultivated man who showed much support for the artistic aspirations of his son, though he never felt at home in Ostend and eventually became an alcoholic. Ensor's mother ran a shop where she sold souvenirs, chinoiseries, and masks, objects that would often appear in his work. Ensor was very close to his only sister, Maria Carolina Emma (called Mitche), whom he portrayed repeatedly. In 1876 he enrolled at the Ostend Academy and painted mainly seascapes. In 1877 he entered the Royal Academy of Fine Arts in Brussels, where Fernand Khnopff (1858-1921) was a fellow student. Two years later he was introduced to the Rousseau-Hannon family by Th\u00e9o Hannon (1851-1917), a painter, poet, and art critic. In 1880 Ensor returned to Ostend where he set up a studio in his parents' house, but he went frequently to Brussels in order to visit the Rousseaus. He started exhibiting regularly in 1881, though his work was often criticized or rejected. In 1882 Ensor became a member of the art society L'essor and one year later cofounded the avant-garde group Les XX (Les vingt). He was much dismayed by the dominance of French art in Belgium and in particular by the success of Seurat's (q.v.) pointillist style. The death of his father in 1887 meant that Ensor had to assume the role of head of the household, which aggravated his financial difficulties. In 1888 he started working on his masterpiece The Entry of Christ into Brussels in 1889 (J. Paul Getty Museum, Los Angeles). In this forceful manifesto against Belgian society, Ensor identified with Christ as a gravely misunderstood individual. That same year he met Augusta Boogaerts (1870-1951), whom he called \"La Sir\u00e8ne,\" and they became lifelong friends. His mother was vehemently opposed to their marriage, which therefore never happened, even after her death. In 1893 Les XX disbanded despite Ensor's objection, and La Libre Esth\u00e9tique replaced it as the avant-garde artistic organization. Ensor was not granted full membership, however, and in an act of despair he unsuccessfully tried to sell all his work for BF 8,500. In 1894 he exhibited with La Libre Esth\u00e9tique and founded the Cercle des Beaux-Arts d'Ostende. He became more appreciated around this time; he had his first solo show in Brussels in 1894, and a few months later the state bought The Lamp-lighter for the Mus\u00e9es Royaux de Beaux-Arts in Brussels. An exhibition in 1898 at La Plume in Paris, however, was a fiasco. With a few exceptions, his work after 1900 is now generally little valued, although official recognition came at that time. In 1903 he received the title of Knight in the Order of Leopold, and in 1929, the year of a major retrospective in Brussels, he was granted the title of baron. Besides working as a painter, draftsman, and printmaker, he also became involved with music and theater.", "name_in_original_language": null, "birth_year": "1860", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-12-28T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:23.955000"}, {"id": 155043, "accession_number": "1989.6", "share_license_status": "CC0", "tombstone": "Seven Jeweled Mountain (\uce60\ubcf4\uc0b0\ub3c4 (\u4e03\u5bf6\u5c71\u5716)), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel screen; ink and color on silk; overall: 185.2 x 42.9 cm (72 15/16 x 16 7/8 in.); each screen: 158.2 x 42.9 cm (62 5/16 x 16 7/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1989.6", "current_location": null, "title": "Seven Jeweled Mountain", "title_in_original_language": "\uce60\ubcf4\uc0b0\ub3c4 (\u4e03\u5bf6\u5c71\u5716)", "creation_date": "late 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "ten-panel screen; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 185.2 x 42.9 cm (72 15/16 x 16 7/8 in.); Each screen: 158.2 x 42.9 cm (62 5/16 x 16 7/8 in.)", "dimensions": {"overall": {"height": 1.784, "width": 4.398}, "each screen": {"height": 1.582, "width": 0.429}, "painting only": {"height": 1.547, "width": 4.334}, "overall framed": {"height": 1.858, "width": 4.472}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": null, "inscription_translation": "If you walk 12 miles southeast from Myeongcheon Prefecture along the ridge, you will reach Munam (Mun Rock). If you look to the east of Munam, you will see large mountains reaching the sky and surrounding all sides of the area. Among them is a rocky mountain whose color resembles a red sunset. Its several peaks rise high, look wild and extraordinary, and show all kinds of forms and figures. The most bizarre among them are Saam (Sa Rock), Chaekam (Chaekam Rock), Juam (Ju Rock), Cheonbulbong (Cheonbul Peak), Mansabong (Mansa Peak), and Hosangdae (Hosang Terrace). They recall flying birds, running beasts, or an assemblage of people and things. Their wonder cannot be compared to clouds that disperse and gather or a mirage that appears and disappears.\n\nGeumjangsa (Geumjang Temple) is 2.4 miles away from Munam, and 4.9 miles from Geumjangsa is Gaesimsa (Gaesim Temple). Behind Gaesimsa is a pavilion where you can catch a glimpse of the entire mountain. If you walk slightly east from Gaesimsa, you come to Manghaedae (Manghae Terrace). Passing Seokbong (Seok Peak) from Manghaedae, you will encounter Geumganggul (Geumgang Cave). Dosolam (Dolsol Hermitage) is 2.4 miles beyond Geumganggul. Dosolam is located below Saam on the terrain with high altitude. It has been said that Chilbosan was named so since seen mountains stood there side by side in ancient times. Now. there stands only one as it has been said that six of them sunk into the sea.\n\nAt present, fossilized seashells can be found on the highest point of this mountain, indicating that the rocks were once submerged in the sea. However, you never know when the six mountains will emerge from the sea or they will sink into the sea again. One strange thing about this mountain is that radishes grow wild here. These radishes serve as food for monks living on its slopes.", "inscription_remark": "Inscription in upper right corner", "sortorder": 1}, {"inscription": null, "inscription_translation": "The small inscriptions throughout the composition indicate the names given to the geographic features and many of the small temples and shrines found in the mountain range.", "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 232747, "title": "Exquisite and Precious: The Splendor of Korean Art", "description": "<i>Exquisite and Precious: The Splendor of Korean Art</i>. Leeum Museum of Art, Seoul, Korea (Republic of) (organizer) (July 2-September 13, 2015).", "opening_date": "2015-07-02T00:00:00"}, {"id": 315373, "title": "Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation", "description": "<i>Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 21-July 21, 2019).", "opening_date": "2019-01-23T05:00:00"}, {"id": 665426, "title": "Into the Seven Jeweled Mountain: An Immersive Experience", "description": "<i>Into the Seven Jeweled Mountain: An Immersive Experience</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15-September 29, 2024).", "opening_date": "2024-03-15T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 121)</em>. The Cleveland Museum of Art, Cleveland, OH (July 18-October 26, 2003).", "opening_date": "2003-07-18T04:00:00Z"}, {"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art, Cleveland, OH (April 26, 2013-January 27, 2014).", "opening_date": "2013-04-26T04:00:00Z"}]}, "provenance": [{"description": "(Sydney L. Moss, Ltd., London, England, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131989", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1989\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Featuring a spectacular panoramic view and topographical details, this ten-panel folding screen is an excellent 19th-century version of the Korean \u201ctrue-view\u201d landscape painting tradition.", "description": "With a bird\u2019s-eye view, this ten-panel folding screen portrays the famous Seven Jeweled Mountain \uce60\ubcf4\uc0b0 in North Korea. Ancient volcanic eruptions shaped the mountain\u2019s unique and awe-inspiring terrain such as phallic-shaped pillars (panel #5, from the right); a large flat-topped, steep-sided cliff (panels #7 and #8), and a rugged mountain composed of metamorphic and igneous rocks (panels #9 and #10). The tradition of landscape painting that details actual natural sites and captures their topographic features in Korea began in the 1700s and continued onward. <br><br>While such natural wonders were beloved as popular destinations for tourism and pilgrimage, after the Korean War (1950\u201353), these sites in North Korea are no longer accessible to the outside world. This folding screen detailing the mountain\u2019s distinctive topography feeds our imagination and longing for such an unattainable place.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476405"], "internet_archive": ["https://archive.org/details/clevelandart-1989.6-seven-jeweled-mounta"]}, "citations": [{"citation": "Cunningham, Michael R. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63\u2013147.", "page_number": "Reproduced: p. 134; Mentioned: p. 135", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Yi, Seongmi, \"Artistic Tradition and the Depiction of Reality: True-View Landscape Painting of the Chooso\u0306n Dynasty.\" <em>Arts of Korea.</em> New York: Metropolitan Museum of Art, 1998: 330\u2013468.", "page_number": null, "url": null}, {"citation": "<em>Our Land, Our True-View Landscape</em> [\uc6b0\ub9ac \ub545, \uc6b0\ub9ac\uc758 \uc9c4\uacbd]. Chuncheon: Chuncheon National Museum, 2002.", "page_number": null, "url": null}, {"citation": "Franklin, David and C. Griffith Mann. <em>Treasures from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2012.", "page_number": "Mentioned and Reproduced: pp. 210\u2013211", "url": ""}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and Reproduced: p. 254", "url": ""}, {"citation": "<em>Exquisite and Precious: the Splendor of Korean Art </em>[\uc138\ubc00\uac00\uadc0]. Seoul: Leeum, Samsung Museum of Art, 2015.", "page_number": "Reproduced: pp. 232\u2013233, pl. 123", "url": null}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "McCormick, Sooa. \"North of the Border: A preview of the Korean gallery's new display, coming in January.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>58, no. 6 (November/December 2018): 16\u201317.", "page_number": "Reproduced: p. 16; Mentioned: p. 17", "url": "https://archive.org/details/CMAMM2018-06/page/n7/mode/2up"}, {"citation": "McCormick, Sooa Im. \"Re-Reading Imagery of Tilling and Weaving in the Context of the Little Ice Age.\" In <em>Eco-Art History in East and Southeast Asia</em>, edited by De-nin D. Lee. Newcastle: Cambridge Scholars Publishing, 2019.", "page_number": "Reproduced: p. 25, fig. 1-8", "url": null}, {"citation": "<em>Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea</em> [\ud654\uac00\uc758\uc2dc\uc120: \uc870\uc120\uc2dc\ub300\uc2e4\uacbd\uc0b0\uc218\ud654]. Seoul: National Museum of Korea, 2019.", "page_number": null, "url": null}, {"citation": "McCormick, Sooa Im. \"The Past and Present of the Korean Collection in the Cleveland Museum of Art.\" In <em>The Korean Collection of the Cleveland Museum of Art</em>. Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8, and An Min-hu\u0306i, ed., 22\u201337. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 32\u201333, fig. 29", "url": ""}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 188\u201395, no. 117", "url": ""}, {"citation": "Eun-kyoung, Kim. \"Art History in the Digital Age: Current Status and Achievements of Digital Heritage Research.\" <em>Art History Research</em> 325 (March 2025): 109\u2013140.", "page_number": "Mentioned: p. 122; Reproduced: p. 121, fig. 6", "url": ""}], "url": "https://clevelandart.org/art/1989.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1989.6/1989.6_web.jpg", "width": "1263", "height": "521", "filesize": "530801", "filename": "1989.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1989.6/1989.6_print.jpg", "width": "3400", "height": "1403", "filesize": "4030979", "filename": "1989.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1989.6/1989.6_full.tif", "width": "16093", "height": "6642", "filesize": "320707452", "filename": "1989.6_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt0_web.jpg", "width": "1263", "height": "520", "filesize": "619887"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt0_print.jpg", "width": "3400", "height": "1401", "filesize": "4518175"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt0_full.tif", "width": "5000", "height": "2061", "filesize": "30931668"}}, {"date_created": "2011-02-18T18:43:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt1_web.jpg", "width": "463", "height": "893", "filesize": "318103"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt1_print.jpg", "width": "1762", "height": "3400", "filesize": "4726372"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt1_full.tif", "width": "3456", "height": "6668", "filesize": "69160872"}}, {"date_created": "2011-02-18T18:47:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt2_web.jpg", "width": "463", "height": "893", "filesize": "317786"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt2_print.jpg", "width": "1762", "height": "3400", "filesize": "4681747"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt2_full.tif", "width": "3456", "height": "6668", "filesize": "69160744"}}, {"date_created": "2011-02-18T18:52:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt3_web.jpg", "width": "452", "height": "893", "filesize": "318809"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt3_print.jpg", "width": "1722", "height": "3400", "filesize": "4669022"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt3_full.tif", "width": "3378", "height": "6668", "filesize": "67601060"}}, {"date_created": "2011-02-18T18:55:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt4_web.jpg", "width": "471", "height": "893", "filesize": "325514"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt4_print.jpg", "width": "1795", "height": "3400", "filesize": "4771323"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt4_full.tif", "width": "3522", "height": "6668", "filesize": "70481320"}}, {"date_created": "2011-02-18T19:02:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt5_web.jpg", "width": "460", "height": "893", "filesize": "307499"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt5_print.jpg", "width": "1753", "height": "3400", "filesize": "4624132"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.6/1989.6_alt5_full.tif", "width": "3438", "height": "6668", "filesize": "68800472"}}], "creditline": "Mr. and Mrs. William H. 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Carpeaux. </em>Paris: Galerie Manzi\u00ad Joyant, May 1913.", "page_number": "p. 9, no. 42.", "url": ""}, {"citation": "Cl\u00e9ment-Carpeaux, Louise. <em>La V\u00e9rit\u00e9 sur l'oeuvre et la vie de J.-B. Carpeaux. </em>Paris: Dousset et Bigerrelle, 1934-1935.", "page_number": "", "url": ""}, {"citation": "Honour, Hugh. <em>The Image of the Black in Western Art</em>, 5 vols. Cambridge, MA: Harvard University Press, 1989.", "page_number": "IV, part I: pp. 259-61; IV, part 2: pp. 166-69", "url": ""}, {"citation": "Poletti, Michel, Jean Baptiste Carpeaux, Jean-Baptiste Carpeaux, Alain Richarme, and Alain Richard.  <em>Jean-Baptiste Carpeaux, Sculpteur : Catalogue Raisonne\u0301 De L'oeuvre E\u0301dite\u0301</em>. Paris: Editions de l'Amateur, 2003.", "page_number": "pp. 34 and 141.", "url": ""}, {"citation": "Draper, James David, Jean Baptiste Carpeaux, Papet E\u0301douard, Elena Carrara, Horner Nade\u0300ge, Laure de Margerie, Jean-Claude Poinsignon, et al. <em>The Passions of Jean-Baptiste Carpeaux</em>. New York, New York: Metropolitan Museum of Art, 2014.", "page_number": "pp. 163-64; 323", "url": ""}, {"citation": "Murrell, Denise, Wallach Art Gallery, Wallach Art Gallery, Muse\u0301e d'Orsay, and Mus\u00e9e d'Orsay. <em>Posing Modernity : The Black Model from Manet and Matisse to Today</em>. New Haven: Yale University Press, 2018.", "page_number": "pp. 43 and 187, no. 60.", "url": ""}, {"citation": "Nelson, Ellyse, Wendy S. Walters (eds.). <em>Fictions of Emancipation : Carpeaux's Why Born Enslaved! Reconsidered</em>. New York: Metropolitan Museum of Art, 2022.", "page_number": "pp. 9-11; 14-27.", "url": ""}, {"citation": "Robinson, William H. \u201cWhy Born Enslaved! 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Exposition de la soci\u00e9t\u00e9 des amis des arts de Pau (1872), 82, Une figure (handwritten: 500), according to Robaut.", "opening_date": null}, {"description": "New York, Wildenstein. The Serene World of Corot (1942), no. 21 (repr.), lent by Wildenstein &amp; Co.", "opening_date": "1942-01-01T00:00:00"}, {"description": "Philadelphia Museum of Art. Corot 1796-1875 (1946), no. 22 (repr.), lent by Wildenstein &amp; Co.", "opening_date": "1946-01-01T00:00:00"}, {"description": "Art Gallery of Toronto. J. B. C. Corot 1796-1875 (1950), no. 11, Lormes, Goat Girl Beside a Stream, Lent by Wildenstein &amp; Co.", "opening_date": "1950-01-01T00:00:00"}, {"description": "Museum of Fine Arts, Houston. Corot and His Contemporaries (1959), 7.", "opening_date": "1959-01-01T00:00:00"}, {"description": "Art Institute of Chicago. Corot 1796-1875 (1960), no. 56, lent by J. K. Thannhauser, New York.", "opening_date": "1960-01-01T00:00:00"}, {"description": "Manchester, N.H., Currier Gallery of Art; New York, IBM Gallery of Science and Art; Dallas Museum of Art; Atlanta, High Museum of Art. The Rise of Landscape Painting in France-Corot to Monet (1991-92), 226, no. 18 (repr.), 121.", "opening_date": "1991-01-01T00:00:00"}, {"description": "Paris, Grand Palais; Ottawa, National Gallery of Canada; New York, Metropolitan Museum of Art. Corot 1796-1875 (1996-97), no. 79, 293 (repr.).", "opening_date": "1996-01-01T00:00:00"}]}, "provenance": [{"description": "Paris sale, Drouot salle 3, 29 March 1878 (lot 15), Paysanne pr\u00e8s d'une source, dans la for\u00eat de Fontainebleau, ff 1,300.", "citations": [], "footnotes": null, "date": "March 28, 1878", "sortorder": null}, {"description": "Hugo Nathan, Frankfurt, Germany", "citations": [], "footnotes": null, "date": "after 1878\u2013by 1942", "sortorder": 2}, {"description": "Wildenstein & Co., New York, by 1942.", "citations": [], "footnotes": null, "date": "by 1942\u2013before 1960", "sortorder": 3}, {"description": "J. K. Thannhauser, New York, NY, by 1960", "citations": [], "footnotes": null, "date": "by 1960\u2013by 1962", "sortorder": 4}, {"description": "Sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1962", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Claude Monet once said: \"There is only one master here\u2014Corot. We are nothing compared to him, nothing.\"", "description": "Camille Corot painted this charming woodland scene during the summer of 1842 while visiting Lormes, a small village in the Morvan region of Burgundy. The area was known for its dense woodlands and picturesque falls. Corot included a seated goat shepherd leaning against a curving tree trunk, but instead of commanding the viewers attention, the human presence is overshadowed by the dynamic interlacing forms of the tree trunks and branches that stretch up and across the canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q41516006"], "internet_archive": ["https://archive.org/details/clevelandart-1962.35-lormes-goat-girl-sit"]}, "citations": [{"citation": "Talbot, William S. \u201cSome French Landscapes: 1779-1842.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 3 (March 1978): 75\u201391.", "page_number": "Mentioned and reproduced: p. 89-90, fig.19", "url": "http://www.jstor.org/stable/25159571"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 150-151, Vol. I, no. 56", "url": ""}], "url": "https://clevelandart.org/art/1962.35", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_web.jpg", "width": "1221", "height": "893", "filesize": "730187", "filename": "1962.35_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_print.jpg", "width": "3400", "height": "2487", "filesize": "5038489", "filename": "1962.35_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.35/1962.35_full.tif", "width": "4822", "height": "3527", "filesize": "51047084", "filename": "1962.35_full.tif"}}, "alternate_images": [{"date_created": "2007-07-09T15:41:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt0_web.jpg", "width": "1217", "height": "893", "filesize": "720570"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt0_print.jpg", "width": "3400", "height": "2494", "filesize": "5529283"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt0_full.tif", "width": "6000", "height": "4402", "filesize": "79267628"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt1_web.jpg", "width": "1186", "height": "893", "filesize": "742313"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt1_print.jpg", "width": "3400", "height": "2560", "filesize": "5999133"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt1_full.tif", "width": "5000", "height": "3764", "filesize": "56486208"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt2_web.jpg", "width": "1263", "height": "842", "filesize": "926719"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt2_print.jpg", "width": "3400", "height": "2266", "filesize": "6274209"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.35/1962.35_alt2_full.tif", "width": "5000", "height": "3333", "filesize": "50021096"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138430, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1962-02-17T00:00:00", "sortable_date": 1842, "date_added_to_oa": null, "date_text": "1842", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:16.147000"}, {"id": 127537, "accession_number": "1950.216", "share_license_status": "CC0", "tombstone": "A Hussar Officer on Horseback, 1812. John Singleton Copley (American, 1738\u20131815). Black and white chalk; sheet: 27.6 x 22.1 cm (10 7/8 x 8 11/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1950.216", "current_location": null, "title": "A Hussar Officer on Horseback", "creation_date": "1812", "creation_date_earliest": 1812, "creation_date_latest": 1812, "artists_tags": ["male"], "culture": ["America"], "technique": "black and white chalk", "support_materials": [{"description": "blue wove paper (faded)", "watermarks": []}], "department": "Drawings", "collection": "DR - American 18th Century", "type": "Drawing", "measurements": "Sheet: 27.6 x 22.1 cm (10 7/8 x 8 11/16 in.)", "dimensions": {"sheet": {"height": 0.276, "width": 0.221}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "verso, lower left, in black chalk: Prince of Wales", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 361392, "title": "Romantic Art in Britain: Paintings and Drawings 1760-1860", "description": "<i>Romantic Art in Britain: Paintings and Drawings 1760-1860</i>. The Detroit Institute of Arts (organizer) (January 9-February 11, 1968); Philadelphia Museum of Art (March 14-April 21, 1968).", "opening_date": "1968-01-09T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}], "legacy": [{"description": "<em>Exhibition of Drawings by John Singleton Copley. </em>Harry Shaw Newman Gallery. New York, NY. (1947) 108, no. 9.", "opening_date": "1947-01-01T00:00:00"}]}, "provenance": [{"description": "The artist [1738-1815], London, England.", "citations": [], "footnotes": null, "date": "1812-?", "sortorder": 1}, {"description": "John Singleton Copley, Jr., 1st Baron Lyndhurst (the artist\u2019s son) [1772-1863], London, England.", "citations": [], "footnotes": null, "date": "?-1863", "sortorder": 2}, {"description": "(The Lyndhurst Library Sale, Christie\u2019s, London, 2/26/1864-2/27/1864, lot 670, likely sold to Edward Basil Jupp.)", "citations": [], "footnotes": [], "date": "1864", "sortorder": 3}, {"description": "Edward Basil Jupp [1812-1877], London.", "citations": [], "footnotes": [], "date": "1864-?", "sortorder": 4}, {"description": "Passed down through the Amory family: Martha Babcock Amory (granddaughter of the artist) [1812-1880], Boston, MA; Edward Linzee Amory (great-grandson of the artist) [1844-1911], Boston, MA; Mr. Wallace (valet to Edward Linzee Amory), Foxborough, MA. Sold to Charles D. Childs Gallery.", "citations": [], "footnotes": [], "date": "?-probably 1950", "sortorder": 5}, {"description": "(Charles D. Childs Gallery, Boston, MA, sold to The Cleveland Museum of Art.)", "citations": [], "footnotes": [], "date": "1950", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": [], "date": "1950-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The soldier wears a heavy military headdress called a \u201cbusby,\u201d originally worn by Hungarian hussars and adopted by American hussar (light cavalry) regiments during the 1800s.", "description": "John Singleton Copley left Boston at the start of the American Revolution in 1775 to pursue his career in England, where he achieved distinction both as a portraitist and a history painter. Following a method often employed in France, Copley generally drew on blue paper to serve as a middle tone, working up the image using black chalk to indicate outlines and shadows, and white chalk for highlights. He made this drawing as an early study for the figure of the prince of Orange in his last major history painting, <em>Battle of the Pyrenees</em> (Museum of Fine Arts, Boston), in 1812\u201315. The figure is garbed in the uniform of a \u201chussar,\u201d a light cavalry officer equipped with a saber, regiments of which played an important role in the Napoleonic Wars (1803\u201315). In the final composition, Copley used the pose not for Orange, but for the Duke of Wellington, changing the facial features and adjusting the position of the figure\u2019s arms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79907586"], "internet_archive": ["https://archive.org/details/clevelandart-1950.216-a-hussar-officer-on"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Amory, Martha Babcock. <em>The Domestic and Artistic Life of John Singleton Copley, RA.</em> Boston, MA: Houghton, Mifflin and Co., 1882.", "page_number": "Mentioned: pp. 270-71", "url": null}, {"citation": "Comstock, Helen. \u201cExhibition of Drawings by Copley.\u201d <em>Panorama by Harry Shaw Newman Gallery</em> 2, no. 9 (May 2, 1947): 100-108.", "page_number": "Reproduced: p. 108", "url": null}, {"citation": "Prown, Jules David. <em>John Singleton Copley, In England 1774-1815.</em> Cambridge, MA: Harvard University Press, 1966.", "page_number": "Mentioned: pp. xxi, 281-83, 436, no. 674", "url": null}, {"citation": "Cummings, Frederick J., and Allen Staley. <em>Romantic Art in Britain; Paintings and Drawings, 1760-1860.</em> Nashville, TN: Falcon Press, 1968.", "page_number": "Mentioned: p. 98, no. 48", "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. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}, {"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. 198", "url": "https://archive.org/details/CMAHandbook1978/page/n218"}, {"citation": "The Cleveland Museum of Art.<em> Handbook of the Cleveland Museum of Art/1991.</em> Cleveland, OH: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p.122", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 83,,p. 8, pp. 202-203, p. 295; Reproduced: p. 203", "url": null}], "url": "https://clevelandart.org/art/1950.216", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.216/1950.216_web.jpg", "width": "710", "height": "893", "filesize": "440468", "filename": "1950.216_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.216/1950.216_print.jpg", "width": "2704", "height": "3400", "filesize": "7172563", "filename": "1950.216_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.216/1950.216_full.tif", "width": "4147", "height": "5214", "filesize": "64899644", "filename": "1950.216_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.216/1950.216_alt0_web.jpg", "width": "719", "height": "893", "filesize": "503917"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.216/1950.216_alt0_print.jpg", "width": "1237", "height": "1536", "filesize": "1589091"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1950.216/1950.216_alt0_full.tif", "width": "1237", "height": "1536", "filesize": "5702324"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127537, "creators": [{"id": 2409, "description": "John Singleton Copley (American, 1738\u20131815)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1815", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-06-29T00:00:00", "sortable_date": 1812, "date_added_to_oa": null, "date_text": "1812", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Prince of Wales"], "is_highlight": false, "updated_at": "2026-03-27 00:00:06.989000"}, {"id": 142700, "accession_number": "1966.413.6", "share_license_status": "CC0", "tombstone": "The Haunted House: Hideous Larvae, 1896. Printed by Auguste Clot (French, 1858\u20131936), Odilon Redon (French, 1840\u20131916). Lithograph on China paper laid on wove paper; image: 17.9 x 17 cm (7 1/16 x 6 11/16 in.); sheet: 44.9 x 31.5 cm (17 11/16 x 12 3/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1966.413.6", "current_location": null, "title": "Hideous Larvae", "series": "The Haunted House", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 17.9 x 17 cm (7 1/16 x 6 11/16 in.); Sheet: 44.9 x 31.5 cm (17 11/16 x 12 3/8 in.)", "dimensions": {"image": {"height": 0.179, "width": 0.17}, "sheet": {"height": 0.449, "width": 0.315}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: des larves si hideuses", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.418"], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. This series was inspired by <em>The Haunted and the Haunters,</em> an 1859 novel by British writer Edward Bulwer-Lytton. Redon\u2019s prints capture the book\u2019s mysterious tone and emphasis on the supernatural through vague but evocative imagery that sometimes borders on abstraction. By this time a seasoned expert in lithography, the artist collaborated with master printer Auguste Clot. Their combined technical skills allowed for the rich tonal variation seen here, made by turning Redon\u2019s lithographic crayon on its side, layering various marks, and even scratching directly into the surface of his stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042667"], "internet_archive": ["https://archive.org/details/clevelandart-1966.413.6-hideous-larvae"]}, "citations": [{"citation": "\"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (1967): 302-46.", "page_number": "Mentioned: pp. 344-345", "url": "https://www.jstor.org/stable/25152183"}], "catalogue_raisonne": "Mellerio 165", "url": "https://clevelandart.org/art/1966.413.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.6/1966.413.6_web.jpg", "width": "854", "height": "900", "filesize": "328373", "filename": "1966.413.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.6/1966.413.6_print.jpg", "width": "3225", "height": "3400", "filesize": "5140888", "filename": "1966.413.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.6/1966.413.6_full.tif", "width": "5755", "height": "6067", "filesize": "104777354", "filename": "1966.413.6_full.tif"}}, "alternate_images": [{"date_created": "2006-03-07T19:44:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413.6/1966.413.6_alt0_web.jpg", "width": "795", "height": "893", "filesize": "580953"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413.6/1966.413.6_alt0_print.jpg", "width": "3025", "height": "3400", "filesize": "7871296"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413.6/1966.413.6_alt0_full.tif", "width": "3774", "height": "4242", "filesize": "48060288"}}, {"date_created": "2025-07-24T15:45:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413.6/1966.413.6_alt1_web.jpg", "width": "640", "height": "900", "filesize": "130341"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413.6/1966.413.6_alt1_print.jpg", "width": "2419", "height": "3400", "filesize": "2543617"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413.6/1966.413.6_alt1_full.tif", "width": "8925", "height": "12547", "filesize": "335973106"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142700, "creators": [{"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 0}, {"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. 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Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. 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Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on China paper laid on wove paper; image: 14 x 9 cm (5 1/2 x 3 9/16 in.); sheet: 44.9 x 31.5 cm (17 11/16 x 12 3/8 in.). 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The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.419"], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. 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These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.413", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["La Maison hant\u00e9e:  The Width and Flatness of the Frontal Bone", "The Haunted House: The Width and Flatness of [the] Frontal [Bone]", "The Width and Flatness of [the] Frontal [Bone]"], "is_highlight": false, "updated_at": "2026-03-27 00:02:55.275000"}, {"id": 152440, "accession_number": "1985.268", "share_license_status": "CC0", "tombstone": "Hell Courtesan (\u5730\u7344\u592a\u592b\u56f3), 1871\u201389. Kawanabe Ky\u014dsai (Japanese, 1831\u20131889). Hanging scroll; ink, color, gold, and silver on silk; image: 144.2 x 67.6 cm (56 3/4 x 26 5/8 in.); overall: 233.7 x 92.1 cm (92 x 36 1/4 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.268", "current_location": null, "title": "Hell Courtesan", "title_in_original_language": "\u5730\u7344\u592a\u592b\u56f3", "creation_date": "1871\u201389", "creation_date_earliest": 1871, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Hanging scroll; ink, color, gold, and silver on silk", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Image: 144.2 x 67.6 cm (56 3/4 x 26 5/8 in.); Overall: 233.7 x 92.1 cm (92 x 36 1/4 in.)", "dimensions": {"image": {"height": 1.442, "width": 0.676}, "overall": {"height": 2.337, "width": 0.921}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "artist's signature and two seals, lower right.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 301790, "title": "Ukiyo-e: Floating World", "description": "<i>Ukiyo-e: Floating World</i>. The Cleveland Museum of Art, Cleveland, OH (June 11-September 2, 1973).", "opening_date": "1973-06-11T04:00:00"}, {"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}, {"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 211775, "title": "Highlights of Asian Paintings from The Cleveland Museum of Art", "description": "<i>Highlights of Asian Paintings from The Cleveland Museum of Art</i>. Nara National Museum (organizer) (February 21-March 29, 1998); Suntory Museum of Art (April 28-June 21, 1998).", "opening_date": "1998-02-21T00:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 202129, "title": "Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art", "description": "<i>Admired from Afar: Masterworks of Japanese Painting from the Cleveland Museum of Art</i>. Tokyo National Museum, Tokyo, Japan (January 15-February 23, 2014); Kyushu National Museum, Fukuoka, Japan (July 8-August 31, 2014).", "opening_date": "2014-01-15T00:00:00"}, {"id": 440861, "title": "Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16", "description": "<i>Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16</i>. The Cleveland Museum of Art (organizer) (April 8-October 9, 2022).", "opening_date": "2022-04-08T04:00:00"}], "legacy": [{"description": "<em>Japanese Gallery 235 Rotation</em>. The Cleveland Museum of Art (June 3, 2016\u2013January 10, 2017).", "opening_date": "2016-06-03T00:00:00"}]}, "provenance": [{"description": "(Nathan Chaikin, Switzerland, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["564.73", "964.74"], "did_you_know": "The word for longevity appears multiple times in gold and silver on her outer robe.", "description": "Kawanabe Ky\u014dsai repeated this large-scale composition with variations a number of times. In this version, a famous 15th-century courtesan known for wearing a robe with images of the Buddhist hells stands before a folding screen. Legend has it that she was abducted by bandits, and wore the garment to symbolize her belief that her suffering in her current life was punishment for sins committed in a former life. Here, in a parody depiction of the garment, the courtesan stands in for Benzaiten, the goddess of everything that flows, while the remaining members of the Seven Gods of Good Fortune appear on her outer robe. One of them reports sins to Enma, the King of Hell, who is writing out his judgments on the recently deceased.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475582"], "internet_archive": ["https://archive.org/details/clevelandart-1985.268-hell-courtesan"]}, "citations": [{"citation": "Kobayashi, Tadashi \u5c0f\u6797\u5fe0. <em>Edo Shomin No Kaiga</em> \u6c5f\u6236\u5eb6\u6c11\u306e\u7d75\u753b [Painting for the common people in the Edo period]. 1st ed. Tokyo: Gakushu Kenkyusha, 1979.", "page_number": "Reproduced: no. 38", "url": ""}, {"citation": "Turner, Evan H. \u201cThe Year in Review for 1985.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (February 1986): 26\u201371.", "page_number": "Reproduced: p. 34", "url": "https://www.jstor.org/stable/25159930"}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}, {"citation": "<em>T\u014dy\u014d kaiga no seika: tokubetsuten: Kur\u012bvurando Bijutsukan no korekushon kara</em> [\u6771\u6d0b\u7d75\u753b\u306e\u7cbe\u83ef: \u7279\u522b\u5c55: \u30af\u30ea\u30fc\u30f4\u30e9\u30f3\u30c8\u7f8e\u8853\u9928\u306e\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u304b\u3089= Highlights of Asian painting from the Cleveland Museum of Art]. Nara, Japan: Nara National Museum, 1998.", "page_number": "Mentioned and Reproduced: p. 146, cat. no. 99", "url": ""}, {"citation": "Glaubinger, Jane, Nancy Grossman and Marjorie Williams. \"Visions of Japan.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 44, no. 10 (December 2004): 4\u20135.", "page_number": "Mentioned and Reproduced: pp. 4\u20135", "url": "https://archive.org/details/CMAMM2004-10/page/n3/mode/2up"}, {"citation": "<em>Admired from afar: masterworks of Japanese painting from the Cleveland Museum of Art</em> [\u30af\u30ea\u30fc\u30d6\u30e9\u30f3\u30c9\u7f8e\u8853\u9928\u5c55: \u540d\u753b\u3067\u305f\u3069\u308b\u65e5\u672c\u306e\u7f8eKur\u012bburando Bijutsukan ten: meiga de tadoru Nihon no bi ]. Tokyo: T\u014dky\u014d Kokuritsu Hakubutsukan, 2014.", "page_number": "Mentioned and Reproduced: cat. no. 23, p. 73", "url": ""}], "url": "https://clevelandart.org/art/1985.268", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.268/1985.268_web.jpg", "width": "415", "height": "893", "filesize": "288918", "filename": "1985.268_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.268/1985.268_print.jpg", "width": "1581", "height": "3400", "filesize": "3433906", "filename": "1985.268_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.268/1985.268_full.tif", "width": "2325", "height": "5000", "filesize": "34901516", "filename": "1985.268_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt0_web.jpg", "width": "363", "height": "893", "filesize": "236075"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt0_print.jpg", "width": "1382", "height": "3400", "filesize": "3132682"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt0_full.tif", "width": "2033", "height": "5000", "filesize": "30519732"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt1_web.jpg", "width": "1263", "height": "842", "filesize": "948784"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt1_print.jpg", "width": "3400", "height": "2266", "filesize": "6583733"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt1_full.tif", "width": "5000", "height": "3333", "filesize": "50030140"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt2_web.jpg", "width": "1120", "height": "893", "filesize": "668981"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt2_print.jpg", "width": "3400", "height": "2712", "filesize": "5826901"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt2_full.tif", "width": "5000", "height": "3988", "filesize": "59848984"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt3_web.jpg", "width": "595", "height": "893", "filesize": "537935"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt3_print.jpg", "width": "2266", "height": "3400", "filesize": "6329435"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.268/1985.268_alt3_full.tif", "width": "3333", "height": "5000", "filesize": "50033152"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152440, "creators": [{"id": 6187, "description": "Kawanabe Ky\u014dsai (Japanese, 1831\u20131889)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6cb3\u934b \u6681\u658e", "birth_year": "1831", "death_year": "1889", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1871, "date_added_to_oa": null, "date_text": "1871\u201389", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Beauty Before a Screen"], "is_highlight": true, "updated_at": "2026-04-03 13:35:09.274000"}, {"id": 144863, "accession_number": "1969.8", "share_license_status": "CC0", "tombstone": "Mask (ndeemba), early 1900s. Africa, Central Africa, Democratic Republic of Congo, Yaka-style carver. Wood, raffia, paint, and cotton; overall: 47 cm (18 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1969.8", "current_location": null, "title": "Mask (ndeemba)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Yaka-style carver"], "technique": "Wood, raffia, paint, and cotton", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 47 cm (18 1/2 in.)", "dimensions": {"overall": {"height": 0.47}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 316953, "title": "Second Careers: Two Tributaries in African Art", "description": "<i>Second Careers: Two Tributaries in African Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1, 2020-March 14, 2021).", "opening_date": "2020-11-01T04:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 231, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1970: \"Year in Review 1969,\" CMA Bulletin LVII (Jan., 1970), p. 47, no. 132, repr. p. 42.", "opening_date": "1970-01-01T00:00:00"}, {"description": "CMA 1978: Handbook, 1978, p. 412.", "opening_date": "1978-01-01T00:00:00"}, {"description": "CMA 1991: Handbook, 1991, p. 151.", "opening_date": "1991-01-01T00:00:00"}]}, "provenance": [{"description": "Robert Stolper, New York", "citations": [], "footnotes": null, "date": "1962    ", "sortorder": null}, {"description": "Katherine C. White (Reswick), [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["621.68"], "did_you_know": "Look under the fluffy layers of raffia fiber to see the handle; this mask was \"worn\" by holding it up to the face.", "description": "This <em>Mask (Ndeemba) </em>has been featured prominently in the African galleries since making its debut at the Cleveland Museum of Art in 1962. Dated to the 1900s, the object is part of a group of eight masks that appear at the end of the circumcision and puberty ritual <em>(n-khanda) </em>for Yaka boys. It would have marked the new status of the boys who became men and commemorated their re-entry into the village. Affirming age-long tradition, such masks are worn by the master of the initiation or by the newly initiated himself.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1969.8-mask-ndeemba"]}, "citations": [{"citation": "Fagg, William, and Cleveland Museum of Art. 1968. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, cat. no. 231.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>1969 Year in Review</em>. The Bulletin of the Cleveland Museum of Art 57, no. 1, cat. 132.", "page_number": "", "url": ""}, {"citation": "Drewal, Henry John. African Art: A Brief Guide to the Collection. Cleveland: Cleveland Museum of Art, 1989, fig.10.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. \"A New Installation for African Art in Cleveland.\" Tribal 3, no. 36 (Autumn/Winter 2004): 68-73", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>., 151, 1991b.", "page_number": "", "url": ""}, {"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. 412", "url": "https://archive.org/details/CMAHandbook1978/page/n432"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 39, p. 108 - 109", "url": ""}, {"citation": "\"Current Exhibitions\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 08, October 2003", "page_number": "Reproduced: p. 2", "url": "https://archive.org/details/CMAMM2003-08/page/n1/"}, {"citation": "\"A Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 12", "url": "https://archive.org/details/CMAMM2014-01"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters : 2016-17 Companion Guide</em>. Cleveland, Ohio: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: P. 14", "url": ""}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Reproduced: p. 12, (detail); p. 60, pl. 6; mentioned:  p. 22, 29, 31.", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: pp. 254-255, no. 9.4", "url": ""}], "url": "https://clevelandart.org/art/1969.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.8/1969.8_web.jpg", "width": "713", "height": "893", "filesize": "389378", "filename": "1969.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.8/1969.8_print.jpg", "width": "2720", "height": "3400", "filesize": "4873523", "filename": "1969.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.8/1969.8_full.tif", "width": "4000", "height": "5000", "filesize": "60017992", "filename": "1969.8_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt0_web.jpg", "width": "714", "height": "893", "filesize": "375921"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt0_print.jpg", "width": "2720", "height": "3400", "filesize": "4921893"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt0_full.tif", "width": "4000", "height": "5000", "filesize": "60018472"}}, {"date_created": "2009-11-03T14:55:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt1_web.jpg", "width": "719", "height": "893", "filesize": "401629"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt1_print.jpg", "width": "2737", "height": "3400", "filesize": "5302716"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt1_full.tif", "width": "5927", "height": "7362", "filesize": "130937804"}}, {"date_created": "2009-11-03T14:57:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt2_web.jpg", "width": "713", "height": "893", "filesize": "392292"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt2_print.jpg", "width": "2715", "height": "3400", "filesize": "5162467"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt2_full.tif", "width": "6100", "height": "7639", "filesize": "139827656"}}, {"date_created": "2009-11-03T14:58:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt3_web.jpg", "width": "697", "height": "893", "filesize": "365417"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt3_print.jpg", "width": "2652", "height": "3400", "filesize": "5149104"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt3_full.tif", "width": "2852", "height": "3656", "filesize": "31313752"}}, {"date_created": "2009-11-03T14:59:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt4_web.jpg", "width": "720", "height": "893", "filesize": "391682"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt4_print.jpg", "width": "2742", "height": "3400", "filesize": "5515607"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt4_full.tif", "width": "3000", "height": "3720", "filesize": "33513240"}}, {"date_created": "2009-11-03T15:01:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt5_web.jpg", "width": "670", "height": "893", "filesize": "358092"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt5_print.jpg", "width": "2550", "height": "3400", "filesize": "5115363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.8/1969.8_alt5_full.tif", "width": "2772", "height": "3696", "filesize": "30769128"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144863, "creators": [], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mask (Koluka/mbala)", "Mask (Tsekedi, Myondo, or Ndeemba)\r\n"], "is_highlight": false, "updated_at": "2026-03-27 00:00:38.140000"}, {"id": 154285, "accession_number": "1988.93", "share_license_status": "CC0", "tombstone": "Ludovic Lepic Holding His Dog, 1889. Edgar Degas (French, 1834\u20131917). Pastel; sheet: 49.8 x 32.1 cm (19 5/8 x 12 5/8 in.); secondary support: 50.6 x 38 cm (19 15/16 x 14 15/16 in.). The Cleveland Museum of Art, Gift of the Mildred Andrews Fund, 1988.93", "current_location": null, "title": "Ludovic Lepic Holding His Dog", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel", "support_materials": [{"description": "blue laid (?) paper (faded to gray-green), laid down on brown wove paper on wooden stretcher", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 49.8 x 32.1 cm (19 5/8 x 12 5/8 in.); Secondary Support: 50.6 x 38 cm (19 15/16 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.498, "width": 0.321}, "secondary support": {"height": 0.506, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 192818, "title": "Object in Focus: Ludovic Lepic Holding His Dog by Edgar Degas", "description": "<i>Object in Focus: Ludovic Lepic Holding His Dog by Edgar Degas</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-April 20, 1998).", "opening_date": "1998-03-17T00:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"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": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}], "legacy": [{"description": "<em>Degas, portraitiste, sculpteur. </em>Mus\u00e9e de l'Orangerie, Paris (July 19 - October 1, 1931).", "opening_date": "1931-07-19T00:00:00"}]}, "provenance": [{"description": "Estate of Edgar Degas [1834-1917], Paris", "citations": [], "footnotes": ["<div><!--block-->Lugt 658, lower left, in red ink</div>"], "date": "1917-1918", "sortorder": 1}, {"description": "(Galerie Georges Petit, second Degas sale, Paris, December 12-13, 1918, no. 87, probably sold to Georges Viau)", "citations": [], "footnotes": null, "date": "1918", "sortorder": 2}, {"description": "Georges Viau [1855-1939], Paris", "citations": [], "footnotes": null, "date": "probably 1918-1942", "sortorder": 3}, {"description": "(Hotel Druout, Georges Viau sale, Paris, December 11, 1942, no. 65)", "citations": [], "footnotes": [], "date": "1942", "sortorder": 4}, {"description": "(M. Knoedler and Co., Paris)", "citations": [], "footnotes": [], "date": "1953?", "sortorder": 5}, {"description": "John B. and Mildred [1890/92-1988] Putnam, Cleveland, OH", "citations": [], "footnotes": [], "date": "after 1953-before 1962", "sortorder": 6}, {"description": "Peter A. Putnam, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "by 1962-1988", "sortorder": 7}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1988-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": ["761.1981"], "did_you_know": "Scholars have suggested that the unusual tonality of this drawing is due to the fact that it was executed in artificial rather than natural light.", "description": "Degas executed this portrait of his friend, the artist Ludovic Lepic, with rapid and expressive strokes of powdery pastel. The two artists worked together closely in printmaking early on, and this work is one of several commemorative depictions that Degas made throughout his career. Here, Lepic is seen with his pet, a Belgian Griffon, suggesting a fondness for dogs for which he was well-known in late-19th century Paris. He died just about one month after this portrait was completed at the age of 50.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941162"], "internet_archive": ["https://archive.org/details/clevelandart-1988.93-ludovic-lepic-holdin"]}, "citations": [{"citation": "<em>Catalogue des tableaux, pastels, et dessins par Edgar Degas...2e vente</em>. Paris: Georges Petit, 1918.", "page_number": "Mentioned and reproduced: p. 49, no. 87", "url": null}, {"citation": "<em>Degas, portratiste, sculpteur</em>. Exh. Cat. Paris: Mus\u00e9e de l'Orangerie, 1931.", "page_number": "Mentioned: p. 99, no. 135", "url": null}, {"citation": "<em>Catalogue des dessins, aquarelles, gouaches, pastels...composant la collection de M. Georges Viau</em>. Paris: Drouot, 1942.", "page_number": "Mentioned: p. 25, no. 65; Reproduced: pl. III", "url": null}, {"citation": "Lemoisne, Paul Andre. <em>Degas et son oeuvre</em>. Paris: Brame et de Hauke, 1946.", "page_number": "Mentioned and reproduced: vol. III, no. 950", "url": null}, {"citation": "Boggs, Jean Sutherland. <em>Portraits by Degas</em>. Berkeley: University of California Press, 1962.", "page_number": "Mentioned: p. 69, no. 135; Reproduced: no. 135", "url": null}, {"citation": "Russoli, Franco. <em>L'opera completa di Degas</em>. Milan: Rizzoli, 1970.", "page_number": "Mentioned and reproduced: p. 116, no. 666", "url": null}, {"citation": "\u201cThe Year in Review for 1988.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 2 (February 1989): 30\u201375. <a href=\"http://www.jstor.org/stable/25160061\"><br></a>", "page_number": "Reproduced: p. 46; Mentioned: p. 69, no. 34", "url": "http://www.jstor.org/stable/25160061"}, {"citation": "\"Recent Acquisitions at the Cleveland Museum of Art I: Departments of Western Art.\" <em>Burlington Magazine</em> 133, no. 1054 (January 1991): 63-68.", "page_number": "Mentioned and reproduced: p. 66, no. XIV", "url": "https://www.jstor.org/stable/884642"}, {"citation": "Buchanan, Harvey. 1991. <em>Edgar Degas and Ludovic Lepic : An Impressionist Friendship</em>. Cleveland, Ohio: Harvey Buchanan.", "page_number": "Mentioned: p. 1-150", "url": null}, {"citation": "Kostenevich, Albert. <em>Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by The State Hermitage Museum, St. Petersburg. </em>New York: Harry N. Abrams, 1995.", "page_number": "Mentioned: p. 70; Reproduced: p. 77, fig. 6", "url": null}, {"citation": "Buchanan, Harvey. \"Edgar Degas and Ludovic Lepic: An Impressionist Friendship.\" <em>Cleveland Studies in the History of Art </em>2 (1997): 32-121.", "page_number": "Mentioned: 32-121; Reproduced: p. 33", "url": "https://www.jstor.org/stable/20079691"}, {"citation": "Prenant, St\u00e9phanie. \"Restauration ou revolution?: Emile Levy (1826-1890) et le pastel fran\u00e7ais dans les annees 1880.\" MA thesis, Paris 1, Panth\u00e9on Sorbonne, 2015.", "page_number": "Mentioned: p. 85; Reproduced: p. 80, fig. 75", "url": null}], "catalogue_raisonne": "Lemoisne 950", "url": "https://clevelandart.org/art/1988.93", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.93/1988.93_web.jpg", "width": "570", "height": "900", "filesize": "247800", "filename": "1988.93_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.93/1988.93_print.jpg", "width": "2152", "height": "3400", "filesize": "3650302", "filename": "1988.93_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.93/1988.93_full.tif", "width": "4388", "height": "6932", "filesize": "91282984", "filename": "1988.93_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.93/1988.93_alt0_web.jpg", "width": "616", "height": "893", "filesize": "509663"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.93/1988.93_alt0_print.jpg", "width": "1413", "height": "2048", "filesize": "2799149"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.93/1988.93_alt0_full.tif", "width": "1413", "height": "2048", "filesize": "8684932"}}], "creditline": "Gift of the Mildred Andrews Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154285, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:27.899000"}, {"id": 121035, "accession_number": "1941.71", "share_license_status": "CC0", "tombstone": "In the Omnibus, 1890\u201391. Mary Cassatt (American, 1844\u20131926). Color drypoint and aquatint; platemark: 36.6 x 26.8 cm (14 7/16 x 10 9/16 in.). The Cleveland Museum of Art, Bequest of Charles T. Brooks, 1941.71", "current_location": null, "title": "In the Omnibus", "creation_date": "1890\u201391", "creation_date_earliest": 1890, "creation_date_latest": 1891, "artists_tags": ["female"], "culture": ["France"], "technique": "color drypoint and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Platemark: 36.6 x 26.8 cm (14 7/16 x 10 9/16 in.)", "dimensions": {"platemark": {"height": 0.366, "width": 0.268}}, "state_of_the_work": "M & S: VII/VII, B: IV/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in pencil, at lower right below platemark: Imprim\u00e9 par l'artiste et M. Leroy / Mary Cassatt / (25 \u00e9preuves); stamped at bottom center, in blue ink, on platemark: MC [Lugt 604]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 302106, "title": "Japonisme: Japanese Influence on French Art, 1854 - 1910", "description": "<i>Japonisme: Japanese Influence on French Art, 1854 - 1910</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 9-August 31, 1975); Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (October 4-November 16, 1975); Walters Art Gallery, Baltimore, MD (December 10, 1975-January 26, 1976).", "opening_date": "1975-07-09T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"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": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}, {"id": 454246, "title": "Mary Cassatt at Work", "description": "<i>Mary Cassatt at Work</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 18-September 8, 2024) https://www.philamuseum.org/calendar/exhibition/mary-cassatt-at-work.", "opening_date": "2024-05-18T04:00:00"}], "legacy": []}, "provenance": [{"description": "Charles T. Brooks, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1941", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1941-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist Camille Pissarro described the series of prints to which this work belongs as \"admirable, as beautiful as Japanese work,\" praising Cassatt's translation of Ukiyo-e woodblocks.", "description": "This print belongs to a series of color etchings created by Mary Cassatt between 1890 and 1891. Each was influenced by the artist's study of Japanese woodblock prints, especially in their use of flat planes of color and domestic subject matter. In the scene depicted here, a middle-class woman accompanies her nursemaid and child on errands throughout Paris. The group rides in an omnibus, a form of public transportation where different genders and classes could intermingle. While the nanny's attention stays focused on her young charge, the female subject appears distracted, gazing toward the world beyond.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760446"], "internet_archive": []}, "citations": [{"citation": "Lees, Sarah and Richard R. Brettell. <em>Innovative Impressions: Prints by Cassatt, Degas, and Pissarro</em>. Exh. Cat. Tulsa, OK: Philbrook Museum of Art, 2018", "page_number": "Mentioned: p. 75; Reproduced: p. 76, fig. 85", "url": null}, {"citation": "Dunn, Ashley. \"Notes: Cassatt, Degas, and Pissarro.\" <em>Print Quarterly </em>36, no. 4 (December 2019): 452-454.", "page_number": "Reproduced: p. 454", "url": null}, {"citation": "Thompson, Jennifer A., and Laurel Garber. <em>Mary Cassatt at Work.</em> Philadelphia, PA: Philadelphia Museum of Art, 2024.", "page_number": "Reproduced: p. 136-137, fig. 75", "url": ""}, {"citation": "\"Mary Cassatt at Work.\" <em>American Art Review</em> 206 (Summer 2024): 78-85, 127.", "page_number": "Reproduced: p. 79", "url": ""}], "catalogue_raisonne": "Mathews & Shapiro 7, Breeskin 145", "url": "https://clevelandart.org/art/1941.71", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.71/1941.71_web.jpg", "width": "666", "height": "900", "filesize": "247318", "filename": "1941.71_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.71/1941.71_print.jpg", "width": "2515", "height": "3400", "filesize": "3077251", "filename": "1941.71_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.71/1941.71_full.tif", "width": "8334", "height": "11267", "filesize": "281727420", "filename": "1941.71_full.tif"}}, "alternate_images": [{"date_created": "2007-07-20T19:49:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.71/1941.71_alt0_web.jpg", "width": "636", "height": "893", "filesize": "102686"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.71/1941.71_alt0_print.jpg", "width": "2407", "height": "3400", "filesize": "6386599"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.71/1941.71_alt0_full.tif", "width": "3503", "height": "4949", "filesize": "52040676"}}, {"date_created": "2024-02-14T14:14:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.71/1941.71_alt1_web.jpg", "width": "666", "height": "900", "filesize": "278674"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.71/1941.71_alt1_print.jpg", "width": "2515", "height": "3400", "filesize": "3733888"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.71/1941.71_alt1_full.tif", "width": "8334", "height": "11267", "filesize": "281727904"}}], "creditline": "Bequest of Charles T. Brooks", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121035, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-06-10T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "1890\u201391", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:04:52.338000"}, {"id": 142354, "accession_number": "1966.176.a", "share_license_status": "Copyrighted", "tombstone": "The Visitor (recto), c. 1881. Mary Cassatt (American, 1844\u20131926). Black and tan pencil; sheet: 40 x 30.9 cm (15 3/4 x 12 3/16 in.). The Cleveland Museum of Art, Gift of Fifty Members of The Print Club of Cleveland on the Occasion of the Fiftieth Anniversary, 1966.176.a", "current_location": null, "title": "The Visitor (recto)", "creation_date": "c. 1881", "creation_date_earliest": 1876, "creation_date_latest": 1886, "artists_tags": ["female"], "culture": ["America"], "technique": "black and tan pencil", "support_materials": [], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 40 x 30.9 cm (15 3/4 x 12 3/16 in.)", "dimensions": {"sheet": {"height": 0.4, "width": 0.309}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311732, "title": "Fraternite: Artistic Relations Between France and America", "description": "<i>Fraternite: Artistic Relations Between France and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 21-October 18, 1987).", "opening_date": "1987-07-21T04:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 206325, "title": "The Private Collection of Edgar Degas\r\n", "description": "<i>The Private Collection of Edgar Degas\r\n</i>. The Metropolitan Museum of Art (organizer) (September 22, 1997-January 11, 1998).", "opening_date": "1997-09-22T00:00:00"}, {"id": 216663, "title": "Mary Cassatt: A Modern Woman", "description": "<i>Mary Cassatt: A Modern Woman</i>. The Art Institute of Chicago, Chicago, IL (organizer) (October 10, 1998-January 10, 1999); Museum of Fine Arts, Boston, Boston, MA (February 6-May 19, 1999).", "opening_date": "1998-10-10T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 177307, "title": "Degas/Cassatt", "description": "<i>Degas/Cassatt</i>. National Gallery of Art, Landover, MD (organizer) (May 11-October 5, 2014).", "opening_date": "2014-05-11T00:00:00"}, {"id": 454246, "title": "Mary Cassatt at Work", "description": "<i>Mary Cassatt at Work</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 18-September 8, 2024) https://www.philamuseum.org/calendar/exhibition/mary-cassatt-at-work.", "opening_date": "2024-05-18T04:00:00"}], "legacy": [{"description": "CMA, September 10-October 16, 1966: Golden Anniversary Acquisitions, Bulletin LIII (September 1966), p. 281, listed no. 80, repr. p. 238.", "opening_date": "1966-09-10T00:00:00"}, {"description": "Washington, DC, National Gallery of Art, June 18-August 27, 1989: Mary Cassatt: The Color Prints (also: Boston, MA, Museum of Fine Arts, September 8-November 5, 1989; Williamstown MA, Williams College Museum of Art, November 25, 1989-January 21, 1990).", "opening_date": "1989-06-18T00:00:00"}]}, "provenance": [{"description": "Edgar Degas, Paris", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "acquired from artist by Edgar Degas, Paris, c. 1880-1917; [his sale, H\u00f4tel Drouot, Paris, 15-16 November, 1918, no. 82]; Ren\u00e9 de Gas, Paris [all this according to Chicago et. al. 1998]", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing's first owner was the artist Edgar Degas, a friend of Cassatt's and a collaborator in her experiments with etching.", "description": "Mary Cassatt produced this sheet as a working drawing for an etching of the same title. She framed the subject's slanted silhouette against the verticals and horizontals of the window, and featured a seated figure in profile in the lower left quadrant of the composition. The bold, dramatic contrasts of sunlight and shadow throughout the room contrast with the delicacy and sensitivity with which the visitor's face were drawn by Cassatt from direct observation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042071"], "internet_archive": ["https://archive.org/details/clevelandart-1966.176.a-the-visitor-recto"]}, "citations": [{"citation": "Dumas, Ann. <em>The Private Collection of Edgar Degas</em>. New York: Metropolitan Museum of Art, 1997.", "page_number": "p. 240, fig. 319", "url": "http://library.metmuseum.org/record=b1231953"}, {"citation": "Cassatt, Mary, Judith Barter, and Erica E. Hirshler. <em>Mary Cassatt: Modern Woman</em>. Chicago: The Art Institut of Chicago, 1998.", "page_number": "no. 43, p. 321, repr. p. 264", "url": null}, {"citation": "Cassatt, Mary, Shalini Le Gall, Justin McCann, Justine de Young, and Daniel Harkett. Inside Out: The Prints of Mary Cassatt. 2021, 24.", "page_number": "Mentioned and reproduced, p. 24, fig. 7", "url": ""}, {"citation": "Thompson, Jennifer A., and Laurel Garber. <em>Mary Cassatt at Work.</em> Philadelphia, PA: Philadelphia Museum of Art, 2024.", "page_number": "Reproduced: p. 184, fig. 102a", "url": ""}], "catalogue_raisonne": "Lugt 657, in tan", "url": "https://clevelandart.org/art/1966.176.a", "images": {}, "alternate_images": [], "creditline": "Gift of Fifty Members of The Print Club of Cleveland on the Occasion of the Fiftieth Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142354, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "c. 1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.176", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:10.469000"}, {"id": 122833, "accession_number": "1943.10", "share_license_status": "CC0", "tombstone": "Splendid View at Futamigaura Bay (\u4e8c\u898b\u30f6\u6d66\u306e\u5149\u666f), 1854. Utagawa Kuniyoshi (Japanese, 1797\u20131861). Triptych of color woodblock prints; each: 36.9 x 25.4 cm (14 1/2 x 10 in.). The Cleveland Museum of Art, Gift of Mrs. Ralph King, 1943.10", "current_location": "235A Japanese", "title": "Splendid View at Futamigaura Bay", "title_in_original_language": "\u4e8c\u898b\u30f6\u6d66\u306e\u5149\u666f", "creation_date": "1854", "creation_date_earliest": 1854, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Triptych of color woodblock prints", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Each: 36.9 x 25.4 cm (14 1/2 x 10 in.)", "dimensions": {"each": {"height": 0.369, "width": 0.254}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature: Ichiy\u016bsai Kuniyoshi ga. \nArtist's seal: Paulownia.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "Publisher: Yamadaya Sh\u014dhei (Nakabashi, emblem). \nCensorship seal: aratame.", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 309857, "title": "Transformations in Japanese Printmaking", "description": "<i>Transformations in Japanese Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25-December 30, 1984).", "opening_date": "1984-09-25T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Fanny Tewksbury King [1867\u20131949], Cleveland Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131943", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1943\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The woman at the left has the word <em>Yutaka</em>, one of the artist's seals, on her scarf.", "description": "These three prints form a continuous scene of figures visiting Futamigaura Bay near Ise Grand Shrine, one of Japan\u2019s most sacred places. In the background, the sun rises between the \u201cWedded Rocks\u201d joined by a twisted rope, called a <em>shimenawa</em>, used to designate a sanctified space. The rocks mark the entrance to Futami Okitama Shrine and are said to be embodiments of Izanagi and Izanami, the gods who, according to myth, created Japan. Futamigaura was a place where pilgrims purified themselves before visiting Ise and often lodged afterwards.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019259"], "internet_archive": ["https://archive.org/details/clevelandart-1943.10-sunrise-at-futami-ba"]}, "citations": [], "url": "https://clevelandart.org/art/1943.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.10/1943.10_web.jpg", "width": "900", "height": "452", "filesize": "235178", "filename": "1943.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.10/1943.10_print.jpg", "width": "3400", "height": "1707", "filesize": "2596960", "filename": "1943.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.10/1943.10_full.tif", "width": "12649", "height": "6352", "filesize": "241070984", "filename": "1943.10_full.tif"}}, "alternate_images": [{"date_created": "2014-08-13T11:27:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.10/1943.10_alt0_web.jpg", "width": "900", "height": "451", "filesize": "194899"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.10/1943.10_alt0_print.jpg", "width": "3400", "height": "1705", "filesize": "2152953"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.10/1943.10_alt0_full.tif", "width": "7889", "height": "3957", "filesize": "93680916"}}, {"date_created": "2020-07-31T13:17:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.10/1943.10_alt1_web.jpg", "width": "900", "height": "450", "filesize": "294788"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.10/1943.10_alt1_print.jpg", "width": "3400", "height": "1700", "filesize": "2827675"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1943.10/1943.10_alt1_full.tif", "width": "12737", "height": "6368", "filesize": "243356788"}}], "creditline": "Gift of Mrs. Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122833, "creators": [{"id": 23331, "description": "Utagawa Kuniyoshi (Japanese, 1797\u20131861)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the principal Ukiyo-e artists of the late Edo period.", "name_in_original_language": "\u6b4c\u5ddd \u56fd\u82b3", "birth_year": "1797", "death_year": "1861", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-01-12T00:00:00", "sortable_date": 1854, "date_added_to_oa": null, "date_text": "1854", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Futamigaura no k\u014dkei, Sunrise at Futami Bay", "Sunrise at Futami Bay"], "is_highlight": false, "updated_at": "2026-03-27 00:06:50.798000"}, {"id": 142779, "accession_number": "1966.479.b", "share_license_status": "CC0", "tombstone": "Cover for a Miniature Teapot, 1886\u201396. Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, bowenite. The Cleveland Museum of Art, The India Early Minshall Collection, 1966.479.b", "current_location": "211 Faberg\u00e9", "title": "Cover for a Miniature Teapot", "creation_date": "1886\u201396", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "gold, bowenite", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miniature", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 443609, "title": "Faberge 1846 - 1920", "description": "<i>Faberge 1846 - 1920</i>. 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Faberg\u00e9's designers often paired hardstones with gold mounts, particularly in the St. Petersburg workshop where the goldsmiths were concentrated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042900"], "internet_archive": ["https://archive.org/details/clevelandart-1966.479.b-cover-for-a-miniatur"]}, "citations": [], "url": "https://clevelandart.org/art/1966.479.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.479.b/1966.479.b_web.jpg", "width": "900", "height": "717", "filesize": "143056", "filename": "1966.479.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.479.b/1966.479.b_print.jpg", "width": "3400", "height": "2707", "filesize": "1235131", "filename": "1966.479.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.479.b/1966.479.b_full.tif", "width": "3647", "height": "2904", "filesize": "31796768", "filename": "1966.479.b_full.tif"}}, "alternate_images": [{"date_created": "2019-11-15T16:19:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479.b/1966.479.b_alt0_web.jpg", "width": "900", "height": "729", "filesize": "168808"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479.b/1966.479.b_alt0_print.jpg", "width": "3400", "height": "2754", "filesize": "1412140"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.479.b/1966.479.b_alt0_full.tif", "width": "3723", "height": "3016", "filesize": "33710268"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142779, "creators": [{"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. 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Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; 11494 scratched.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. 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Dahl\u2019s views of Norway played a crucial role in establishing his reputation as the leading Norwegian artist of the period and one of most important landscape painters of the Romantic era.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877639"], "internet_archive": ["https://archive.org/details/clevelandart-2019.76-feige-waterfall-feig"]}, "citations": [], "url": "https://clevelandart.org/art/2019.76", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.76/2019.76_web.jpg", "width": "900", "height": "652", "filesize": "253325", "filename": "2019.76_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.76/2019.76_print.jpg", "width": "3400", "height": "2464", "filesize": "2160059", "filename": "2019.76_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.76/2019.76_full.tif", "width": "7930", "height": "5746", "filesize": "136723116", "filename": "2019.76_full.tif"}}, "alternate_images": [{"date_created": "2019-10-18T21:33:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.76/2019.76_alt0_web.jpg", "width": "900", "height": "738", "filesize": "343134"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.76/2019.76_alt0_print.jpg", "width": "3400", "height": "2789", "filesize": "3379962"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.76/2019.76_alt0_full.tif", "width": "11198", "height": "9186", "filesize": "308622504"}}], "creditline": "Sundry Art - Miscellaneous Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 359246, "creators": [{"id": 359247, "description": "Johan Christian Clausen Dahl (Norwegian, 1788\u20131857)", "extent": "execution", "qualifier": null, "role": "artist", "biography": "Norwegian painter, 1788-1857, active in Germany", "name_in_original_language": null, "birth_year": "1788", "death_year": "1857", "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "2019-06-03T00:00:00-04:00", "sortable_date": 1848, "date_added_to_oa": null, "date_text": "1848", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:15.630000"}, {"id": 98647, "accession_number": "1918.347", "share_license_status": "CC0", "tombstone": "Tanb\u016br, late 1800s. Syria or Turkey, Ottoman period (1299\u20131922). Wood, bone, mother-of-pearl, and wire; overall: 58.4 x 10.5 cm (23 x 4 1/8 in.). The Cleveland Museum of Art, The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr., 1918.347", "current_location": "116 Islamic", "title": "Tanb\u016br", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Syria or Turkey, Ottoman period (1299\u20131922)"], "technique": "Wood, bone, mother-of-pearl, and wire", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Musical Instrument", "measurements": "Overall: 58.4 x 10.5 cm (23 x 4 1/8 in.)", "dimensions": {"overall": {"height": 0.584, "width": 0.105}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 396857, "title": "Art of the Islamic World (Islamic art rotation)", "description": "<i>Art of the Islamic World (Islamic art rotation)</i>. The Cleveland Museum of Art (organizer) (May 21, 2021-May 31, 2022).", "opening_date": "2021-05-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The two pairs of wire strings would be played with a quill plectrum.", "description": "This long-necked lute collected in Ottoman Syria possesses traits that are Syrian, Turkish, and Iranian and provides an example of the musical interaction between cultures. It is an ancient instrument and resembles lutes used in Pharaonic Egypt and Mesopotamia. In its many forms, the tanb\u016br was a common instrument throughout the Islamic world. 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Wood, copper alloy, plant fiber, cloth, rawhide or leather, teeth, seeds, resin, synthetic material, iron, and glass beads; overall: 28 x 15.2 cm (11 x 6 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1953.457", "current_location": "108A African", "title": "Mask", "creation_date": "early 1900s, before 1933\u201337", "creation_date_earliest": 1900, "creation_date_latest": 1937, "artists_tags": [], "culture": ["Africa, West Africa, Liberia, Mano-style carver"], "technique": "Wood, copper alloy, plant fiber, cloth, rawhide or leather, teeth, seeds, resin, synthetic material, iron, and glass beads", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 28 x 15.2 cm (11 x 6 in.)", "dimensions": {"overall": {"height": 0.28, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301168, "title": "Primitive to Contemporary Sculpture", "description": "<i>Primitive to Contemporary Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 6-October 31, 1956).", "opening_date": "1956-09-06T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Ralph C. Altman, Los Angeles)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The jaw of this mask is hinged, allowing it to open and close.", "description": "Generally, Mano masks are considered to be manifestations of forest spirits and can be grouped into 11 major types relating to aspects of social control, political and judicial matters, peacemaking, education, competition, and entertainment. This mask was acquired in Liberia by the medical missionary George Harley between 1933 and 1937.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1953.457-mask"]}, "citations": [{"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 13, p. 56 - 57", "url": ""}, {"citation": "Petridis, Constantine. \"A \"Harley Mask\" at the Cleveland Museum of Art: More on Masks among the Mano and Dan Peoples (Liberia/Cote d'Ivoire).\" African Arts 45:1 (Spring 2012): p 17, no 1", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1953.457", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.457/1953.457_web.jpg", "width": "573", "height": "893", "filesize": "225447", "filename": "1953.457_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.457/1953.457_print.jpg", "width": "2180", "height": "3400", "filesize": "3233377", "filename": "1953.457_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.457/1953.457_full.tif", "width": "3206", "height": "5000", "filesize": "48103484", "filename": "1953.457_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt0_web.jpg", "width": "596", "height": "893", "filesize": "228261"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt0_print.jpg", "width": "2270", "height": "3400", "filesize": "3222868"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt0_full.tif", "width": "3338", "height": "5000", "filesize": "50083548"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt1_web.jpg", "width": "544", "height": "893", "filesize": "195148"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt1_print.jpg", "width": "2072", "height": "3400", "filesize": "2870482"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt1_full.tif", "width": "3047", "height": "5000", "filesize": "45717856"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt2_web.jpg", "width": "598", "height": "893", "filesize": "231812"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt2_print.jpg", "width": "2276", "height": "3400", "filesize": "3310595"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt2_full.tif", "width": "3347", "height": "5000", "filesize": "50218728"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt3_web.jpg", "width": "582", "height": "893", "filesize": "200460"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt3_print.jpg", "width": "2214", "height": "3400", "filesize": "2936638"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.457/1953.457_alt3_full.tif", "width": "3256", "height": "5000", "filesize": "48852828"}}], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130743, "creators": [], "legal_status": "accessioned", "accession_date": "1953-12-15T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s, before 1933\u201337", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mask with Animal Jaw"], "is_highlight": false, "updated_at": "2026-03-26 23:59:01.955000"}, {"id": 140461, "accession_number": "1964.376", "share_license_status": "CC0", "tombstone": "Headdress (Zigiren-W\u0254nd\u025b), early to mid-1900s. Africa, West Africa, Guinea, Baga-style carver. Wood, glass beads, upholstery studs, and natural fiber; overall: 52.1 x 15.6 cm (20 1/2 x 6 1/8 in.). The Cleveland Museum of Art, Gift of Edgar A. Hahn, 1964.376", "current_location": "108A African", "title": "Headdress (Zigiren-W\u0254nd\u025b)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1960, "artists_tags": [], "culture": ["Africa, West Africa, Guinea, Baga-style carver"], "technique": "Wood, glass beads, upholstery studs, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 52.1 x 15.6 cm (20 1/2 x 6 1/8 in.)", "dimensions": {"overall": {"height": 0.521, "width": 0.156}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}], "legacy": []}, "provenance": [{"description": "Julius Carlbach. NY..", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "May Co., Cleveland", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Julius Carlbach, N.Y.; May Co., Cleveland", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The performer of this mask grasped the projecting \"legs\" to steady it while balancing it on his head.", "description": "Owned and used for entertainment by young unmarried men only among some Baga subgroups, this type of headdress is said to represent the Maiden, a beautiful young woman. With a beaded necklace and eyes embellished with furniture tacks, the headdress was attached to a cone-shaped costume consisting of colorful cloths and raffia and constructed over a bamboo armature.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1964.376-headdress-zigiren-wo"]}, "citations": [{"citation": "Robbins, Warren M. <em>African Art in American Collections = L'art Africain Dans Les Collections Americaines.</em> New York: F.A. Praeger, 1966.", "page_number": "Reproduced: p. 67, no. 45.", "url": null}, {"citation": "Robbins, Warren M. <em>African sculpture</em>. Atglen, PA: Schiffer Pub, 2005.", "page_number": "Reproduced: p. 67, no. 45.", "url": null}], "url": "https://clevelandart.org/art/1964.376", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.376/1964.376_web.jpg", "width": "590", "height": "893", "filesize": "238227", "filename": "1964.376_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.376/1964.376_print.jpg", "width": "2247", "height": "3400", "filesize": "3590168", "filename": "1964.376_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.376/1964.376_full.tif", "width": "6410", "height": "9701", "filesize": "186580396", "filename": "1964.376_full.tif"}}, "alternate_images": [{"date_created": "2009-11-03T15:52:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt0_web.jpg", "width": "585", "height": "893", "filesize": "240628"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt0_print.jpg", "width": "2227", "height": "3400", "filesize": "3715322"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt0_full.tif", "width": "3180", "height": "4855", "filesize": "46347000"}}, {"date_created": "2009-11-03T15:53:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt1_web.jpg", "width": "594", "height": "893", "filesize": "241694"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt1_print.jpg", "width": "2261", "height": "3400", "filesize": "3834646"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt1_full.tif", "width": "3385", "height": "5090", "filesize": "51719292"}}, {"date_created": "2009-11-03T15:54:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt2_web.jpg", "width": "544", "height": "893", "filesize": "234997"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt2_print.jpg", "width": "2073", "height": "3400", "filesize": "3658142"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.376/1964.376_alt2_full.tif", "width": "3048", "height": "4998", "filesize": "45732012"}}], "creditline": "Gift of Edgar A. Hahn", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140461, "creators": [], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Bust Headdress (Sa-sira-ren)", "Simo Society Yoke Mask (nimba pef\u00e9t\u00e8)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:17.203000"}, {"id": 142821, "accession_number": "1966.500.4", "share_license_status": "CC0", "tombstone": "Covered Tea Caddy, 1896\u20131906. Attributed to Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917), House of Faberg\u00e9 (Russian, 1842\u20131918). Silver gilt, opaque cloisonn\u00e9 enamel; overall: 16.2 x 11.2 cm (6 3/8 x 4 7/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.500.4", "current_location": "211 Faberg\u00e9", "title": "Covered Tea Caddy", "creation_date": "1896\u20131906", "creation_date_earliest": 1896, "creation_date_latest": 1906, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "silver gilt, opaque cloisonn\u00e9 enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 16.2 x 11.2 cm (6 3/8 x 4 7/16 in.)", "dimensions": {"overall": {"height": 0.162, "width": 0.112}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "88, Kokoshnik, tester's initials [assay mark for Moscow, 1899-1908]; C. Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; 88.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966\u2013", "sortorder": 1}, {"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131966", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This covered tea caddy is part of a larger tea service.", "description": "Faberg\u00e9\u2019s craftsmen in Moscow, especially under the watchful eye of workmaster Feodor R\u00fcckert, became known for their work in the pan-Slavic or neo-Russian style, hearkening back to 17th-century motifs of Russian folk art. Often on rather conventional shapes, R\u00fcckert and his silversmiths created an explosion of color, achieved through the historic technique of cloisonn\u00e9 enamel in which tiny metal lines are soldered to the surface then filled with glass powders in various colors and fired to create a high gloss finish. The result is a spectacular evocation of the 17th-century originals. Far from mere copies, however, R\u00fcckert's designs, such as this tea service, employ naturalistic or abstract motifs in a thoroughly modern adaptation of a remarkable earlier period of Russian art and decoration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60741716"], "internet_archive": ["https://archive.org/details/clevelandart-1966.500.4-covered-tea-caddy"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland: Cleveland Museum of Art, 1967.", "page_number": "mentioned & reproduced PP 124-5, cat. no. 59", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=836254532"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino.<em> Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. New Haven: Yale University Press, 2008.", "page_number": "mentioned & reproduced PP 30-1, cat. no. 91", "url": "http://library.clevelandart.org/opac/?func=find-b&find_code=OCL&submit=Search&request=230187932"}], "url": "https://clevelandart.org/art/1966.500.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.4/1966.500.4_web.jpg", "width": "859", "height": "900", "filesize": "258958", "filename": "1966.500.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.4/1966.500.4_print.jpg", "width": "3246", "height": "3400", "filesize": "2353509", "filename": "1966.500.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.4/1966.500.4_full.tif", "width": "5067", "height": "5307", "filesize": "80698172", "filename": "1966.500.4_full.tif"}}, "alternate_images": [{"date_created": "2022-01-24T19:08:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt0_web.jpg", "width": "861", "height": "900", "filesize": "243943"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt0_print.jpg", "width": "3254", "height": "3400", "filesize": "2132264"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt0_full.tif", "width": "5006", "height": "5231", "filesize": "78585396"}}, {"date_created": "2022-01-24T19:12:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt1_web.jpg", "width": "862", "height": "900", "filesize": "244642"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt1_print.jpg", "width": "3255", "height": "3400", "filesize": "2136047"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt1_full.tif", "width": "4976", "height": "5197", "filesize": "77607056"}}, {"date_created": "2022-01-24T19:15:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt2_web.jpg", "width": "858", "height": "900", "filesize": "240356"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt2_print.jpg", "width": "3241", "height": "3400", "filesize": "2097663"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.500.4/1966.500.4_alt2_full.tif", "width": "5067", "height": "5315", "filesize": "80819552"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142821, "creators": [{"id": 8894, "description": "Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917)", "extent": null, "qualifier": "attributed to", "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896\u20131906", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.500", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:36.555000"}, {"id": 168727, "accession_number": "2010.433", "share_license_status": "CC0", "tombstone": "Male Figure (Nkisi), late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo, Cabinda, or Republic of the Congo, probably Vili-style maker. Wood, cloth, resin, organic material, feathers, natural fibers, antelope horn, seashells (including cowrie shells), glass beads, metalized glass, and plant fiber; overall: 42 x 11.8 x 23 cm (16 9/16 x 4 5/8 x 9 1/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.433", "current_location": "108A African", "title": "Male Figure (Nkisi)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Cabinda, or Republic of the Congo, probably Vili-style maker"], "technique": "Wood, cloth, resin, organic material, feathers, natural fibers, antelope horn, seashells (including cowrie shells), glass beads, metalized glass, and plant fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 42 x 11.8 x 23 cm (16 9/16 x 4 5/8 x 9 1/16 in.)", "dimensions": {"overall": {"height": 0.42, "width": 0.118, "depth": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "Jef Vanderstraete, Lasne, Belgium, sold to Ren\u00e9 and Odette Delenne.", "citations": [], "footnotes": [], "date": "before 1960", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, Belgium, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1960\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Different from other figures functioning as defense against witches or misfortune, its \u201cnight guns,\u201d or <em>nduda</em>, are missing.", "description": "<em>Nkisi</em> is an object that is believed to host an ancestral spirit. Unusual among these figures, this nkisi figure is missing its <em>nduda,</em> \u201cnight guns.\u201d These guns would be filled with gunpowder functioning as defense against witches or misfortune. Unless its guns were lost during the course of its life history, this nkisi may instead be an example of a more general type called <em>mpanzu,</em> whose functions included protection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779665"], "internet_archive": ["https://archive.org/details/clevelandart-2010.433-male-figure-nkisi"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 05, September/October 2013", "page_number": "Mentioned & reproduced: p. 12", "url": "https://archive.org/details/CMAMM2013-05/page/12"}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 52-53.", "page_number": "Mentioned: pp. 23, 46, 113; reproduced: pp. 52-53, cat. 13", "url": null}], "url": "https://clevelandart.org/art/2010.433", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.433/2010.433_web.jpg", "width": "702", "height": "893", "filesize": "296110", "filename": "2010.433_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.433/2010.433_print.jpg", "width": "2672", "height": "3400", "filesize": "5431907", "filename": "2010.433_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.433/2010.433_full.tif", "width": "3687", "height": "4690", "filesize": "51914820", "filename": "2010.433_full.tif"}}, "alternate_images": [{"date_created": "2011-05-25T17:32:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt0_web.jpg", "width": "693", "height": "893", "filesize": "294900"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt0_print.jpg", "width": "2638", "height": "3400", "filesize": "5414702"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt0_full.tif", "width": "3581", "height": "4614", "filesize": "49607324"}}, {"date_created": "2011-05-25T18:11:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt1_web.jpg", "width": "635", "height": "893", "filesize": "268783"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt1_print.jpg", "width": "2419", "height": "3400", "filesize": "4928045"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt1_full.tif", "width": "3233", "height": "4544", "filesize": "44107124"}}, {"date_created": "2011-05-25T18:29:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt2_web.jpg", "width": "643", "height": "893", "filesize": "258326"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt2_print.jpg", "width": "2447", "height": "3400", "filesize": "4827446"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt2_full.tif", "width": "3659", "height": "5082", "filesize": "55814132"}}, {"date_created": "2011-05-25T18:47:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt3_web.jpg", "width": "689", "height": "893", "filesize": "285435"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt3_print.jpg", "width": "2623", "height": "3400", "filesize": "5347290"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt3_full.tif", "width": "3671", "height": "4757", "filesize": "52423856"}}, {"date_created": "2011-05-25T19:16:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt4_web.jpg", "width": "678", "height": "893", "filesize": "279172"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt4_print.jpg", "width": "2583", "height": "3400", "filesize": "5231817"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt4_full.tif", "width": "3585", "height": "4718", "filesize": "50774220"}}, {"date_created": "2011-05-25T19:39:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt5_web.jpg", "width": "896", "height": "893", "filesize": "568076"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt5_print.jpg", "width": "3400", "height": "3387", "filesize": "8119934"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.433/2010.433_alt5_full.tif", "width": "4208", "height": "4193", "filesize": "52965608"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168727, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:52.469000"}, {"id": 146446, "accession_number": "1972.120", "share_license_status": "CC0", "tombstone": "Portrait of a Woman, c. 1891. Edmond Fran\u00e7ois Aman-Jean (French, 1858\u20131936). Oil on canvas; framed: 113.4 x 117.8 x 8.3 cm (44 5/8 x 46 3/8 x 3 1/4 in.); unframed: 84.4 x 89.5 cm (33 1/4 x 35 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1972.120", "current_location": "221 19th Century Decorative Arts", "title": "Portrait of a Woman", "creation_date": "c. 1891", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 113.4 x 117.8 x 8.3 cm (44 5/8 x 46 3/8 x 3 1/4 in.); Unframed: 84.4 x 89.5 cm (33 1/4 x 35 1/4 in.)", "dimensions": {"framed": {"height": 1.134, "width": 1.178, "depth": 0.083}, "unframed": {"height": 0.844, "width": 0.895}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed left center in green: Aman Jean\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 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": 540677, "title": "Whistler, The Butterfly Effect", "description": "<i>Whistler, The Butterfly Effect</i>. Mus\u00e9e des Beaux-Arts de Rouen, Rouen, France (May 24-September 22, 2024) https://mbarouen.fr/fr/expositions/whistler-l-effet-papillon.", "opening_date": "2024-05-24T04:00:00"}], "legacy": [{"description": "Paris, Palais des Champs-\u00c9lys\u00e9es. Salon (1891), jean (a.-e.), no. 874, h.c.[Hors Concours] Portrait; or no. 875, Portrait.", "opening_date": null}, {"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia: June 9 - Sept. 16, 2007; Cleveland Musuem of Art, Oct. 2007- January 2008 and the Frist Center, Nashville, TN, Feb. 21-June 1, 2008:  \"Modern Masters from the Cleveland Musuem of Art\"", "opening_date": "2006-05-26T00:00:00"}, {"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}]}, "provenance": [{"description": "(Paris salon, 1891, no. 874 or 875, probably sold to a private collector)", "citations": [], "footnotes": ["<div><!--block-->The consignor of the painting to the sale at Christie\u2019s in 1971 believed that it had been purchased directly from the artist, quite possibly at the Salon of 1891. The painting\u2019s original frame is inscribed with \u201cSalon de 1891,\u201d and its presence is confirmed in a contemporary descriptive account of exhibited Aman-Jean paintings at the Salon: \u201cCombien je pr\u00e9f\u00e8re\u2026les deux portraits de M. Aman Jean! Celui surtout de la jeune femme en noir, qui tient un bouquet de cl\u00e9matites, est d\u2019une m\u00e9lancolie communicative, d\u2019un deuil attendrissant qui le gravent dans le souvenir, d\u2019autant plus que le sentiment sincere et profound en est sontenu par un arrangement des couleurs, dans la gamme des tons de deuil, tr\u00e8s habile et tr\u00e8s soign\u00e9.\u201d&nbsp; However, because both nos. 874 and 875 in the exhibition catalogue are titled \u201cPortrait\u201d and neither is reproduced, either may be the CMA painting.&nbsp;</div>"], "date": "1891", "sortorder": 1}, {"description": "Possibly a private collector, probably sold to an Italian private collector.", "citations": [], "footnotes": null, "date": "Probably from 1891", "sortorder": 2}, {"description": "Private collector, Italy, by descent to his family", "citations": [], "footnotes": ["<div><!--block-->Christie\u2019s files indicate that an \u201cItalian gentleman\u201d purchased the painting from someone, probably a private co</div>"], "date": "After 1891", "sortorder": 3}, {"description": "Family of an Italian collector, possibly consigned to Christie's", "citations": [], "footnotes": ["<div><!--block-->The correspondence concerning this painting's provenance prior to the 1971 Christie's sale is somewhat unclear in its description of the chain of ownership.&nbsp; It seems that the Aman-Jean was likely consigned to Christie's by a descendent of the Italian collector who acquired the painting in the late ninteenth century; however, it is also possible that an unidentified collector was the consignor and should follow the Italian family in the provenance.</div>"], "date": "Before 1971", "sortorder": 4}, {"description": "(Christie's, London, sale, July 9, 1971, lot 258, sold to Ferrers Gallery", "citations": [], "footnotes": ["<div><!--block-->In the auction catalogue, the painting is titled \u201cMeditation.\u201d</div>"], "date": "1971", "sortorder": 5}, {"description": "(Ferrers Gallery, London, probably sold to Cyril Humphris)", "citations": [], "footnotes": ["<div><!--block-->The price list for the July 9, 1971 Christie's sale notes that Ferrers Gallery was the buyer of the Aman-Jean painting.</div><div><!--block--><br></div><div><!--block--><br></div>"], "date": "1971-1971/1972", "sortorder": 6}, {"description": "(Cyril Humphris, London, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "Until 1972", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Aman-Jean, a French Symbolist painter, was likely more concerned with evoking a wistful, meditative mood in this painting of an unidentified woman than with defining a specific personality or likeness. The restrained, tonal palette and flat, decorative shapes suggest the influence of Pierre Puvis de Chavannes and James McNeill Whistler. The postcard pinned to the wall may represent a work by Sandro Botticelli. Aman-Jean exhibited this painting at the Paris Salon of 1891.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472111"], "internet_archive": ["https://archive.org/details/clevelandart-1972.120-portrait-of-a-woman"]}, "citations": [{"citation": "Christie, Manson &amp; Woods. I<em>mpressionist and Modern Drawings, Paintings and Sculpture</em>.  June 9, 1971.", "page_number": null, "url": null}, {"citation": "Christie, Manson &amp; Woods. I<em>mpressionist and Modern Drawings, Paintings and Sculpture</em>.  June 9, 1971.", "page_number": null, "url": null}, {"citation": "Patrick Lindsay, letter to Sherman Lee, Jan. 3, 1973, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Patrick Lindsay, letter to Sherman Lee, Jan. 3, 1973, in CMA curatorial file", "page_number": null, "url": null}, {"citation": "Patrick Lindsay, letter to Sherman Lee, Jan. 3, 1973, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Patrick Lindsay, letter to Sherman Lee, Jan. 3, 1973, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "\u201cLes Salons de 1891,\u201d <em>Gazette des Beaux-Arts </em>5 (June 1891): 468.", "page_number": null, "url": null}, {"citation": "<em>Catalogue illustr\u00e9 de peinture et sculpture: Salon de 1891.  </em>Paris: L. Baschet, 1891.", "page_number": null, "url": null}, {"citation": "\u201cA Symbolist Portrait by Edmond Aman-Jean.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 1 (January 1975): 3\u201310.", "page_number": "Mentioned and reproduced: p. 5, fig. 1, Cover", "url": "http://www.jstor.org/stable/25152569"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 217", "url": "https://archive.org/details/CMAHandbook1978/page/n237"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 8-11, Vol. I, no. 3", "url": ""}], "url": "https://clevelandart.org/art/1972.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.120/1972.120_web.jpg", "width": "946", "height": "893", "filesize": "544680", "filename": "1972.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.120/1972.120_print.jpg", "width": "3400", "height": "3209", "filesize": "6182260", "filename": "1972.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.120/1972.120_full.tif", "width": "4127", "height": "3895", "filesize": "48254064", "filename": "1972.120_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 146446, "creators": [{"id": 1727, "description": "Edmond Fran\u00e7ois Aman-Jean (French, 1858\u20131936)", "extent": null, "qualifier": null, "role": "artist", "biography": "In 1880 Aman-Jean entered the Paris \u00c9cole des Beaux-Arts where he studied under the history and portrait painter Henri Lehmann (1814-1882). He would later share a studio with his close friend Seurat (q.v.). Aman-Jean also studied in the Louvre and after 1883 was advised by Puvis de Chavannes (q.v.). After receiving a stipend in 1885, he traveled to Rome the following year together with Ernest Laurent (1859-1929) and Henri Martin (1860-1943). Already an admirer of Goncourt and Flaubert, Aman-Jean began to associate with the Symbolist poets, including St\u00e9phane Mallarm\u00e9, Paul Verlaine, and Philippe-Auguste Villiers de l'Isle Adam. Aman-Jean created delicate, languorous portraits of women, often recalling the works of the English Pre-Raphaelites. In 1885 Aman-Jean began exhibiting regularly at the Salon de la Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais and later with the Soci\u00e9t\u00e9 Nationale des Beaux-Arts where he was also a member of the jury. In 1892 and 1893 he showed at the Salons de la Rose + Croix, organized by artists interested in mystical Catholi-cism. These exhibitions were open to all arts. During his later years, Aman-Jean was influenced by Bonnard (q.v.), a member of the Nabis. Besides producing oil paintings, Aman-Jean was also a prolific pastellist and printmaker.", "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "c. 1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Portrait of a Woman (Meditation?)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:06.620000"}, {"id": 136154, "accession_number": "1959.82", "share_license_status": "CC0", "tombstone": "Evening, Melancholy I, 1896. Edvard Munch (Norwegian, 1863\u20131944). Hand-colored woodcut; image: 37.7 x 45 cm (14 13/16 x 17 11/16 in.). The Cleveland Museum of Art, Gift of Mrs. Clive Runnels in memory of Leonard C. Hanna Jr., 1959.82", "current_location": null, "title": "Evening, Melancholy I", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["Norway"], "technique": "Hand-colored woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Image: 37.7 x 45 cm (14 13/16 x 17 11/16 in.)", "dimensions": {"image": {"height": 0.377, "width": 0.45}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301702, "title": "The Relief Print", "description": "<i>The Relief Print</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-March 28, 1960).", "opening_date": "1960-01-05T05:00:00"}, {"id": 301697, "title": "Contemporary Art", "description": "<i>Contemporary Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 13, 1960-January 8, 1961).", "opening_date": "1960-09-13T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"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": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 230909, "title": "Munch and Expressionism", "description": "<i>Munch and Expressionism</i>. Neue Galerie, New York, NY (organizer) (February 18-June 13, 2016).", "opening_date": "2016-02-18T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Clive Runnels, Houston, TX, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1959", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1959-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is one of only two known impressions printed from the first state of the block before it was cut into two sections.", "description": "<em>Evening, Melancholy I</em> depicts the jilted, tormented art critic Jappe Nilssen, Munch's friend, on the shore of \u00c5sg\u00e5rdstrand, a fishing village south of Oslo. Munch chose heavily grained blocks of wood, allowing the pattern of the board to add texture to the scene, and he exploited the handmade aspect of the technique by carving blocks crudely. He also experimented so that each impression is unique, using black ink on the woodblock and watercolor and gouache to color the sheet extensively. An example of how method can reinforce meaning, the simplified shapes, flattened space, and dark hues create a visual correspondence to the figure's deep depression.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780950"], "internet_archive": ["https://archive.org/details/clevelandart-1959.82-evening-melancholy-i"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d July 20, 1959, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0413"}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d July 24, 1959, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0416"}, {"citation": "S. E. L. \u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 46, no. 10 (December 1959): 210\u2013231.", "page_number": "Reproduced: p. 215; Mentioned: p. 231", "url": "http://www.jstor.org/stable/25142366"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1966/page/n220"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 196", "url": "https://archive.org/details/CMAHandbook1969/page/n220"}, {"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": "Glaubinger, Jane and Lemonedes, Heather. \u201cTreasures on Paper: The Cr\u00e8me de la cr\u00e8me of the museum\u2019s prints and drawings collection is now on view.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 6-9.", "page_number": "Reproduced and Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2014-02"}], "catalogue_raisonne": "Not Schiefler 82, unique impression", "url": "https://clevelandart.org/art/1959.82", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1959.82/1959.82_web.jpg", "width": "1030", "height": "893", "filesize": "753204", "filename": "1959.82_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1959.82/1959.82_print.jpg", "width": "3400", "height": "2948", "filesize": "9231220", "filename": "1959.82_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1959.82/1959.82_full.tif", "width": "5470", "height": "4744", "filesize": "77879280", "filename": "1959.82_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1959.82/1959.82_alt0_web.jpg", "width": "1027", "height": "893", "filesize": "854573"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1959.82/1959.82_alt0_print.jpg", "width": "1767", "height": "1536", "filesize": "2577075"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1959.82/1959.82_alt0_full.tif", "width": "1767", "height": "1536", "filesize": "8145588"}}], "creditline": "Gift of Mrs. Clive Runnels in memory of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136154, "creators": [{"id": 28052, "description": "Edvard Munch (Norwegian, 1863\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-04-25T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Evening (Melancholia:  On the Beach)", "Melancholy (Evening)", "Melancholia: On the Beach"], "is_highlight": true, "updated_at": "2026-03-27 00:06:37.898000"}, {"id": 148739, "accession_number": "1976.18", "share_license_status": "CC0", "tombstone": "Landscape with Large Trees, c. 1870. Gustave Courbet (French, 1819\u20131877). Black chalk with stumping on brown wove paper; sheet: 38.1 x 52.4 cm (15 x 20 5/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1976.18", "current_location": null, "title": "Landscape with Large Trees", "creation_date": "c. 1870", "creation_date_earliest": 1865, "creation_date_latest": 1870, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk with stumping on brown wove paper", "support_materials": [{"description": "brown wove paper (discolored)", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 38.1 x 52.4 cm (15 x 20 5/8 in.)", "dimensions": {"sheet": {"height": 0.381, "width": 0.524}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in black crayon: Gustave Courbet.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 443378, "title": "Courbet und Deutschland", "description": "<i>Courbet und Deutschland</i>. Hamburger Kunsthalle, Hamburg, Germany (organizer) (October 19-December 17, 1978); St\u00e4del Museum, Franfurt am Main, Germany (January 17-March 18, 1979).", "opening_date": "1978-10-19T04:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 220628, "title": "Corot, Courbet und die Maler von Barbizon: \u201cLes Amis de la nature.\u201d", "description": "<i>Corot, Courbet und die Maler von Barbizon: \u201cLes Amis de la nature.\u201d</i>. Haus der Kunst, Munich (organizer) (February 4-April 21, 1996).", "opening_date": "1996-02-04T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Machwitz Collection, Vitry-le-Fran\u00e7ois, France", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 2}, {"description": "(Galerie Peter Nathan, Zurich), sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1976", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1976-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The slightly blurred appearance of this drawing recalls a similar effect common in early landscape photography.", "description": "The relatively few drawings that Gustave Courbet produced include the group of landscapes to which this example belongs. Rather than referencing a specific place, it combines a wide range of source material\u2014tourist destinations the artist visited in Switzerland, his home in the Franche-Comt\u00e9 region, and paintings by Claude Lorrain and other historical landscapists. Courbet began by applying a hazy middletone in charcoal before adding detail with a darker, sharpened stick. Although surely appealing to collectors of the time, such works also had ideological significance, presenting an untouched terrain that suggested independence and freedom.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929183"], "internet_archive": ["https://archive.org/details/clevelandart-1976.18-landscape-with-large"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1976.\" <em>The Bulletin of the Cleveland Museum of Art</em> 64, no. 2 (1977): 39-78.", "page_number": "Reproduced: p. 52, no. 52", "url": "http://www.jstor.org/stable/25152676"}, {"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. 211", "url": "https://archive.org/details/CMAHandbook1978/page/n231"}, {"citation": "Fernier, Robert. <em>La Vie et l\u2019\u0153uvre de Gustave Courbet: Catalogue raisonne\u0301</em>. Lausanne: Bibliothe\u0300que des Arts, 1978.", "page_number": "Mentioned and reproduced: vol. 2: p. 302-3, no. 48", "url": null}, {"citation": "Hofmann, Werner, and Klaus Herding. <em>Courbet und Deutschland</em>. Exh. cat. Hamburg: Kunsthalle, 1978.", "page_number": "Mentioned and reproduced: p. 357, no. 326", "url": null}, {"citation": "Heilmann, Christoph H., Michael Clarke, and John Sillevis. <em>Corot, Courbet und die Maler von Barbizon: \u201cLes Amis de la nature.\u201d </em>Exh. cat. Munich: Haus der Kunst, 1996.", "page_number": "Mentioned: p. 389, no. c16; Reproduced: p. 371", "url": null}, {"citation": "Gu\u0308del, Niklaus Manuel, Anne-Sophie Poirot, and Philippe Clerc. <em>Gustave Courbet: Les Dessins</em>. Paris: Les Cahiers dessin\u00e9s, 2019.", "page_number": "Mentioned: pp. 175, 361, no. 54; Reproduced: pp. 37 (as no. 49), 177", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 116-117, no. 17", "url": ""}], "catalogue_raisonne": "Fernier 48; G\u00fcdel 54", "url": "https://clevelandart.org/art/1976.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.18/1976.18_web.jpg", "width": "1235", "height": "893", "filesize": "236693", "filename": "1976.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.18/1976.18_print.jpg", "width": "3400", "height": "2458", "filesize": "2135588", "filename": "1976.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.18/1976.18_full.tif", "width": "7815", "height": "5651", "filesize": "132510924", "filename": "1976.18_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.18/1976.18_alt0_web.jpg", "width": "1240", "height": "893", "filesize": "999022"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.18/1976.18_alt0_print.jpg", "width": "2048", "height": "1475", "filesize": "2776133"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.18/1976.18_alt0_full.tif", "width": "2048", "height": "1475", "filesize": "9065532"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148739, "creators": [{"id": 1600, "description": "Gustave Courbet (French, 1819\u20131877)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy farmer's family, Courbet began his training in 1831 at the Petit S\u00e9minaire in Ornans where, beginning in 1833, he studied under \"le p\u00e8re Baud,\" who had been a pupil of Gros (q.v.). He was befriended by poet Max Buchon, who would later write the first article on Courbet, claiming that he was the artist for the people. In 1837, hoping that Gustave would become a lawyer, his father sent him to the Coll\u00e8ge Royal in Besan\u00e7on. Despite his father's ambitions, Courbet began to study art at the academy there with Charles-Antoine Flageoulot (1774-1840), a former student of David (q.v.). By 1839 Courbet had moved to Paris to pursue a career in art. He refrained from entering the \u00c9cole des Beaux-Arts, studying instead briefly with Charles de Steuben (1788-1856) and preferring to learn how to paint by copying the works of the Old Masters in the museums. Courbet also wanted to work after life models and enrolled at the Acad\u00e9mie Suisse. He began to submit paintings to the Salon, the majority of which were rejected. In 1846-47 Courbet traveled to the Netherlands where he studied the works of Rembrandt and Hals. The following year ten of his paintings were shown at the Salon, and together with his friends Baudelaire, Champfleury, and Buchon he became labeled a \"realist.\" Courbet's paintings shown at the 1851 Salon-Stonebreakers (1849, formerly Dresden Gem\u00e4ldegalerie, destroyed during World War II), Peasants of Flagey (1850-55, Mus\u00e9e des Beaux-Arts, Besan\u00e7on), and The Burial at Ornans (1849-50, Mus\u00e9e d'Orsay, Paris)-elicited criticism. Because Courbet represented the peasants as he saw them, without ennobling or idealizing them, his works met with disapproval. Moreover, these representations of peasants appeared at a time when the upper classes felt threatened by social unrest and by the instability of the republic. In 1855 Courbet financed an independent Pavillon du R\u00e9alisme near the Universal Exposition, where he showed his Painter's Studio (1854-55, Mus\u00e9e d'Orsay, Paris). He began to travel extensively, including visits to Gent, Brussels, Antwerp, Bruges, Cologne, Mainz, and Strasbourg. He returned to Germany in 1858, and while in Frankfurt, he began to paint the stag hunts he witnessed. The following year he visited the Normandy coast, painting seascapes, some of which became almost abstractions. Courbet turned to still lifes in 1862-63 when visiting the Saintonge area, yet he still continued to create landscapes and portraits. By 1870 he was offered the Legion of Honor but refused it because of his opposition to the imperial government. During the Paris Commune from March to May 1871, Courbet became an active member of the government. As chairman of the Commission for the Protection of the Artistic Monuments of Paris, he suggested the Vend\u00f4me Column be dismantled because it was an imperial symbol. The Commune decided instead to topple the column. When the Commune was defeated, Courbet was held responsible for this act of vandalism and was jailed for six months. In 1873 the government decided to rebuild the column at Courbet's expense. Unable to pay and fearful of being arrested, Courbet moved to Switzerland, where he spent the rest of his life in exile.", "name_in_original_language": null, "birth_year": "1819", "death_year": "1877", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-05-07T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "c. 1870", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscape"], "is_highlight": false, "updated_at": "2026-03-27 00:00:16.410000"}, {"id": 83462, "accession_number": "2020.115", "share_license_status": "CC0", "tombstone": "Corn Fields, 1900. F\u00e9lix Vallotton (Swiss French, 1865\u20131925). Oil on board; unframed: 26.2 x 46.2 cm (10 5/16 x 18 3/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.115", "current_location": null, "title": "Corn Fields", "creation_date": "1900", "creation_date_earliest": 1900, "creation_date_latest": 1900, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 26.2 x 46.2 cm (10 5/16 x 18 3/16 in.)", "dimensions": {"unframed": {"height": 0.262, "width": 0.462}, "framed": {"height": 0.4, "width": 0.594, "depth": 0.038}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated lower right (twice): F. VALLOTTON. 00", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Exposition Vallotton et Vuillar</em>d. Galerie Bernheim-Jeune, Paris, France (1903).", "opening_date": "1903-01-01T00:00:00"}, {"description": "<em>F\u00e9lix Vallotton, Paris</em>. Kunstlerhaus. Zurich, Switzerland (May 2\u201326, 1909).", "opening_date": "1909-05-02T05:00:00Z"}, {"description": "<em>Exposition F\u00e9lix Vallotton, Peintures 1886-1919</em>. Galerie Druet, Paris, France (1923).", "opening_date": "1923-01-01T00:00:00"}, {"description": "<em>Exposition r\u00e9trospective d'oeuvres in\u00e9dites de F\u00e9lix Vallotton 1865-1925</em>. Galerie Jacques Rodrigues-Henriques, Paris, France (March 9\u201330, 1928).", "opening_date": "1928-03-09T05:00:00Z"}, {"description": "<em>Felix Vallotton 1865-1925</em>. Kunsthaus, Z\u00fcrich, Switzerland (November 11\u2013December 14, 1938).", "opening_date": "1938-12-14T00:00:00"}, {"description": "<em>Exposition anniversaire 1913-1988, Ma\u00eetres suisses et fran\u00e7ais de XIXe et XXe si\u00e9cles</em>. Galerie Vallotton, Lausanne, Switzerland (1988).", "opening_date": "1988-01-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Jacques-Rodrigues-Henriques [1886-1968], Paris, France)", "citations": [], "footnotes": ["<div><!--block-->This painting was included in the \u201cExposition R\u00e9trospective d'Oeuvres In\u00e9dites de F\u00e9lix Vallotton 1865-1925,\u201d at Galerie Jacques Rodrigues-Henriques, Paris, March 9-30, 1928, cat. no. 15, as \u201cLes prairies, Romanel, pr\u00e8s Lausanne.\u201d</div>"], "date": "by 1928", "sortorder": 1}, {"description": "Mme Debrise, Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to Sotheby\u2019s 2008 sale catalogue, lot 38.&nbsp;</div>"], "date": "1945\u2013?", "sortorder": 2}, {"description": "(Galerie Vallotton, no. 13179, Lausanne, Switzerland)", "citations": [], "footnotes": ["<div><!--block-->Included in the \u201cExposition Anniversaire 1913-1988, Ma\u00eetres Suisses et Fran\u00e7ais de XIXe et XXe Si\u00e9cles,\u201d Galerie Vallotton, Lausanne, 1988, cat. no. 118.&nbsp;</div>"], "date": "1988\u2013?", "sortorder": 3}, {"description": "(Sotheby's, Zurich, Switzerland, May 27, 2008, lot 38, sold to Samuel Josefovitz)", "citations": [], "footnotes": ["<div><!--block-->According to handwritten annotation in the 2008 Sotheby\u2019s sale catalogue.&nbsp;</div>"], "date": "May 27, 2008", "sortorder": 4}, {"description": "Samuel Josefovitz [1921-2015], Lausanne, Switzerland, sold to Nancy F. and Joseph P. Keithley", "citations": [], "footnotes": [], "date": "2008\u2013?", "sortorder": 5}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2020", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1892, Vallotton joined a circle of French artists known as The Nabis (Prophets) who emphasized decoration, abstraction, and discrete, intimate emotion in their paintings.", "description": "With the change of the century, Vallotton shifted his focus from printmaking to oil painting. Before 1900, the artist concentrated on precisely reproducing the world around him, but as seen in this painting, Vallotton\u2019s work shows hints of ambiguity. The greenery blends together, and the distant horizon is described in simple curves of hills or clouds that fade into the sky.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480854"], "internet_archive": ["https://archive.org/details/clevelandart-2020.115-corn-fields"]}, "citations": [{"citation": "<em>Felix Vallotton, Paris V. Serie 1909, 2. Mai bis 28. Mai.</em> [Zu\u0308rich]: [Ku\u0308nstlerhaus Zu\u0308rich], 1909. <br>Published as: <em>Les Bles</em>", "page_number": "Mentioned: cat. no. 12", "url": ""}, {"citation": "<em>Exposition Re\u0301trospective d'Oeuvres Ine\u0301dites de Fe\u0301lix Vallotton, 1865-1925: 50 Petits Tableaux de 1889-a\u0300 1925, Chez Jacques Rodriques-Henriques ... Paris ... du vendredi 9 au vendredi 30 mars 1928.</em> [Paris]: La Galerie, 1928. <br>Published as: <em>Les Prairies, Romanel, pr\u00e8s Lausanne </em>", "page_number": "Mentioned: cat. no. 15", "url": ""}, {"citation": "<em>Fe\u0301lix Vallotton, 1865 - 1925.</em> Zu\u0308rich: Kunsthaus, 1938.<br>Published as: <em>Bles a Romanel</em>", "page_number": "Mentioned: P. 20, no. 50", "url": ""}, {"citation": "Ducrey, Marina, and Katia Poletti. <em>Fe\u0301lix Vallotton, 1865-1925: l'\u0153uvre peint.</em> Lausanne: Fondation Fe\u0301lix Vallotton, 2005.", "page_number": "Mentioned and Reproduced: Vol. II, P. 192, no. 314", "url": null}, {"citation": "Amory, Dita. \"Felix Vallotton.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 128-131. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 130-131; Mentioned: p. 272-273", "url": ""}, {"citation": "\"Exhibitions: Transformative Gift.\" <em>Art &amp; Antiques </em>XLV, no. 10 (November 2022): 48-53.", "page_number": "Reproduced: p. 48", "url": ""}, {"citation": "\u201cExhibitions through February 2023.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 4 (December 2022): 10.", "page_number": "Reproduced: P. 10.", "url": ""}], "url": "https://clevelandart.org/art/2020.115", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.115/2020.115_web.jpg", "width": "900", "height": "511", "filesize": "218234", "filename": "2020.115_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.115/2020.115_print.jpg", "width": "3400", "height": "1930", "filesize": "2624491", "filename": "2020.115_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.115/2020.115_full.tif", "width": "13057", "height": "7411", "filesize": "290321672", "filename": "2020.115_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 83462, "creators": [{"id": 8972, "description": "F\u00e9lix Vallotton (Swiss French, 1865\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1865", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:51.709000"}, {"id": 156283, "accession_number": "1992.12", "share_license_status": "CC0", "tombstone": "Bridal Veil, Yosemite, 1865\u201366. Carleton E. Watkins (American, 1829\u20131916). Albumen print from wet collodion negative; image: 40.1 x 52.4 cm (15 13/16 x 20 5/8 in.); matted: 61 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1992.12", "current_location": null, "title": "Bridal Veil, Yosemite", "creation_date": "1865\u201366", "creation_date_earliest": 1865, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["America"], "technique": "albumen print from wet collodion negative", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 40.1 x 52.4 cm (15 13/16 x 20 5/8 in.); Matted: 61 x 76.2 cm (24 x 30 in.)", "dimensions": {"image": {"height": 0.401, "width": 0.524}, "matted": {"height": 0.61, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto of mount: \"THE BRIDAL VEIL--900 FEET--YOSEMITE\"; \"/2\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311552, "title": "Selected Acquisitions", "description": "<i>Selected Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-April 11, 1993).", "opening_date": "1993-02-09T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 212265, "title": "Carleton Watkins: The Art of Perception", "description": "<i>Carleton Watkins: The Art of Perception</i>. San Francisco Museum of Modern Art, San Francisco, CA (organizer) (May 28-September 7, 1999); The Metropolitan Museum of Art, New York, NY (October 11, 1999-January 9, 2000); National Gallery of Art, Landover, MD (February 20-May 7, 2000).", "opening_date": "1999-05-28T00:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007); Frick Art and Historical Center, Pittsburgh, PA (October 3, 2009-January 3, 2010).", "opening_date": "2007-06-24T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "CMA, January 28 - March 15, 1992: \"Selected Acquisitions,\" CMA Bulletin, 80 (February 1993), p. 69, no. 134.", "opening_date": "1992-01-28T00:00:00"}, {"description": "CMA, January 14 - March 27, 1994: \"Land of Sky and Water: 19th Century Photographs of the American West,\" Gallery 105, no exhibition catalogue.", "opening_date": "1994-01-14T00:00:00"}, {"description": "CMA, November 20,1996 - February 2, 1997: \"Legacy of Light: Master Photographs from the Cleveland Museum of Art.\"", "opening_date": "1997-02-02T00:00:00"}, {"description": "San Francisco Museum of Modern Art; Metropolitan Museum of Art; National Gallery of Art; \"Carleton Watkins: The Art of Perception\" 5/28/99 - 5/7/00. 71, Pl. 25.", "opening_date": "1999-05-28T00:00:00"}, {"description": "The Cleveland Museum of Art (6/24/07 - 9/16/07) and Frick Art and Historical Center, Pittburgh, PA (10/3/2009 - 1/3/2010); \"Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art\", no exhibition catalogue.", "opening_date": "2007-06-24T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the spring, Bridal Veil Falls drops a torrent of rushing water 620 feet down into the Yosemite Valley.", "description": "The grand scale of the American West was difficult to convey in early photographs, which were intimately scaled objects meant for the hand and the album. Starting in the late 1850s, a handful of photographers shooting landscapes and historical settings began producing \u201cmammoth\u201d prints, including the San Francisco-based Carleton E. Watkins. The seemingly gargantuan scale of these prints allowed a new, immersive relationship between the viewer and the image, enhancing that \u201cyou are there\u201d feeling.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760319"], "internet_archive": ["https://archive.org/details/clevelandart-1992.12-bridal-veil-yosemite"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 69", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 369", "url": ""}], "url": "https://clevelandart.org/art/1992.12", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.12/1992.12_web.jpg", "width": "1109", "height": "893", "filesize": "806175", "filename": "1992.12_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.12/1992.12_print.jpg", "width": "3400", "height": "2738", "filesize": "5784628", "filename": "1992.12_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.12/1992.12_full.tif", "width": "4192", "height": "3376", "filesize": "42490492", "filename": "1992.12_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156283, "creators": [{"id": 1061, "description": "Carleton E. Watkins (American, 1829\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "Carleton E. Watkins American, 1829-1916\r\n\r\nBorn in Oneonta, New York, Carleton Watkins traveled west to California in the early 1850s, shortly after the gold rush. He learned photography in 1854 from Robert Vance, one of the earliest and best of San Francisco's daguerreotypists. Vance's landscape photography, unusually skilled for the time, may have influenced Watkins's work.\r\n\tWatkins was among the first photographers in the Yosemite valley, shooting there in 1861, and his mammoth-plate landscape photographs of the area are believed to have contributed to Yosemite's early designation as a national park. His Yosemite Art Gallery opened in San Francisco in 1867, but unlike most photographers of the time, Watkins is not known to have done much portrait work. His subjects included topographical, scenic, survey, agricultural, and urban views of California and surrounding states, including Oregon, Arizona, Nevada, and Utah. Through his friendship with railroad magnate Collis Huntington, Watkins photographed along railway lines and was able to reach distant sites. Huntington later bought him the farm where he retired. Watkins's landscapes were well received; he was awarded an international medal at the Paris Exposition (1867) and a medal of progress at the Vienna International Exposition (1873).\r\n\tThe numerous commissions and the work produced for the public market by Watkins combine clarity of vision with technical expertise. His work set the standard for subsequent photographers of western views, such as William Henry Jackson, Timothy O'Sullivan, and John K. Hillers. Although his life was difficult and his business sense lacking, his photographic efforts were protracted and indefatigable. Watkins's negatives were destroyed in the San Francisco earthquake and fire of 1906. He died several years later blind and insane. T.W.F.", "name_in_original_language": null, "birth_year": "1829", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-02-24T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "1865\u201366", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:18.295000"}, {"id": 166693, "accession_number": "2008.404", "share_license_status": "CC0", "tombstone": "The Genius of the Sculptor, c. 1880\u201383. Auguste Rodin (French, 1840\u20131917). Pen and brown ink; sheet: 26.3 x 18.9 cm (10 3/8 x 7 7/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.404", "current_location": null, "title": "The Genius of the Sculptor", "creation_date": "c. 1880\u201383", "creation_date_earliest": 1880, "creation_date_latest": 1883, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pen and brown ink", "support_materials": [{"description": "lightweight, translucent beige wove paper discolored to yellow-brown", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 26.3 x 18.9 cm (10 3/8 x 7 7/16 in.)", "dimensions": {"sheet": {"height": 0.263, "width": 0.189}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}, {"id": 439224, "title": "Rodin in the United States: Confronting the Modern", "description": "<i>Rodin in the United States: Confronting the Modern</i>. Sterling and Francine Clark Art Institute, Williamstown, MA (organizer) (June 18-September 18, 2022) https://www.clarkart.edu/microsites/rodin/.", "opening_date": "2022-06-18T04:00:00"}], "legacy": [{"description": "<em>Non-Dissenters: Fifth Exhibition Marking Our Tenth Anniversary.</em> Shepherd Gallery, New York (November 1-December 31, 1976).", "opening_date": "1976-11-01T00:00:00"}, {"description": "<em>The Romantics to Rodin: French Nineteenth-Century Sculpture from North American Collections. </em>Los Angeles County Museum of Art (March 4 - May 25, 1980); Minneapolis Institute of Arts (June 25 - September 21, 1980); Detroit Institute of Arts (October 27, 1980 - January 4, 1981).", "opening_date": "1980-03-04T00:00:00"}, {"description": "<em>", "opening_date": null}, {"description": "Rodin's Monument to Victor Hugo. </em>Los Angeles County Museum of Art (December 17, 1998 - March 15, 1999); Portland Art Museum, Portland, OR (April 13 - June 11, 1999); Metropolitan Museum of Art, New York (October 7, 1999 - January 2, 2000).", "opening_date": "1999-04-13T00:00:00"}]}, "provenance": [{"description": "Marcel Louis Gu\u00e9rin [1873-1948; Lugt 1872b], Paris", "citations": [], "footnotes": null, "date": "?-1932", "sortorder": null}, {"description": "(his sale, H\u00f4tel Drouot, Paris, December 9, 1932, no. 70)", "citations": [], "footnotes": null, "date": "1932", "sortorder": 2}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": null, "date": "1976", "sortorder": 3}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1976-2008", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In other similar depictions of the theme seen in this drawing, Auguste Rodin depicted Genius as a woman.", "description": "Auguste Rodin repeatedly explored the theme of creative male genius in major works, such as the famous <em>Thinker</em>, a cast of which sits outside the Cleveland Museum of Art on the south terrace. In this drawing, Rodin depicted the artist in active thought with his hand on his head, accompanied by a wingless \u201cgenius\u201d floating above him. He derived this symbol of inner creative energy from the traditional subject of the winged muse, examples of which also appear on Michelangelo\u2019s Sistine Chapel ceiling as companions to God the Father.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997301"], "internet_archive": ["https://archive.org/details/clevelandart-2008.404-the-genius-of-the-sc"]}, "citations": [{"citation": "Lugt, Frits. <em>Les Marques de collections de dessins et d'estampes</em>. The Hague: Martinus Nijhoff, 1956. Online.", "page_number": "Mentioned: no. 1872b", "url": "http://www.marquesdecollections.fr/detail.cfm/marque/8501/total/1"}, {"citation": "<em>Non-Dissenters: Fifth Exhibition Marking Our Tenth Anniversary. </em>Exh. Cat. New York: Shepherd Gallery, 1976.", "page_number": "Mentioned and reproduced: no. 146", "url": null}, {"citation": "Fusco, Peter, and H. W. Janson. <em>The Romantics to Rodin: French Nineteenth-Century Sculpture from North American Collections</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1980.", "page_number": "Mentioned and reproduced: pp. 336-37, no. 197", "url": null}, {"citation": "Elsen, Albert E. <em>Rodin Rediscovered</em>. Exh. Cat. Washington, DC: National Gallery of Art, 1981.", "page_number": "Mentioned: pp. 106-7, 121 n. 9-11; Reproduced: fig. 5.3", "url": null}, {"citation": "Elsen, Albert E. <em>The Gates of Hell by Auguste Rodin. </em>Stanford, CA: Stanford University Press, 1985.", "page_number": "Mentioned: p. 221", "url": null}, {"citation": "Lampert, Catherine et al, <em>Rodin: Sculpture and Drawings</em>. Exh. Cat. London: Hayward Gallery, 1986.", "page_number": "Mentioned: p. 32", "url": null}, {"citation": "Butler, Ruth. <em>The Shape of Genius</em>. New Haven: Yale University Press, 1993.", "page_number": "Mentioned: pp. 309-10; Reproduced: fig. 126", "url": null}, {"citation": "Butler, Ruth, Jeanine Parisier Plottel, and Jane Mayo Roos. <em>Rodin's Monument to Victor Hugo</em>. Exh. Cat. Los Angeles: Los Angeles County Museum of Art, 1998.", "page_number": "Mentioned: pp. 71-72, 118, no. 22; Reproduced: fig. 37", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: pp. 116-17, 143, no. 53; Reproduced: p. 117", "url": null}, {"citation": "Rodin, Auguste, Antoinette Le Normand-Romain, Christina Buley-Uribe, Patrick R. Crowley, C. D. Dickerson, Laure de Margerie, Ve\u0301ronique Mattiussi, Elyse Nelson, Jennifer A. Thompson, and Nora M. Rosengarten. Rodin in the United States: Confronting the Modern. Williamstown, Massachusetts : Clark Art Institute, 2022.", "page_number": "Mentioned: p.48, 218; reproduced: p. 218, cat. 102", "url": ""}], "url": "https://clevelandart.org/art/2008.404", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.404/2008.404_web.jpg", "width": "642", "height": "893", "filesize": "431116", "filename": "2008.404_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.404/2008.404_print.jpg", "width": "2444", "height": "3400", "filesize": "6238734", "filename": "2008.404_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.404/2008.404_full.tif", "width": "4403", "height": "6125", "filesize": "80935388", "filename": "2008.404_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:54:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.404/2008.404_alt0_web.jpg", "width": "642", "height": "893", "filesize": "397430"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.404/2008.404_alt0_print.jpg", "width": "2445", "height": "3400", "filesize": "5145710"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.404/2008.404_alt0_full.tif", "width": "3595", "height": "5000", "filesize": "53945972"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166693, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1880\u201383", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:59.725000"}, {"id": 83456, "accession_number": "2020.102", "share_license_status": "Copyrighted", "tombstone": "Woman Putting on Her Stockings, 1893. Pierre Bonnard (French, 1867\u20131947). Oil on board; unframed: 35.2 x 27 cm (13 7/8 x 10 5/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.102. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Woman Putting on Her Stockings", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 35.2 x 27 cm (13 7/8 x 10 5/8 in.)", "dimensions": {"unframed": {"height": 0.352, "width": 0.27}, "framed": {"height": 0.5, "width": 0.421, "depth": 0.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "Galerie Salis, Salzburg, Austria; JPL Fine Arts, London, United Kingdom (1991).", "opening_date": "1991-01-01T00:00:00"}, {"description": "<em>1893: L'Europe des peintres. </em>Musee d'Orsay, Paris, France (February 22-May 23, 1993).", "opening_date": "1993-02-22T00:00:00"}, {"description": "Fine Art Society, London, United Kingdom (1997).", "opening_date": "1997-01-01T00:00:00"}, {"description": "<em>Bonnard</em>. Tate Gallery, London, United Kingdom (February 12-May 17, 1998); Museum of Modern Art, New York, NY (June 17-October 13, 1998).", "opening_date": "1998-02-12T00:00:00"}, {"description": "<em>Bonnard: Early and Late</em>. The Phillips Collection, Washington DC (September 21, 2002-January 19, 2003); Denver Museum of Art, Denver, CO (March 1-May 25, 2003).", "opening_date": "2003-03-01T00:00:00"}]}, "provenance": [{"description": "(Collection Galerie Paul Petrides, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->According to Jean Dauberville and Henry Dauberville, <em>Bonnard, Catalogue Raisonne\u0301 de l\u2019\u0152uvre Peint</em> (Paris, 1966), vol. I, p. 116., cat. no. 44.</div><div><!--block-->&nbsp;</div>"], "date": "by 1966", "sortorder": 1}, {"description": "Private Collection, New York, NY", "citations": [], "footnotes": null, "date": "after 1966\u2013before 1991", "sortorder": 2}, {"description": "(JPL Fine Arts, London, United Kingdom)", "citations": [], "footnotes": null, "date": "after 1966\u2013before 1991", "sortorder": 3}, {"description": "Private Collection, Great Britain", "citations": [], "footnotes": ["<div><!--block-->According to <em>Bonnard</em> (Salzburg: Galerie Salis; London: JPL Fine Arts, 1991), cat. no. 2, ill.</div><div><!--block-->&nbsp;</div>"], "date": "by 1991\u2013possibly 1996", "sortorder": 4}, {"description": "Possibly Neffe-Degrande, London, United Kingdom", "citations": [], "footnotes": ["<div><!--block-->Included on the cover of the exhibition catalogue \u201cBonnard \u2013 Roussel \u2013 Vuillard: Drawings, Watercolours, Pastels and Paintings,\u201d Neffe-Degandt, London, November 20, 1996 \u2013 January 31, 1997</div>"], "date": "by 1996\u2013before 2008", "sortorder": 5}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2008\u20132020", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The woman in this painting is likely Bonnard\u2019s companion and eventual wife, Marthe Boursin, who the artist met in 1893 and married in 1925.", "description": "This painting was made when Pierre Bonnard was a member of a group of artists in Paris who called themselves the Nabis (Hebrew for \u201cprophets\u201d), who sought to capture subjective experience in their art. Here, he depicts a woman, very likely his new lover, Marthe Boursin, who he met around 1893. Bonnard infuses the scene with rhyming patterns, echoing Marthe\u2019s undulating auburn curls against the horizontal waves that represent the bed linens. Marthe and Bonnard became lifelong partners, eventually marrying in1925.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480848"], "internet_archive": ["https://archive.org/details/clevelandart-2020.102-woman-putting-on-her"]}, "citations": [{"citation": "Dauberville, Jean, and Henry Dauberville. <em>Bonnard, catalogue raisonne\u0301 de l'\u0153uvre peint</em>. Paris, France: J. et H. Bernheim, 1966.", "page_number": "Mentioned and Reproduced: Vol. I, P. 116, no. 44", "url": null}, {"citation": "<em>Bonnard: Galerie Salis, Salzburg, 27. Juli bis 15. September 1991 : JPL Fine Arts, London, Oktober, 3rd to December, 6th 1991.</em> Salzburg: Galerie Salis, 1991.", "page_number": "Mentioned and reproduced: no. 2", "url": ""}, {"citation": "Muse\u0301e d'Orsay, and Re\u0301union des muse\u0301es nationaux (France). <em>1893: l'Europe des peintres : Paris, Muse\u0301e d'Orsay, 22 fe\u0301vrier-23 mai 1993</em>. Paris, France: Le Muse\u0301e, 1993.", "page_number": "Mentioned and Reproduced: P. 154-155, no.  42", "url": null}, {"citation": "<em>Bonnard, Roussel, Vuillard: Drawings, Watercolors, Pastels and Paintings : 20 November 1996-31 January 1997.</em> London: Neffe-Degandt, 1996.", "page_number": "Reproduced: Cover", "url": ""}, {"citation": "<em>Fine Art Society. Spring'97: 6th May-6th June.</em> London: Fine Art Society, 1997.", "page_number": "Reproduced: P. 34, no. 39", "url": ""}, {"citation": "Elderfield, John, and Sarah Whitfield. <em>Bonnard</em>. London, United Kingdom: Tate Gallery Pub, 1998.", "page_number": "Mentioned and reproduced: p. 64-65, no. 6", "url": null}, {"citation": "Turner, Elizabeth Hutton, and Nancy Wolsk. <em>Pierre Bonnard: Early and Late</em>. Washington, DC: Philip Wilson Publishers in collaboration with the Phillips Collection, 2002.", "page_number": "Reproduced: p. 95, no. 21", "url": null}, {"citation": "Page\u0301, Suzanne. <em>Pierre Bonnard: The Work of Art, Suspending Time : Muse\u0301e D'art Moderne De La Ville De Paris, 2 February-7 May 2006</em>. Paris, France: Paris Muse\u0301es, 2006.", "page_number": "Mentioned and reproduced: P. 106, no. 14; mentioned: P. 305-306, no. 14", "url": null}, {"citation": "Brown, Heather Lemonedes. \u201cIntroducing the Nabis.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 1-19. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned and Reproduced: P. 11, fig. 13", "url": ""}, {"citation": "Chapin, Mary Weaver. \"Pierre Bonnard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 102-127. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 102-103; Mentioned: p. 254-257", "url": ""}], "url": "https://clevelandart.org/art/2020.102", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 83456, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:55.289000"}, {"id": 164593, "accession_number": "2006.116", "share_license_status": "CC0", "tombstone": "Mask (Emangungu), possibly early 1900s. Africa, Central Africa, Democratic Republic of Congo, Bembe-style maker. Wood, kaolin, colorant, and iron; overall: 46 cm (18 1/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2006.116", "current_location": "108A African", "title": "Mask (Emangungu)", "creation_date": "possibly early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Bembe-style maker"], "technique": "Wood, kaolin, colorant, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 46 cm (18 1/8 in.)", "dimensions": {"overall": {"height": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Franyo and Gustave Schindler, New York, NY", "citations": [], "footnotes": null, "date": "by 1957\u2013?", "sortorder": 1}, {"description": "Jacques Boussard, Paris, France", "citations": [], "footnotes": null, "date": "before 1967\u20131990", "sortorder": 2}, {"description": "Lucien Van de Velde, Antwerp, Belgium", "citations": [], "footnotes": null, "date": "1990\u2013?", "sortorder": 3}, {"description": "private collection, Belgium", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Sotheby's, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2006", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2006\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "White kaolin clay highlights the eyes of this carved wooden mask.", "description": "Among the Bembe, anthropo-zoomorphic plank masks are used in circumcision rites called <em>butende</em>. They are worn along with a costume of bark and banana leaves by the initiated boys who beg for food in the village while living in seclusion in the forest. The sculpture\u2019s short projections above the forehead are identified as an owl\u2019s tufts. The two pairs of eyes could refer to divination.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2006.116-mask-emangungu"]}, "citations": [{"citation": "Herreman, Frank, Constantijn Petridis, Dick Beaulieux, Etnografisch Museum (Antwerp, Belgium), and National Museum of African Art (U.S.). 1993. <em>Face of the Spirits : Masks from the Zaire Basin</em>. Gent: Snoeck-Ducaju.", "page_number": "", "url": ""}, {"citation": "Arts d'Afrique et d'Oc\u00e9anie, exh. cat., Palais Miramar, Cannes (Cannes: Palais Miramar, 1957), fig. 282. Arts primitifs dans les ateliers d'artistes, exh. cat., Mus\u00e9e de l'Homme, Paris (Paris: Mus\u00e9e de l'Homme, 1967), fig. 98.", "page_number": "", "url": ""}, {"citation": "Michel Leiris and Jacqueline Delange, Afrique noire: Univers des formes (Paris: Gallimard, 1967), fig. 241.", "page_number": "", "url": ""}, {"citation": "Ren\u00e9 Wassing, L'art d'Afrique noire (Fribourg: Office du Livre, 1969), fig. 41; Arts Primitifs: AfriqueOc\u00e9anie, sale cat. (Drouot-Montaigne, Paris, December 18, 1990), lot 17.", "page_number": "", "url": ""}, {"citation": "Alisa LaGamma, Review of the exhibition \"Face of the Spirits,\" African Arts, vol. 27, 1995, no. 1, p. 84.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. 2011. \u201cNew Acquisitions of African Art at the Cleveland Museum of Art.\u201d <em>African Arts. </em>(44) No. 1, Spring 2011. Pg. 60, Fig. 7", "page_number": "", "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. 37", "url": ""}], "url": "https://clevelandart.org/art/2006.116", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2006.116/2006.116_web.jpg", "width": "546", "height": "893", "filesize": "282839", "filename": "2006.116_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2006.116/2006.116_print.jpg", "width": "2078", "height": "3400", "filesize": "3771686", "filename": "2006.116_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2006.116/2006.116_full.tif", "width": "3180", "height": "5204", "filesize": "49675996", "filename": "2006.116_full.tif"}}, "alternate_images": [{"date_created": "2006-10-18T18:26:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt0_web.jpg", "width": "562", "height": "893", "filesize": "260265"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt0_print.jpg", "width": "2139", "height": "3400", "filesize": "3507195"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt0_full.tif", "width": "2859", "height": "4545", "filesize": "39012320"}}, {"date_created": "2006-06-26T19:48:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt1_web.jpg", "width": "539", "height": "893", "filesize": "288920"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt1_print.jpg", "width": "2053", "height": "3400", "filesize": "3841850"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt1_full.tif", "width": "3032", "height": "5022", "filesize": "45710264"}}, {"date_created": "2006-10-18T18:50:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt2_web.jpg", "width": "545", "height": "893", "filesize": "243799"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt2_print.jpg", "width": "2074", "height": "3400", "filesize": "3307729"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt2_full.tif", "width": "2835", "height": "4648", "filesize": "39560808"}}, {"date_created": "2006-06-26T19:58:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt3_web.jpg", "width": "552", "height": "893", "filesize": "285116"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt3_print.jpg", "width": "2101", "height": "3400", "filesize": "3861792"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt3_full.tif", "width": "3210", "height": "5194", "filesize": "50047980"}}, {"date_created": "2006-10-18T19:37:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt4_web.jpg", "width": "462", "height": "893", "filesize": "157972"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt4_print.jpg", "width": "1759", "height": "3400", "filesize": "2241564"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt4_full.tif", "width": "2609", "height": "5043", "filesize": "39499756"}}, {"date_created": "2006-06-26T20:23:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt5_web.jpg", "width": "520", "height": "893", "filesize": "285557"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt5_print.jpg", "width": "1981", "height": "3400", "filesize": "3867308"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt5_full.tif", "width": "3006", "height": "5159", "filesize": "46553160"}}, {"date_created": "2006-10-18T19:12:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt6_web.jpg", "width": "547", "height": "893", "filesize": "247372"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt6_print.jpg", "width": "2081", "height": "3400", "filesize": "3453024"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2006.116/2006.116_alt6_full.tif", "width": "2986", "height": "4878", "filesize": "43725980"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 164593, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Plank Mask ('Emangungu)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:12.581000"}, {"id": 109239, "accession_number": "1927.388", "share_license_status": "CC0", "tombstone": "A Winter Sky, 1866. George Inness (American, 1825\u20131894). Oil on canvas; framed: 82 x 102 x 11.5 cm (32 5/16 x 40 3/16 x 4 1/2 in.); unframed: 56 x 77.5 cm (22 1/16 x 30 1/2 in.). The Cleveland Museum of Art, The Charles W. Harkness Gift, 1927.388", "current_location": null, "title": "A Winter Sky", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 82 x 102 x 11.5 cm (32 5/16 x 40 3/16 x 4 1/2 in.); Unframed: 56 x 77.5 cm (22 1/16 x 30 1/2 in.)", "dimensions": {"framed": {"height": 0.82, "width": 1.02, "depth": 0.115}, "unframed": {"height": 0.56, "width": 0.775}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  Geo Inness 1866", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 519391, "title": "George Inness Retrospective", "description": "<i>George Inness Retrospective</i>. Paine Art Center and Gardens, Oshkosh, WI (organizer) (October 1-31, 1962).", "opening_date": "1962-10-01T04:00:00"}, {"id": 521071, "title": "Luminous Landscape: The American Study of Light, 1860-1875", "description": "<i>Luminous Landscape: The American Study of Light, 1860-1875</i>. Fogg Art Museum/Harvard University, Cambridge, MA (organizer) (April 18-May 11, 1966).", "opening_date": "1966-04-18T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 221881, "title": "George Inness and the Visionary Landscape", "description": "<i>George Inness and the Visionary Landscape</i>. National Academy of Design Museum and School of Fine Arts, New York, NY (organizer) (September 17-December 28, 2003); San Diego Museum of Art, San Diego, CA (January 24-April 18, 2004).", "opening_date": "2003-09-17T00:00:00"}, {"id": 453007, "title": "Julie Mehretu: Portals", "description": "<i>Julie Mehretu: Portals</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 13, 2022).", "opening_date": "2022-07-16T04:00:00"}], "legacy": [{"description": "Leavitt Art Rooms, Hurlbert Sale (New York, 1883), cat. no. 46 as A Winter Sky; this records the 31 May 1883 sale of this painting from the William Henry Hurlbert collection.", "opening_date": null}, {"description": "Oshkosh, Wisconsin, The Paine Art Center, A Retrospective Exhibition of Paintings by George Inness (2 October-28 October 1962), cat. no. 9 as Winter, Close of Day.", "opening_date": "1962-10-02T00:00:00"}, {"description": "Cambridge, Fogg Art Museum, Harvard University, Luminous Landscape: The American Study of Light, 1860-1875 (18 April-11 May 1966), cat. no. 24, illus. as Winter, Close of Day.", "opening_date": "1966-04-18T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Visions of Landscape: East and West (17 February-21 March 1982)", "opening_date": "1982-02-17T00:00:00"}, {"description": "New York, The Metropolitan Museum of Art, George Inness (1 April-9 June 1985); traveled to Cleveland, The Cleveland Museum of Art (21 August-6 October 1985); Minneapolis, The Minneapolis Institute of Arts (10 November 1985-12 January 1986); Los Angeles, Los Angeles County Museum of Art (20 February-11 May 1986); Washington, D.C., National Gallery of Art (22 June-7 September 1986), cat. no. 13, pp. 102-103, illus. p. 103.", "opening_date": "1985-04-01T00:00:00"}, {"description": "New York, National Academy of Design, The Art of George Inness: A Visionary Perspective ( 17 September-12 December 2003); traveled to San Diego, San Diego Museum of Art (24 January-18 April 2004); illus. cat. no. 10, p. 81.", "opening_date": "2003-09-17T00:00:00"}]}, "provenance": [{"description": "William H. Hurlbut (Sale: Leavitt Art Rooms, New York, 31 May 1883, cat. no. 46 as A Winter Sky);", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Charles Harkness, New York (1916)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "George Inness originally included a figure standing at the left edge of the pond, which he later painted over so that it is no longer visible.", "description": "In <em>A Winter Sky</em>, George Inness concentrated on depicting the effects of light and atmosphere. In this composition, the artist combined a vibrant, glowing sunset with a harsh, bleak landscape. Inness's color choice reinforces this contrast, as the warm pinks and yellows in the sky play off the cool blues of the frozen ground.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60513066"], "internet_archive": ["https://archive.org/details/clevelandart-1927.388-a-winter-sky"]}, "citations": [{"citation": "\"Bequest of Mrs. Charles W. Harkness.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 63.", "page_number": "Mentioned: p. 63", "url": "http://www.jstor.org/stable/25136090"}], "url": "https://clevelandart.org/art/1927.388", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.388/1927.388_web.jpg", "width": "1226", "height": "893", "filesize": "693712", "filename": "1927.388_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.388/1927.388_print.jpg", "width": "3400", "height": "2476", "filesize": "5674834", "filename": "1927.388_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.388/1927.388_full.tif", "width": "6997", "height": "5096", "filesize": "107005432", "filename": "1927.388_full.tif"}}, "alternate_images": [], "creditline": "The Charles W. Harkness Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109239, "creators": [{"id": 2493, "description": "George Inness (American, 1825\u20131894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1825", "death_year": "1894", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-12-20T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:07.012000"}, {"id": 121081, "accession_number": "1941.72", "share_license_status": "Copyrighted", "tombstone": "The Fitting, 1890\u201391. Mary Cassatt (American, 1844\u20131926). Color drypoint and aquatint; platemark: 37.6 x 25.5 cm (14 13/16 x 10 1/16 in.); sheet: 42.7 x 31.4 cm (16 13/16 x 12 3/8 in.). The Cleveland Museum of Art, Bequest of Charles T. Brooks, 1941.72", "current_location": null, "title": "The Fitting", "creation_date": "1890\u201391", "creation_date_earliest": 1890, "creation_date_latest": 1891, "artists_tags": ["female"], "culture": ["America"], "technique": "color drypoint and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Platemark: 37.6 x 25.5 cm (14 13/16 x 10 1/16 in.); Sheet: 42.7 x 31.4 cm (16 13/16 x 12 3/8 in.)", "dimensions": {"sheet": {"height": 0.427, "width": 0.314}, "platemark": {"height": 0.376, "width": 0.255}}, "state_of_the_work": "M & S: VI/VII, B: between V and VI/VI", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, in pencil, at lower right: Mary Cassatt", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 304210, "title": "What Was the Armory Show?", "description": "<i>What Was the Armory Show?</i>. The Cleveland Museum of Art, Cleveland, OH (June 27-September 15, 1963).", "opening_date": "1963-06-27T04:00:00"}, {"id": 302106, "title": "Japonisme: Japanese Influence on French Art, 1854 - 1910", "description": "<i>Japonisme: Japanese Influence on French Art, 1854 - 1910</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 9-August 31, 1975); Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (October 4-November 16, 1975); Walters Art Gallery, Baltimore, MD (December 10, 1975-January 26, 1976).", "opening_date": "1975-07-09T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}, {"id": 454246, "title": "Mary Cassatt at Work", "description": "<i>Mary Cassatt at Work</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 18-September 8, 2024) https://www.philamuseum.org/calendar/exhibition/mary-cassatt-at-work.", "opening_date": "2024-05-18T04:00:00"}], "legacy": []}, "provenance": [{"description": "Charles T. Brooks, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1941", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 10, 1941", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist Camille Pissarro described the series of prints to which this work belongs as \"admirable, as beautiful as Japanese work,\" praising Cassatt's translation of ukiyo-e woodblocks.", "description": "This print belongs to a set of ten color etchings that Mary Cassatt displayed at her first exhibition, held at Paris's Galerie Durand-Ruel in 1891. To create the image of a woman being fitted for a gown by a seamstress, the artist worked with multiple printing plates and \"painted\" ink onto the surface of each by hand. As a result, although the prints exist in multiples, each is virtually unique.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60753230"], "internet_archive": ["https://archive.org/details/clevelandart-1941.72-the-fitting"]}, "citations": [{"citation": "Richards, Louise S. \u201cMary Cassatt\u2019s Drawing of the Visitor.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 8 (October 1978): 268\u2013276.", "page_number": "Mentioned and reproduced: p. 275-276, fig. 9", "url": "http://www.jstor.org/stable/25159598"}, {"citation": "Lees, Sarah and Richard R. Brettell. <em>Innovative Impressions: Prints by Cassatt, Degas, and Pissarro</em>. Exh. Cat. Tulsa, OK: Philbrook Museum of Art, 2018", "page_number": "Mentioned: p. 75; Reproduced: p. 76, fig. 85", "url": null}, {"citation": "Thompson, Jennifer A., and Laurel Garber. <em>Mary Cassatt at Work.</em> Philadelphia, PA: Philadelphia Museum of Art, 2024.", "page_number": "Reproduced: p. 140, fig. 79", "url": ""}], "catalogue_raisonne": "Mathews & Shapiro 9, Breeskin 147", "url": "https://clevelandart.org/art/1941.72", "images": {}, "alternate_images": [], "creditline": "Bequest of Charles T. Brooks", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121081, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-06-10T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "1890\u201391", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:51.492000"}, {"id": 124433, "accession_number": "1945.389", "share_license_status": "CC0", "tombstone": "Br\u00fcnnhilde in Twilight of the Gods, 1894. Odilon Redon (French, 1840\u20131916). Lithograph; image: 38 x 29.2 cm (14 15/16 x 11 1/2 in.). The Cleveland Museum of Art, Gift of William Mathewson Milliken, in memory of H. Oothout Milliken, 1945.389", "current_location": null, "title": "Br\u00fcnnhilde in Twilight of the Gods", "creation_date": "1894", "creation_date_earliest": 1894, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 38 x 29.2 cm (14 15/16 x 11 1/2 in.)", "dimensions": {"image": {"height": 0.38, "width": 0.292}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 80", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304384, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (March 1-September 1, 1979).", "opening_date": "1979-03-01T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "William Mathewson Milliken [1889-1978], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1945", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1945-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the second lithograph Redon created depicting Br\u00fcnnhilde. The first was published in the journal <em>la Revue wagn\u00e9rienne</em> and shows her as a fierce warrior with a helmet, shield, and armor.", "description": "This print shows Odilon Redon\u2019s passion for the music of 19th-century German composer Richard Wagner. Br\u00fcnnhilde is a main character in the final chapter of Wagner\u2019s <em>The Ring of the Nibelung,</em> an epic four-part operatic piece composed over several decades. Created after Redon\u2019s extensive experimentation with and mastery of lithography, the print reveals the medium\u2019s similarity to drawing in the range of marks used to sketch its subject. Redon delicately outlined flowers in the background and crosshatched to highlight Br\u00fcnnhilde\u2019s face before turning his crayon on its side to darken her hair and chest.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79902331"], "internet_archive": ["https://archive.org/details/clevelandart-1945.389-brunhilde-in-twiligh", "https://archive.org/details/clevelandart-1945.389-brunnhilde-in-twilig"]}, "citations": [{"citation": "Francis, Henry S. \"Redon's 'Br\u00fcnnehilde': A Lithograph.\" <em>Bulletin of the Cleveland Museum of Art</em> 33, no. 6 (June 1946): 95<strong><br></strong>", "page_number": "Mentioned: p. 95", "url": "https://www.jstor.org/stable/25141289"}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Br\u00fcnnehilde.", "page_number": "Mentioned: p. 58", "url": "https://archive.org/details/Lithography/page/n65"}], "catalogue_raisonne": "Mellerio 130", "url": "https://clevelandart.org/art/1945.389", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1945.389/1945.389_web.jpg", "width": "694", "height": "893", "filesize": "454855", "filename": "1945.389_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1945.389/1945.389_print.jpg", "width": "2641", "height": "3400", "filesize": "7136715", "filename": "1945.389_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1945.389/1945.389_full.tif", "width": "4608", "height": "5932", "filesize": "82036488", "filename": "1945.389_full.tif"}}, "alternate_images": [], "creditline": "Gift of William Mathewson Milliken, in memory of H. Oothout Milliken", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124433, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-12-29T00:00:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "1894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Br\u00fcnnehilde"], "is_highlight": false, "updated_at": "2026-03-27 00:07:32.855000"}, {"id": 135517, "accession_number": "1958.56", "share_license_status": "CC0", "tombstone": "The Circus, 1889. Attributed to Suzanne Valadon (French, 1865\u20131938). Oil on fabric; unframed: 48.8 x 60 cm (19 3/16 x 23 5/8 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.56", "current_location": null, "title": "The Circus", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 48.8 x 60 cm (19 3/16 x 23 5/8 in.)", "dimensions": {"unframed": {"height": 0.488, "width": 0.6}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right, carved into wet paint with blunt end of brush: Suzanne Valadon 89 Souvenir\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 445693, "title": "Circus and Carnival", "description": "<i>Circus and Carnival</i>. Cleveland Public Library, Cleveland, OH (organizer) (February 17-May 15, 1970).", "opening_date": "1970-02-17T05:00:00"}, {"id": 444146, "title": "The Circus in Art", "description": "<i>The Circus in Art</i>. John and Mable Ringling Museum of Art, Sarasota, FL (organizer) (January 20-June 1, 1977).", "opening_date": "1977-01-20T05:00:00"}], "legacy": [{"description": "Cleveland Public Library. Circus and Carnival (1970), no cat.", "opening_date": "1970-01-01T00:00:00"}, {"description": "Karamu House, Cleveland. Extended loan, May 1959-January 1970, June 1970-September 1975.", "opening_date": "1959-05-01T00:00:00"}, {"description": "Sarasota, John and Mable Ringling Museum; Gainesville, Fla., University Gallery. The Circus in Art (1976-77), 31 (repr.).", "opening_date": "1976-01-01T00:00:00"}, {"description": "<em>The Hanna Collection of Modern Masterpieces.</em> J.B.Speed Memorial Museum, Louisville, KY (February 13-March 5,1944).", "opening_date": "2013-02-01T00:00:00"}]}, "provenance": [{"description": "Myria Barnwell, Nice. According to label on reverse, sold at auction in 1939. Valentine Gallery, New York, 1942. Bought by Leonard C. Hanna Jr., 12 January 1942, New York and Cleveland. Bequeathed to the CMA in 1958.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Besides being a prolific painter, Suzanne Valdon served as the model for Pierre-Auguste Renoir and Henri de Toulouse-Lautrec.", "description": "The attribution of this painting to Suzanne Valadon has been rejected by several authorities. Others support the attribution, arguing that the painting is merely atypical because it is an early work, signed and dated 1889. Valadon did not begin to develop her mature style until 1891.She was the mother of artist Maurice Utrillo and a prolific painter herself, although she never received any formal artistic training.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465167"], "internet_archive": ["https://archive.org/details/clevelandart-1958.56-the-circus"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>In Memoriam: Leonard C. Hanna, Jr.</em> Cleveland, OH: Cleveland Museum of Art, 1958.", "page_number": "Reproduced: no. 40", "url": null}, {"citation": "\"Accessions of American and Canadian Museums.\" <em>The Art Quarterly </em>21, no. 1 (Spring 1958): 82-106.", "page_number": "Reproduced: P. 106", "url": null}, {"citation": "Francis, Henry S. \"Report for the Year 1958: Painting Department.\" <em>The</em> <em>Bulletin of The Cleveland Museum of Art XLVI</em> no. 6 (June, 1959): 115-122", "page_number": "Mentioned: p. 122", "url": null}, {"citation": "Harkonen, Helen Bernice, and Robert Clark Nelson. <em>Circuses and Fairs in Art</em>. Minneapolis, MN: Lerner Publications Co, 1965.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Jensen, Dean, and Rosalie Goldstein. <em>Center Ring, the Artist: Two Centuries of Circus Art</em>. Milwaukee, MN: Milwaukee Art Museum, 1981.", "page_number": "Mentioned: p. 61; Reproduced: 9. 64, no. 100.", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: P. 246", "url": null}, {"citation": "Brade, Johanna. <em>Suzanne Valadon: vom Modell in Montmartre zur Malerin der Klassischen Moderne</em>. Stuttgart, Germany: Belser, 1994.", "page_number": "Mentioned: p. 15,91; Reproduced: p. 32-33", "url": null}, {"citation": "Marchesseau, Daniel. <em>Suzanne Valadon: [exposition] 26 janvier-27 mai 1996</em>. Martigny, Switzerland: Fondation Pierre Gianadda, 1996.", "page_number": "Mentioned: p. 273", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century</em>. Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 215", "url": null}], "url": "https://clevelandart.org/art/1958.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.56/1958.56_web.jpg", "width": "1102", "height": "893", "filesize": "220794", "filename": "1958.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.56/1958.56_print.jpg", "width": "3400", "height": "2754", "filesize": "2080154", "filename": "1958.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.56/1958.56_full.tif", "width": "6206", "height": "5028", "filesize": "93633256", "filename": "1958.56_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt0_web.jpg", "width": "1098", "height": "893", "filesize": "899065"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt0_print.jpg", "width": "1888", "height": "1536", "filesize": "2692913"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt0_full.tif", "width": "1888", "height": "1536", "filesize": "8703156"}}, {"date_created": "2013-04-04T17:55:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt1_web.jpg", "width": "1086", "height": "893", "filesize": "228053"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt1_print.jpg", "width": "3400", "height": "2797", "filesize": "2934761"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.56/1958.56_alt1_full.tif", "width": "6397", "height": "5264", "filesize": "101043328"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135517, "creators": [{"id": 1827, "description": "Suzanne Valadon (French, 1865\u20131938)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": "Born out of wedlock under the given name Marie-Cl\u00e9mentine, Suzanne Valadon spent her early years in Paris and Nantes, where her single mother worked as a cleaning woman. Valadon was enrolled in a religious school in Paris until 1876, then apprenticed in a dressmaking shop, a florist, and an open-air market before she started drawing. She briefly worked as a trapeze artist in a circus in the beginning of the 1880s, but a fall forced her to look for another occupation. She then began working as a model, posing for Henner (q.v.), Puvis de Chavannes (q.v.), Renoir (q.v.), Henri de Toulouse-Lautrec (1864-1901), and several other painters. Around this time she chose to be called Suzanne. In 1883, when she was eighteen years old, she gave birth to a son, future painter Maurice Utrillo (1883-1955). Encouraged by Degas (q.v.) and Renoir, she became a full-time painter in 1896, financially supported by her new husband, Paul Mousis. Degas taught her printmaking and introduced her to the dealers Durand-Ruel and Vollard. Valadon divorced Mousis in 1909 to marry Andr\u00e9 Utter (1886-1948), a painter and a friend of her son. Beginning in 1909 she exhibited regularly at the Salon d'Automne, and from 1912 she participated in the Salon des Ind\u00e9pendants. Valadon painted portraits, landscapes, nudes, and still lifes.", "name_in_original_language": null, "birth_year": "1865", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-06 11:02:48.859000"}, {"id": 108405, "accession_number": "1926.140.10", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: And the Devil That Deceived Them was Cast into the Lake of Fire and Brimstone, Where the Beast and the False Prophet Are, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 27.4 x 23.8 cm (10 13/16 x 9 3/8 in.). 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Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 30 x 23.7 cm (11 13/16 x 9 5/16 in.). 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Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph; image: 32.2 x 24.3 cm (12 11/16 x 9 9/16 in.). 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Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. 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Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723688"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.8-the-chimera-with-gre"]}, "citations": [], "catalogue_raisonne": "Mellerio 90", "url": "https://clevelandart.org/art/1927.477.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.8/1927.477.8_web.jpg", "width": "546", "height": "893", "filesize": "373456", "filename": "1927.477.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.8/1927.477.8_print.jpg", "width": "2077", "height": "3400", "filesize": "5318164", "filename": "1927.477.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.8/1927.477.8_full.tif", "width": "2801", "height": "4585", "filesize": "38558204", "filename": "1927.477.8_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109204, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printed by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): The Chimera with Green Eyes Turns, Bays"], "is_highlight": false, "updated_at": "2026-03-27 00:08:01.468000"}, {"id": 109205, "accession_number": "1927.477.9", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): And All Manner of Frightful Creatures Arise, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 31.2 x 22.4 cm (12 5/16 x 8 13/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.9", "current_location": null, "title": "And All Manner of Frightful Creatures Arise", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 31.2 x 22.4 cm (12 5/16 x 8 13/16 in.)", "dimensions": {"image": {"height": 0.312, "width": 0.224}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "printed at lower left, below image: Pl. VIII. / Et toutes sortes de b\u00eates effroyables surgissent.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.357"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723690"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.9-and-all-manner-of-fr"]}, "citations": [], "catalogue_raisonne": "Mellerio 91", "url": "https://clevelandart.org/art/1927.477.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.9/1927.477.9_web.jpg", "width": "663", "height": "893", "filesize": "453089", "filename": "1927.477.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.9/1927.477.9_print.jpg", "width": "2525", "height": "3400", "filesize": "6503752", "filename": "1927.477.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.9/1927.477.9_full.tif", "width": "3863", "height": "5201", "filesize": "60305212", "filename": "1927.477.9_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109205, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): And All Manner of Frightful Creatures Arise"], "is_highlight": false, "updated_at": "2026-03-27 00:09:32.336000"}, {"id": 135286, "accession_number": "1958.30", "share_license_status": "CC0", "tombstone": "Landscape with Wheelbarrow, 1883. Vincent van Gogh (Dutch, 1853\u20131890). Watercolor and opaque watercolor with black chalk on cream paper; sheet: 24.9 x 35.7 cm (9 13/16 x 14 1/16 in.); framed: 39.8 x 52.4 x 2.6 cm (15 11/16 x 20 5/8 x 1 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.30", "current_location": null, "title": "Landscape with Wheelbarrow", "creation_date": "1883", "creation_date_earliest": 1883, "creation_date_latest": 1883, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "watercolor and opaque watercolor with black chalk on cream paper", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Dutch", "type": "Drawing", "measurements": "Sheet: 24.9 x 35.7 cm (9 13/16 x 14 1/16 in.); Framed: 39.8 x 52.4 x 2.6 cm (15 11/16 x 20 5/8 x 1 in.)", "dimensions": {"sheet": {"height": 0.249, "width": 0.357}, "framed": {"height": 0.398, "width": 0.524, "depth": 0.026}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 304539, "title": "Brush Drawings", "description": "<i>Brush Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-May 10, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000).", "opening_date": "2000-08-27T00:00:00"}, {"id": 226254, "title": "Van Gogh: Fields. The Poppy Field and the Artist's Debate", "description": "<i>Van Gogh: Fields. The Poppy Field and the Artist's Debate</i>. The Toledo Museum of Art, Toledo, OH (February 21-May 18, 2003).", "opening_date": "2003-02-21T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 448164, "title": "There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art", "description": "<i>There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art</i>. The Cleveland Museum of Art (organizer) (September 17-December 5, 2021).", "opening_date": "2021-09-17T04:00:00"}, {"id": 308774, "title": "Van Gogh in America", "description": "<i>Van Gogh in America</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (October 2, 2022-January 22, 2023).", "opening_date": "2022-10-02T04:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. Frans Kantorowicz, Berlin", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Galerie d'Art Lutz, Berlin)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "Erich Schall, Berlin", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "(Galerie d'Art Artz et de Bois, La Haye)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 4}, {"description": "Justin K. Thannhauser, New York", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 5}, {"description": "Leonard C. Hanna, Cleveland, OH, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1958", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1958-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vincent van Gogh made this watercolor just over a year after beginning to work professionally as an artist.", "description": "In September 1883 Van Gogh left the bustling Dutch city of The Hague in search of open countryside in which to paint. He moved to Drenthe, a village in northeastern Netherlands that was virtually untouched by the Industrial Revolution. He described the barren terrain as supremely beautiful and serene: \"What tranquility, what expanse, what calmness in this nature.\" With a limited palette of steely greens and cool blues, Van Gogh masterfully portrayed one of the region\u2019s expanses of heath\u2014\"a vast plane vanishing into infinity\"\u2014illuminated by the lilac hues of the evening sky.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q6485128"], "internet_archive": ["https://archive.org/details/clevelandart-1958.30-landscape-with-wheel"]}, "citations": [{"citation": "\u201cArt from Another Angle: Stories from the Cleveland Museum of Art's blog <em>The Thinker</em>.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>62, no. 1: 27-29.", "page_number": "Reproduced: P. 28, 29; Mentioned: P. 27-29.", "url": ""}, {"citation": "Koldehoff, Stefan and Chris Stolwijk, eds. <em>The Thannhauser Gallery: Marketing Van Gogh.</em> Brussels: Mercatorfonds; Amsterdam: Van Gogh Museum, 2017. p. 273", "page_number": "Reproduced: p. 273, cat. 91", "url": null}, {"citation": "Rens, Annemiek. <em>De schilders van Drenthe</em>. Assen: Drents Museum, 2017.", "page_number": "Reproduced: p. 194-195, afb. 150", "url": null}, {"citation": "Shaw, Jill. \"The Heartland Steps Up: Van Gogh in the Midwest, 1913-36.\" In <em>Van Gogh in America.</em> Jill Shaw, ed., 126-167. Detroit, Michgan: Detroit Institute of Arts, 2022.", "page_number": "Mentioned and reproduced: P. 141-142, pl. 50, no. 7", "url": ""}, {"citation": "Bonafoux, Pascal. <em>Vincent van Gogh</em>. Roma: Istituto della Enciclopedia Italiana Fondato da Giovanni Treccani, 2023.", "page_number": "Reproduced: p. 144-145", "url": ""}, {"citation": "Gerritse, Bregje. \"Review of Annemiek Rens, Mark Goslinga, and Jan van Zijverden, Travelling with Vincent: Van Gogh in Drenthe, Zwolle [Waanders] 2023.\" <em>Oud Holland</em> 138, n. 2/3 (2025): 173-176.", "page_number": "Mentioned and reproduced: p. 176", "url": ""}], "url": "https://clevelandart.org/art/1958.30", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.30/1958.30_web.jpg", "width": "1263", "height": "892", "filesize": "812613", "filename": "1958.30_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.30/1958.30_print.jpg", "width": "3400", "height": "2400", "filesize": "6115920", "filename": "1958.30_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.30/1958.30_full.tif", "width": "6554", "height": "4628", "filesize": "91023144", "filename": "1958.30_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.30/1958.30_alt0_web.jpg", "width": "1263", "height": "873", "filesize": "838482"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.30/1958.30_alt0_print.jpg", "width": "2048", "height": "1416", "filesize": "2283733"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.30/1958.30_alt0_full.tif", "width": "2048", "height": "1416", "filesize": "8702916"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135286, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1883, "date_added_to_oa": null, "date_text": "1883", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:02:42.803000"}, {"id": 140476, "accession_number": "1964.386", "share_license_status": "CC0", "tombstone": "Paulownias and Chrysanthemums (\u6850\u83ca\u6d41\u6c34\u56f3\u5c4f\u98a8), early 1800s. Sakai H\u014ditsu (Japanese, 1761\u20131828). Two-panel folding screen; ink and color on gilded paper; image: 152.7 x 154.9 cm (60 1/8 x 61 in.); overall: 157.5 x 158.5 cm (62 x 62 3/8 in.). The Cleveland Museum of Art, Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection, 1964.386", "current_location": null, "title": "Paulownias and Chrysanthemums", "title_in_original_language": "\u6850\u83ca\u6d41\u6c34\u56f3\u5c4f\u98a8", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Two-panel folding screen; ink and color on gilded paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 152.7 x 154.9 cm (60 1/8 x 61 in.); Overall: 157.5 x 158.5 cm (62 x 62 3/8 in.)", "dimensions": {"image": {"height": 1.527, "width": 1.549}, "overall": {"height": 1.575, "width": 1.585}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscription at right reads: \"Hoitsu hitsu\" (painted by Hoitsu); within circle: (Hoitsu); tiny gourd shape below encloses two characters \"Bun-zen,\" Hoitsu's name.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304723, "title": "Year in Review (1964)", "description": "<i>Year in Review (1964)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 8, 1964-January 31, 1965).", "opening_date": "1964-12-08T05:00:00"}, {"id": 302380, "title": "Japanese Screens from the Museum and Cleveland Collections", "description": "<i>Japanese Screens from the Museum and Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 23-May 8, 1977).", "opening_date": "1977-03-23T05:00:00"}, {"id": 309844, "title": "Byobu: The Art of the Japanese Screen", "description": "<i>Byobu: The Art of the Japanese Screen</i>. The Cleveland Museum of Art (organizer) (August 1-October 14, 1984).", "opening_date": "1984-08-01T04:00:00"}, {"id": 310278, "title": "Rimpa Painting", "description": "<i>Rimpa Painting</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}, {"id": 227833, "title": "Silver Wind: The Art of Sakai Hoitsu (1761-1828) and His Circle", "description": "<i>Silver Wind: The Art of Sakai Hoitsu (1761-1828) and His Circle</i>. Japan Society Gallery, New York, NY (organizer) (September 28, 2012-January 6, 2013).", "opening_date": "2012-09-28T00:00:00"}, {"id": 374890, "title": "Rinpa (\u7433\u6d3e)", "description": "<i>Rinpa (\u7433\u6d3e)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23-October 3, 2021).", "opening_date": "2021-04-23T04:00:00"}], "legacy": []}, "provenance": [{"description": "American Foundation for the Maud E. and Warren H. Corning Collection, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1964", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1964-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "H\u014ditsu often painted two-panel folding screens for urban clients residing in smaller spaces. A painting after this one in the Itabashi Museum in Tokyo shows an extended composition across a pair of two-panel screens.", "description": "In this screen, Sakai H\u014ditsu expertly deployed a painting technique called \u201cdripping-in\u201d (<em>tarashikomi</em>). Ink and color dripped on the surface, and allowed to pool there, created the illusionistic effect of lichen-dotted tree bark and twisted chrysanthemum leaves. Paulownia and chrysanthemum are signifiers of late spring and early autumn as well as emblems of the Japanese imperial house. Paulownia also has medicinal properties and associations with fortitude, while chrysanthemum symbolizes good government.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469394"], "internet_archive": ["https://archive.org/details/clevelandart-1964.386-paulownias-and-chrys"]}, "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. 283", "url": "https://archive.org/details/CMAHandbook1966/page/n307"}, {"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. 283", "url": "https://archive.org/details/CMAHandbook1969/page/n307"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 383", "url": "https://archive.org/details/CMAHandbook1978/page/n403"}, {"citation": "Cunningham, Michael R. <em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: cat. no. 29, pp. 64\u201365", "url": ""}, {"citation": "McKelway, Matthew P., and Ho\u0304itsu Sakai. <em>Silver Wind: The Arts of Sakai Ho\u0304itsu (1761-1828).</em> New York: Japan Society, 2012.", "page_number": "Reproduced: p. 139-141, ex. cat. no. 41", "url": null}, {"citation": "\"Summer Exhibitions.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 3 (Summer 2021): 19.", "page_number": "Reproduced: P. 19.", "url": ""}], "url": "https://clevelandart.org/art/1964.386", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.386/1964.386_web.jpg", "width": "900", "height": "864", "filesize": "281651", "filename": "1964.386_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.386/1964.386_print.jpg", "width": "3400", "height": "3264", "filesize": "2956915", "filename": "1964.386_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.386/1964.386_full.tif", "width": "8347", "height": "8012", "filesize": "200674116", "filename": "1964.386_full.tif"}}, "alternate_images": [{"date_created": "2011-12-07T15:46:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt0_web.jpg", "width": "900", "height": "893", "filesize": "219906"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt0_print.jpg", "width": "3400", "height": "3372", "filesize": "3143162"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt0_full.tif", "width": "3205", "height": "3179", "filesize": "30600652"}}, {"date_created": "2014-06-02T18:06:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt1_web.jpg", "width": "900", "height": "882", "filesize": "302398"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt1_print.jpg", "width": "3400", "height": "3333", "filesize": "2769427"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt1_full.tif", "width": "4492", "height": "4403", "filesize": "59387680"}}, {"date_created": "2015-04-09T10:08:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt2_web.jpg", "width": "461", "height": "900", "filesize": "172686"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt2_print.jpg", "width": "1742", "height": "3400", "filesize": "1718095"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt2_full.tif", "width": "3981", "height": "7772", "filesize": "92853140"}}, {"date_created": "2015-04-09T10:14:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt3_web.jpg", "width": "461", "height": "900", "filesize": "157260"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt3_print.jpg", "width": "1741", "height": "3400", "filesize": "1659361"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1964.386/1964.386_alt3_full.tif", "width": "3991", "height": "7794", "filesize": "93349280"}}], "creditline": "Gift of the American Foundation for the Maud E. and Warren H. Corning Botanical Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140476, "creators": [{"id": 35484, "description": "Sakai H\u014ditsu (Japanese, 1761\u20131828)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u9152\u4e95\u62b1\u4e00", "birth_year": "1761", "death_year": "1828", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-10-31T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:08:10.776000"}, {"id": 163044, "accession_number": "2003.6.5", "share_license_status": "CC0", "tombstone": "Clio, Muse of History, 1800. Charles Meynier (French, 1768\u20131832). Oil on canvas; framed: 290 x 192.4 x 7 cm (114 3/16 x 75 3/4 x 2 3/4 in.); unframed: 273 x 176 cm (107 1/2 x 69 5/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2003.6.5", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Clio, Muse of History", "creation_date": "1800", "creation_date_earliest": 1800, "creation_date_latest": 1800, "artists_tags": ["male"], "culture": ["France, late 18th-early 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 290 x 192.4 x 7 cm (114 3/16 x 75 3/4 x 2 3/4 in.); Unframed: 273 x 176 cm (107 1/2 x 69 5/16 in.)", "dimensions": {"framed": {"height": 2.9, "width": 1.924, "depth": 0.07}, "unframed": {"height": 2.73, "width": 1.76}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "In 1819, Nicolas-Antoine de Castella, general of the Swiss regiments in France, purchased the paintings and placed them in his Castle of Wallenreid, Switzerland; direct descendants; Pierre de Castella, Mannaz, Switzerland.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Clio's name is derived from a Greek word meaning \"to recount\" or \"to celebrate.\"", "description": "Clio, the Greek muse of history, is the daughter of Zeus and Titaness Mnemosyne, the goddess of memory. Clio is depicted here writing and surrounded by objects associated with preserving the memory of historical figures and events: busts, reliefs, and sculptures. This painting belongs to a cycle of works commissioned by businessman Fran\u00e7ois Boyer-Fonfr\u00e9de for his home in Toulouse.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479840"], "internet_archive": ["https://archive.org/details/clevelandart-2003.6.5-clio-muse-of-history"]}, "citations": [{"citation": "Bellenger, Sylvain. \"Magnificent Muses\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 01, January 2004", "page_number": "Mentioned & reproduced: cover, p. 5, p. 7", "url": "https://archive.org/details/CMAMM2004-01/page/n3"}, {"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-19.", "page_number": "Reproduced: p. 13", "url": "https://archive.org/details/CMAMM2005-06/page/12/mode/2up"}, {"citation": "Bracken Sparks, Amy. \"Disappearing Act.\" <em>Cleveland Art: The Cleveland Museum of Art Members Magazine </em>48, no. 5 (May/June 2008): 10-12.", "page_number": "Reproduced: p. 11", "url": "https://archive.org/details/CMAMM2008-05/page/10/mode/2up"}, {"citation": "Wat, Pierre. \"Procession des-ismes ou parade des individus? Comment s'ecrit l'histoire de l'art du X\"IX siecle.\" In L'art du XIX siecle: l'heure de la modernite,1789-1914. 20-75.  Paris: Citadelles & Mazenod, 2016.", "page_number": "20-21", "url": null}, {"citation": "Wat, Pierre. \"Procession des '-ismes' ou parade des individus? Comment s'ecrit l'histoire de l'art du XIX siecle.\" In <em>L'art du XIXe sie\u0300cle: l'heure de la modernite\u0301 1789-1914. </em>Bertrand Tillier, 21-76. Paris: Citadelles &amp; Mazenod, 2016.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "Muse\u0301e du Grand Sie\u0300cle, and Fre\u0301de\u0301rique Lanoe\u0308. La curiosite\u0301 a\u0300 l'\u0153uvre: dessins de la donation Pierre Rosenberg. Paris : Le Passage, 2022.", "page_number": "Mentioned and reproduced: p. 74, fig. 31a", "url": ""}], "url": "https://clevelandart.org/art/2003.6.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.6.5/2003.6.5_web.jpg", "width": "575", "height": "893", "filesize": "318177", "filename": "2003.6.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.6.5/2003.6.5_print.jpg", "width": "2188", "height": "3400", "filesize": "4403373", "filename": "2003.6.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.6.5/2003.6.5_full.tif", "width": "3540", "height": "5500", "filesize": "58439708", "filename": "2003.6.5_full.tif"}}, "alternate_images": [{"date_created": "2007-09-18T17:37:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt0_web.jpg", "width": "669", "height": "893", "filesize": "374264"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt0_print.jpg", "width": "2546", "height": "3400", "filesize": "5667697"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt0_full.tif", "width": "4118", "height": "5500", "filesize": "67977388"}}, {"date_created": "2007-09-18T17:46:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt1_web.jpg", "width": "1193", "height": "893", "filesize": "670612"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt1_print.jpg", "width": "3400", "height": "2546", "filesize": "5761523"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt1_full.tif", "width": "5500", "height": "4118", "filesize": "67977272"}}, {"date_created": "2007-09-18T17:52:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt2_web.jpg", "width": "669", "height": "893", "filesize": "367640"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt2_print.jpg", "width": "2546", "height": "3400", "filesize": "5476868"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt2_full.tif", "width": "4118", "height": "5500", "filesize": "67977508"}}, {"date_created": "2007-09-18T18:02:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt3_web.jpg", "width": "669", "height": "893", "filesize": "365760"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt3_print.jpg", "width": "2546", "height": "3400", "filesize": "6061226"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.6.5/2003.6.5_alt3_full.tif", "width": "4118", "height": "5500", "filesize": "67975568"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 163044, "creators": [{"id": 44231, "description": "Charles Meynier (French, 1768\u20131832)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Meynier was a recipient of the Grand Prix de Rome in 1789 and became a member of the Acad\u00e9mie des Beaux-Arts in 1815. A history painter, he created the grand decoration for ceilings of the Louvre (1819 and 1822), and produced numerous pictures glorifying the Napoleonic legend, which for the most part remain in the ch\u00e2teau de Versailles. Through the assistance of his brother Meynier Saint-Phal, a famous actor of the Com\u00e9die Fran\u00e7aise who paid for his studies, the artist entered the atelier of the painter Fran\u00e7ois Andr\u00e9 Vincent (1746-1816), a principal rival of the master Jacques-Louis David. The studio in which Meynier received his training was known by the students of David as the atelier of the\"perruques,\" (the wigs) the name given to royalists or conservatives during that period.", "name_in_original_language": null, "birth_year": "1768", "death_year": "1832", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-03-03T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": "Before entering the collection, this entire suite of five monumental paintings by Charles Meynier had numerous conservation issues, including pronounced discolored varnish, years of accumulated grime, and canvases that were detaching from their stretchers, creating large, draped, buckles along the edges. The CMA designed a four-year-long comprehensive conservation campaign to address these concerns, which involved removing the grime, reducing the discolored varnish, flattening buckles and undulations in the canvas, followed by inpainting mainly to compensate for pronounced traction cracking in the original paint layers. Traction cracking occurs when the top layers of paint dry faster than the underlayers, creating breaks in the top layers, revealing the underlying preparatory layers that were not intended to be seen. Horizontal cracking at regular intervals is present in each painting and was likely caused by rolling the canvases to transport them to the Castella chateau in Wallenreid, Switzerland, where the paintings remained until the CMA purchased them in 2003. After removal of the discolored, nearly brown varnish layers, nuanced, dynamic, and balanced color relationships were uncovered, as Meynier skillfully juxtaposed colors within the draperies of the muses. For example, in <em>Clio, the Muse of History</em>, Meynier places her muted yellow costume next to a soft gray-violet drapery. These two complimentary colors are beautifully balanced against each other. Upon closer looking, one can even see violet shadows within the folds of the yellow drapery and faint yellow, bridging the two colors. The exquisitely carved gold leaf frames are original to the paintings.", "has_conservation_images": true, "cover_accession_number": "2003.6", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:59.230000"}, {"id": 149029, "accession_number": "1977.171", "share_license_status": "CC0", "tombstone": "Self-Portrait in Rome, 1832. Horace Vernet (French, 1789\u20131863). Oil on canvas; framed: 78.5 x 67 x 8 cm (30 7/8 x 26 3/8 x 3 1/8 in.); unframed: 65 x 54.2 cm (25 9/16 x 21 5/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1977.171", "current_location": null, "title": "Self-Portrait in Rome", "creation_date": "1832", "creation_date_earliest": 1832, "creation_date_latest": 1832, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 78.5 x 67 x 8 cm (30 7/8 x 26 3/8 x 3 1/8 in.); Unframed: 65 x 54.2 cm (25 9/16 x 21 5/16 in.)", "dimensions": {"framed": {"height": 0.785, "width": 0.67, "depth": 0.08}, "unframed": {"height": 0.65, "width": 0.542}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: H Vernet 1832 Rome\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 303292, "title": "The Artist and the Studio in the Eighteenth and Nineteenth Centuries", "description": "<i>The Artist and the Studio in the Eighteenth and Nineteenth Centuries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-August 13, 1978).", "opening_date": "1978-04-05T05:00:00"}, {"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": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 227961, "title": "Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres \u00e0 Degas. Les artistes fran\u00e7ais \u00e0 Rome", "description": "<i>Maest\u00e1 di Roma, da Napoleon all'Unita d'Italia: Da Ingres \u00e0 Degas. Les artistes fran\u00e7ais \u00e0 Rome</i>. Dahesh Museum of Art, New York, NY (September 9-November 9, 2003).", "opening_date": "2003-03-05T00:00:00"}], "legacy": [{"description": "Paris, H\u00f4tel de M. Jean Charpentier. L'art et la vie romantiques (1923), no. 451, Son portrait par lui-m\u00eame, au Vicomte de Breteuil.", "opening_date": "1923-01-01T00:00:00"}]}, "provenance": [{"description": "Vicomte de Breteuil, Paris, by 1923.", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Paris sale, Pavillon Gabriel, 17 June 1977 (lot 46, repr.), Autoportrait, to Frederick Mont, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Purchased by the CMA in 1977.", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The paper cigarette held by the artist in this self-portrait is a testament to his up-to-date stylishness; the paper cigarette was invented in 1831.", "description": "Vernet stands before the Villa Medici, seat of the French Academy in Rome, where he was director from 1829 to 1835. The palette, brushes, and maulstick on the stepladder hint at his talent for painting large canvases. The artist's sideward glance, disheveled hair, and burning cigarette lend him a romantic aura. The recipient of numerous commissions for military paintings, Vernet was patronized by J\u00e9r\u00f4me Bonaparte (the youngest brother of Napoleon) and later taught at the \u00c9cole des Beaux-Arts.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473310"], "internet_archive": ["https://archive.org/details/clevelandart-1977.171-self-portrait-in-rom"]}, "citations": [{"citation": "Zakon, Ronnie L. <em>The Artist and the Studio in the Eighteenth and Nineteenth Centuries. </em>Cleveland: Cleveland Museum of Art, 1978.", "page_number": "no. 4, 13, 17 (repr.)", "url": null}, {"citation": "\"La Chronique des Arts.\" <em>Gazette des Beaux-Arts </em>93 (April 1979): 1-84.", "page_number": "Reproduced: P. 45, no. 224", "url": ""}, {"citation": "Brunel, Georges. <em>Horace Vernet (1789-1863): [exposition] Acade\u0301mie de France a\u0300 Rome, E\u0301cole Nationale Supe\u0301rieure des Beaux-Arts, Paris, mars-juillet 1980.</em> Roma: De Luca, 1980.", "page_number": "Mentioned: P. 83", "url": ""}, {"citation": "Talbot, William S. \"Cogniet and Vernet at the Villa Medici.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 5 (1980): 135-49.", "page_number": "Reproduced: p. 141-42; Mentioned: p. 135-49", "url": "https://www.jstor.org/stable/25159675"}, {"citation": "Hauptman, William. \u201cGleyre, Vernet, and the Revenge of \u2018Les Brigands Romains.\u2019\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 1 (January 1981): 17\u201334.", "page_number": "Mentioned: P. 27; Reproduced: P. 30, fig. 20", "url": "http://www.jstor.org/stable/25159707"}, {"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": "Mentioned and reproduced: P. 250", "url": ""}, {"citation": "Muse\u0301e du Louvre, Anne de Margerie, and Yolande Manzano. <em>Nouvelles Acquisitions du De\u0301partement des Peintures (1991-1995). </em>Paris: Editions de la Re\u0301union des Muse\u0301es Nationaux, 1996.", "page_number": "Mentioned: P. 200; Reproduced: P. 203", "url": ""}, {"citation": "Pomarede, Vincent. \"Le 'Portrait de Louise Vernet, Fille de L'Artiste,' Peint par Horace Vernet (1789-1863) entre par dation au department des Peintures.\" <em>La Revue des Arts </em>46, no. 3 (June 1996): 14-15.", "page_number": "Mentioned: P. 14", "url": ""}, {"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: P. 616-618, no. 216", "url": ""}, {"citation": "Bonfait, Olivier, and Se\u0301bastien Allard. Maesta\u0300 di Roma: da Napoleone all'unita\u0300 d'Italia. [Milan]: Electa, 2003.", "page_number": "exh. cat. no. 53, p. 222.", "url": null}, {"citation": "Le Noue\u0308ne, Patrick. \"Guillaume Bodinier, Le Retour en Italie, Entre le Genre et le Paysage 1829-1848.\" Patrick Le Nouene, ed., 148-203. In <em>Guillaume Bodinier, 1795-1872: Un Peintre Angevin en Italie</em>. Angers: Expressions Contemporaines, 2011.", "page_number": "Mentioned and reproduced: P. 150, ill. 117", "url": ""}, {"citation": "Harkett, Daniel, and Katie Hornstein. <em>Horace Vernet and the Thresholds of Nineteenth-Century Visual Culture</em>. Hanover, NH : Dartmouth College Press, 2017.", "page_number": "Reproduced: pl. 15", "url": null}], "url": "https://clevelandart.org/art/1977.171", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.171/1977.171_web.jpg", "width": "749", "height": "893", "filesize": "398025", "filename": "1977.171_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.171/1977.171_print.jpg", "width": "2850", "height": "3400", "filesize": "6026016", "filename": "1977.171_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.171/1977.171_full.tif", "width": "4556", "height": "5435", "filesize": "74318796", "filename": "1977.171_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149029, "creators": [{"id": 1612, "description": "Horace Vernet (French, 1789\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a family of artists, Horace Vernet's profession seems to have been inevitable. His father, Carle Vernet (1758-1836), was a painter and lithographer; his grandfathers were Joseph Vernet (1714-1789) and Jean-Michel Moreau the younger (1741-1814), and his uncle the architect Jean-Fran\u00e7ois Chalgrin (1739-1811). While his earliest lessons were given by his father, Vernet also worked in the studio of Fran\u00e7ois-Andr\u00e9 Vincent (1746-1814) until 1810. The following year Vernet created caricatures for the Journal des dames et des modes, an activity he would continue until 1815. He was first accepted at the Salon in 1812, and his talent so impressed J\u00e9r\u00f4me Bonaparte that he commissioned an equestrian portrait from Vernet. Throughout his life, he would receive many official commissions for contemporary history paintings. Vernet kept a busy studio that, during the first years of the Restoration, was used as a meeting place for liberals. When some of his paintings were rejected from the 1822 Salon because of their supposed antiroyalist subject matter, Vernet displayed them at his studio, attracting large crowds. Despite the Salon rejection, Vernet was elected to the Institut de France in 1826 and became the director of the Acad\u00e9mie de France in Rome two years later, a position he would occupy until 1835. After his return to Paris, Vernet became a professor at the \u00c9cole des Beaux-Arts.", "name_in_original_language": null, "birth_year": "1789", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-12-15T00:00:00", "sortable_date": 1832, "date_added_to_oa": null, "date_text": "1832", "collapse_artists": false, "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": "2026-03-27 00:02:34.123000"}, {"id": 153206, "accession_number": "1986.18", "share_license_status": "CC0", "tombstone": "Study for \"The Hireling Shepherd\", 1851. William Holman Hunt (British, 1827\u20131910). Graphite; sheet: 11.4 x 18.3 cm (4 1/2 x 7 3/16 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1986.18", "current_location": null, "title": "Study for \"The Hireling Shepherd\"", "creation_date": "1851", "creation_date_earliest": 1851, "creation_date_latest": 1851, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite", "support_materials": [{"description": "off-white laid paper", "watermarks": ["WDNEY'S"]}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 11.4 x 18.3 cm (4 1/2 x 7 3/16 in.)", "dimensions": {"sheet": {"height": 0.114, "width": 0.183}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in graphite, on verso, at lower edge: Sketch for figures in Hireling Shepherd; in graphite, on verso, at center of sheet: First Drawing Hireling Shepherd Pale Cream Mt o Linen same as Scapegoat o Frame same", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "<em>An Exhibition of Drawings by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Ford Madox Brown</em>. Portsmouth City Museum (1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "<em>William Holman Hunt</em>. Walker Art Gallery, Liverpool (March 25 - April 29, 1969).", "opening_date": "1969-03-25T00:00:00"}, {"description": "<em>The Pre-Raphaelite Brotherhood (1848-1861)</em>. Birmingham City Museum and Art Gallery (June 7 - July 27, 1947).", "opening_date": "1947-06-07T00:00:00"}, {"description": "<em>Loan Exhibition of Paintings and Drawings of the 1860 Period. </em>National Gallery, London (April 27 - June 29, 1923).", "opening_date": "1923-04-27T00:00:00"}]}, "provenance": [{"description": "The artist's family, by descent", "citations": [], "footnotes": null, "date": "1910-?", "sortorder": 1}, {"description": "Mrs. Elisabeth Burt", "citations": [], "footnotes": null, "date": "?-probably 1985", "sortorder": 2}, {"description": "(sale, Sotheby's, London, October 10, 1985, no. 15)", "citations": [], "footnotes": null, "date": "1985", "sortorder": 3}, {"description": "(Peter Nahum, Ltd., London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1985-1986", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1986-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Contemporary viewers would have recognized the painting for which this drawing is a study as bearing a deeper meaning: the couple's risky flirtation will lead to disastrous consequences and the shepherd ignores his flock while distracted by romance.", "description": "Together with Dante Gabriel Rossetti and John Everett Millais, William Holman Hunt was one of the founding members in 1848 of the Pre-Raphaelite Brotherhood, a group of young artists who rejected the heavy darkness and idealization of academic history painting, replacing it with meticulously observed, jewel-colored naturalistic detail. This is a study for the figures in the oil painting <em>The Hireling Shepherd</em>, Hunt\u2019s first commercial success. The poses of the couple in the painting are remarkably close to the early study: the shepherd approaches the shepherdess upon his knees, encircling her shoulders with his arm. Devoid of extraneous detail, the study concentrates on the romantic play and erotic tension expressed by the lovers\u2019 intertwined limbs and faces and hands that stop just short of touching.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79938764"], "internet_archive": ["https://archive.org/details/clevelandart-1986.18-study-for-the-hireli"]}, "citations": [{"citation": "Hunt, William Holman. <em>Pre-Raphaelitism and the Pre-Raphaelite Brotherhood</em>. 2nd rev. ed. New York: E. P. Dutton, 1914.", "page_number": "Reproduced: vol. 1, p. 189", "url": "https://hdl.handle.net/2027/hvd.32044034121129"}, {"citation": "<em>Loan Exhibition of Paintings and Drawings of the 1860 Period</em>. Exh. Cat. London: Tate Gallery, 1923.", "page_number": "Mentioned: p. 28, no. 148", "url": null}, {"citation": "<em>The Pre-Raphaelite Brotherhood (1848-1861)</em>. Exh. Cat. Birmingham: Birmingham City Museum and Art Gallery, 1947.", "page_number": "Mentioned: p. 32, no. 151", "url": null}, {"citation": "<em>William Holman Hunt</em>. Exh. Cat. Liverpool: Walker Art Gallery, 1969.", "page_number": "Mentioned: p. 32, no. 151", "url": null}, {"citation": "<em>An Exhibition of Drawings by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, Ford Madox Brown</em>. Exh. Cat. Portsmouth: Portsmouth City Museum and Art Gallery, 1976.", "page_number": "Mentioned: p. 12, no. 13", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1986.\" <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (1987): 38-79.", "page_number": "Mentioned and reproduced: p. 69, no. 151", "url": "www.jstor.org/stable/25159974"}, {"citation": "Bronkhurst, Judith. <em>William Holman Hunt: A Catalogue Raisonn\u00e9</em>. New Haven: Yale University Press, 2006.", "page_number": "Mentioned and reproduced: vol. 2, p. 35, no. D55", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 96-97, 146, no. 32; Reproduced: p. 97", "url": null}], "catalogue_raisonne": "Bronkhurst D55", "url": "https://clevelandart.org/art/1986.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.18/1986.18_web.jpg", "width": "1263", "height": "796", "filesize": "669902", "filename": "1986.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.18/1986.18_print.jpg", "width": "3400", "height": "2144", "filesize": "5192482", "filename": "1986.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.18/1986.18_full.tif", "width": "6456", "height": "4072", "filesize": "78898448", "filename": "1986.18_full.tif"}}, "alternate_images": [], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153206, "creators": [{"id": 1483, "description": "William Holman Hunt (British, 1827\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": "Holman Hunt exhibited an early aptitude for art, which his father, a warehouse manager, initially opposed but later tolerated. Between 1839 and 1843 he practiced drawing and studied with the portrait painter Henry Rogers while sustaining himself as an office clerk. Hunt met John Everett Millais (1829-1896) the same year that he entered the Royal Academy Schools, 1844. A decisive conversion in his attitude toward art came with the reading of John Ruskin's Modern Painters in 1847, immediately after which he embarked on a new style of conscientious naturalism in The Flight of Madeline and Porphyro During the Drunkenness Attending the Revelry (Guildhall, London), a picture inspired by John Keats's The Eve of St. Agnes. Hunt, Millais, and Dante Gabriel Rossetti (1828-1882), who were sharing studios, organized the Pre-Raphaelite Brotherhood in 1848. Rienzi Vowing to Obtain Justice for the Death of His Younger Brother (private collection), Hunt's only picture to be shown publicly with the inscription \"P.R.B.\" was exhibited at the Royal Academy the following summer. With its landscape painted directly from nature, its stylistic allusions to Quattrocento painting, and its medieval subject, Rienzi epitomized the Brotherhood's objectives of reinstating the moral and descriptive honesty of earlier Italian and Flemish painting. The brilliant coloring and crisp light of plein-air painting and an increasing deployment of symbolic details characterize Hunt's other early masterworks, A Converted British Family Sheltering a Christian Priest from the Persecution of the Druids (1850, Ashmolean Museum, Oxford), Valentine Rescuing Sylvia from Proteus (1851, Birmingham Museum and Art Gallery), and the abstrusely moralizing Hireling Shepherd (1851, Manchester City Art Galleries). In 1854, after having finished what would ultimately be his most popular image, The Light of the World (Kebble College, Oxford), Hunt voyaged to the Holy Land where he spent two years traveling from Cairo to Beirut. His intent was to paint religious subjects with archaeological precision. The typology of The Scapegoat (Lady Lever Art Gallery, Port Sunlight), much of which was painted on-site near the Dead Sea, proved too unintelligible for the general public when it was shown at the Royal Academy in 1856, but it remains a work of poignant genius. Subsequent trips to the Holy Land in 1869-72 and 1875-78 resulted in two of his finest late works, The Shadow of Death (1870-73, Manchester City Art Gallery) and The Triumph of the Innocents (1876-87, Walker Art Gallery, Liverpool). Much of Hunt's final years were devoted to writing, especially after his eyesight began to fail in the 1890s, although he managed to finish in 1905, after nearly two decades of labor, his last great picture, The Lady of Shalott (Wadsworth Atheneum, Hartford).", "name_in_original_language": null, "birth_year": "1827", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-08-06T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "1851", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:02.003000"}, {"id": 396848, "accession_number": "2020.260", "share_license_status": "CC0", "tombstone": "Study of a Man with Hands in His Pockets, 1893. Gustave Caillebotte (French, 1848\u20131894). Black chalk on Arches modern laid paper; sheet: 47.6 x 31.5 cm (18 3/4 x 12 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2020.260", "current_location": null, "title": "Study of a Man with Hands in His Pockets", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk on Arches modern laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 47.6 x 31.5 cm (18 3/4 x 12 3/8 in.)", "dimensions": {"sheet": {"height": 0.476, "width": 0.315}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Stamped, at lower right, in dark purple ink: G. Caillebotte; watermark, at top margin: MBM (for Arches MBM)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Gustave Caillebotte, 1848\u20131894: Dessins, \u00e9tudes, peintures</em>. Brame &amp; Lorenceau, Paris (February 28\u2013March 24, 1989).", "opening_date": "1989-02-28T05:00:00Z"}, {"description": "<em>Gustave Caillebotte, 1848\u20131894: Dessins, pastels et peintures</em>. Brame &amp; Lorenceau, Paris (October 15\u2013November 27, 1998).", "opening_date": "1998-10-15T04:00:00Z"}, {"description": "<em>Gustave Caillebotte: Impressionist in Modern Paris</em>. Bridgestone Museum of Art, Tokyo (October 10\u2013December 29, 2013).", "opening_date": "2013-10-10T04:00:00Z"}, {"description": "<em>Caillebotte, peintre et jardinier</em>. Mus\u00e9e des impressionnismes, Giverny (March 25\u2013July 3, 2016); Museo Thyssen-Bornemisza, Madrid (July 19\u2013October 30, 2016).", "opening_date": "2016-03-25T04:00:00Z"}]}, "provenance": [{"description": "Studio of the artist [1848\u20131894]", "citations": [], "footnotes": [], "date": "1893-1894", "sortorder": 1}, {"description": "by descent to his family", "citations": [], "footnotes": [], "date": "1894-1989", "sortorder": 2}, {"description": "(Brame & Lorenceau, Paris, sold to the Josefowitz Collection, Lausanne)", "citations": [], "footnotes": [], "date": "1989", "sortorder": 3}, {"description": "(Josefowitz Collection, Lausanne, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1989-2020", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Caillebotte and the subject of this drawing, his friend Eug\u00e8ne Lamy, shared a love of yachting and the artist\u2019s suburban home was located near a popular club in Argenteuil.", "description": "Gustave Caillebotte is known for a realist style that broke from the heavy, visible brushstrokes of his contemporaries. This drawing is a study for the figure of Eug\u00e8ne Lamy, a close friend of the artist with whom he is seen in conversation in the 1893 painting <em>Bank of the Seine at Petit Gennevilliers, Winter </em>(private collection). Using sketchy, diagonal marks, Caillebotte recorded light and shadow on Lamy\u2019s jacket, aligning with the Impressionists\u2019 interest in capturing natural effects and fleeting moments from everyday life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117245002"], "internet_archive": ["https://archive.org/details/clevelandart-2020.260-study-of-a-man-with"]}, "citations": [{"citation": "Berhaut, Marie. <em>Gustave Caillebotte, sa vie et son \u0153uvre: Catalogue raisonn\u00e9 des peintures et pastels</em>. Paris: La Biblioth\u00e8que des arts, 1978.", "page_number": "Mentioned: p. 232", "url": null}, {"citation": "Chardeau, Jean. <em>Les Dessins de Caillebotte</em>. Paris: Herm\u00e9, 1989.", "page_number": "Mentioned and reproduced: p. 112.", "url": null}, {"citation": "<em>Gustave Caillebotte, 1848\u20131894: Dessins, \u00e9tudes, peintures. </em>Exh. cat. Paris: Brame &amp; Loreanceau, 1989.", "page_number": "Mentioned and reproduced: p. 28, no. H.", "url": null}, {"citation": "Berhaut, Marie. <em>Gustave Caillebotte: Catalogue raisonn\u00e9 des peintures et pastels</em>. Rev. ed. Paris: Wildenstein Institute, 1994.", "page_number": "Mentioned: p. 248", "url": null}, {"citation": "<em>Gustave Caillebotte, 1848\u20131894: Dessins, pastels et peintures</em>. Exh. cat. Paris: Brame &amp; Lorenceau, 1998.", "page_number": "Mentioned and reproduced: pp. 126-27, no. 75.", "url": null}, {"citation": "<em>Gustave Caillebotte: Impressionist in Modern Paris</em>. Exh. cat. Tokyo: Bridgestone Museum of Art, 2013.", "page_number": "Mentioned: p. 266, no. 57; Reproduced: p. 167.", "url": null}, {"citation": "Bocquillon, Marina Ferretti. <em>Caillebotte, peintre et jardinier</em>. Exh. cat. Giverny: Mus\u00e9e des impressionismes, 2016.", "page_number": "Mentioned: pp. 52, 148, no. 2; Reproduced: p. 52.", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 174-175, no. 36", "url": ""}], "catalogue_raisonne": "Chardeau 112", "url": "https://clevelandart.org/art/2020.260", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.260/2020.260_web.jpg", "width": "602", "height": "900", "filesize": "263496", "filename": "2020.260_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.260/2020.260_print.jpg", "width": "2276", "height": "3400", "filesize": "3523795", "filename": "2020.260_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.260/2020.260_full.tif", "width": "8736", "height": "13052", "filesize": "342095544", "filename": "2020.260_full.tif"}}, "alternate_images": [{"date_created": "2020-11-13T15:29:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.260/2020.260_alt0_web.jpg", "width": "601", "height": "900", "filesize": "260388"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.260/2020.260_alt0_print.jpg", "width": "2272", "height": "3400", "filesize": "3472288"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.260/2020.260_alt0_full.tif", "width": "7981", "height": "11945", "filesize": "286025748"}}, {"date_created": "2024-03-28T12:55:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.260/2020.260_alt1_web.jpg", "width": "602", "height": "900", "filesize": "214156"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.260/2020.260_alt1_print.jpg", "width": "2276", "height": "3400", "filesize": "3058467"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.260/2020.260_alt1_full.tif", "width": "8736", "height": "13052", "filesize": "342093820"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 396848, "creators": [{"id": 26343, "description": "Gustave Caillebotte (French, 1848\u20131894)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1894", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "In this black chalk drawing Caillebotte captured his friend\u2019s physique and posture with a high degree of naturalism and finesse. He used broad gestural marks to outline and shade and expertly describe the subject\u2019s movement, form, and attitude. A range of expressive hatch lines, return strokes, and scribbles pull the figure\u2019s clothing more snugly across the back of his body and create tugs in his pant leg to convey the hands-in-pocket gesture. This sensitive observation and nuanced handling of materials also describes the figure\u2019s hyperextended legs. Yet for all its exactitude, the gist of this drawing style is ease of execution and unconcern for perfection, a nonchalance that is reinforced by small passages of incidental smudging that read as part of the drawing process. Vestiges of erasing are also seen in the background, where presumably the artist went back in to clean up smudged media residues.<br> <br>The study just fits from top to bottom on the (more textured) wire side of a half sheet of laid paper. Vigorous chalk applications and reinforced strokes feature prominently, yet flecks of white paper interrupt the black marks throughout in a fine scrim pattern determined by the \u201claid and chain\u201d paper texture. This \u201cpointillist\u201d quality enlivened drawings and made these mid- to late-19th-century laid papers highly desirable for working in dry, powdery (black) chalk. The paper\u2019s orientation places the laid lines in a horizontal direction, a direction that some artists favored for most effectively trapping the dry black media and accentuating the fine ribbed laid texture. More subtle are the (white) widely spaced chain lines which provide plumb lines that firmly center the figure on a vertical axis. <br> <br>The paper type is modern laid and a partial watermark <em>MBM</em>, along the top edge, tells us the paper is <em>Arches Ingres MBM </em>developed by the Arches paper mill in 1869. According to the Arches website, the Arches mill did not start making paper on the cylinder mold machine until 1895 which puts this drawing from 1893 on a handmade paper.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:55.507000"}, {"id": 111077, "accession_number": "1929.566", "share_license_status": "CC0", "tombstone": "Sandals (mitalawanda / mitawanda) or Clogs (kiatu cha mti), c. 1800s. Africa, Central Africa, Democratic Republic of Congo, unidentified carver. Wood and glass beads; overall: 6 x 10.2 cm (2 3/8 x 4 in.); part 2: 4.5 x 12.4 cm (1 3/4 x 4 7/8 in.); part 3: 6 x 9.5 cm (2 3/8 x 3 3/4 in.); part 4: 3.2 x 12.1 cm (1 1/4 x 4 3/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1929.566", "current_location": "108A African", "title": "Sandals (mitalawanda / mitawanda) or Clogs (kiatu cha mti)", "creation_date": "c. 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, unidentified carver"], "technique": "Wood and glass beads", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 6 x 10.2 cm (2 3/8 x 4 in.); Part 2: 4.5 x 12.4 cm (1 3/4 x 4 7/8 in.); Part 3: 6 x 9.5 cm (2 3/8 x 3 3/4 in.); Part 4: 3.2 x 12.1 cm (1 1/4 x 4 3/4 in.)", "dimensions": {"overall": {"height": 0.06, "width": 0.102, "length": 0.292}, "part 2": {"height": 0.045, "width": 0.124}, "part 3": {"height": 0.06, "width": 0.095, "length": 0.292}, "part 4": {"height": 0.032, "width": 0.121}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 446033, "title": "Arts of Africa", "description": "<i>Arts of Africa</i>. The Cleveland Museum of Art (organizer) (December 10, 2021-July 2, 2023).", "opening_date": "2021-12-09T05:00:00"}], "legacy": []}, "provenance": [{"description": "The Old Oak Antique Shop, Worcester, England, by purchase", "citations": [], "footnotes": ["<div><!--block-->Original object card, curatorial file.</div>"], "date": "by 1929", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1929\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This distinctive footwear traveled from Southeast Asia and the Middle East to Africa, first to the Swahili Coast and then further inland to parts of Central Africa. The deity Krishna wears similar shoes (<em>paduka</em>) in an eighteenth-century Indian miniature painting (2003.344).", "description": "Common in the Indian Ocean region, wooden sandals changed meaning across place and time. This pair\u2019s base elevates the foot as the toes grip an antelope-shaped peg (<em>msuruaki</em>). Crisp geometric sole designs suggest they were rarely worn. East African elites and merchants once had exclusive rights to wooden shoes, wearing elaborate ones only for portraits. Formerly enslaved people living along the coast wore simpler ones from the 1840s onward, adopting elite footwear to assert their liberation. However, slave traders like the Zanzibari \u201cTippu Tip\u201d (c. 1832\u20131905) likely brought <em>mitalawanda </em>to Central Africa; stylistic elements of this pair hail from that region.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003247"], "internet_archive": ["https://archive.org/details/clevelandart-1929.566-patten-type-shoes-wi", "https://archive.org/details/clevelandart-1929.566-sandals-mitalawanda"]}, "citations": [{"citation": "\u201cPermanent Collection Installations: Arts of Africa: Gallery Rotation.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no.4 (December 2022): 12-13.", "page_number": "Reproduced: P. 13.", "url": ""}], "url": "https://clevelandart.org/art/1929.566", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.566/1929.566_web.jpg", "width": "900", "height": "556", "filesize": "150055", "filename": "1929.566_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.566/1929.566_print.jpg", "width": "3400", "height": "2099", "filesize": "926163", "filename": "1929.566_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.566/1929.566_full.tif", "width": "6902", "height": "4260", "filesize": "88232244", "filename": "1929.566_full.tif"}}, "alternate_images": [{"date_created": "2014-05-06T09:14:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.566/1929.566_alt0_web.jpg", "width": "900", "height": "602", "filesize": "95302"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.566/1929.566_alt0_print.jpg", "width": "3400", "height": "2273", "filesize": "803486"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.566/1929.566_alt0_full.tif", "width": "8772", "height": "5864", "filesize": "154344488"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": "0912b44e99ee4a85b529f99567dcdb84", "sketchfab_url": "https://sketchfab.com/models/0912b44e99ee4a85b529f99567dcdb84", "gallery_donor_text": null, "athena_id": 111077, "creators": [], "legal_status": "accessioned", "accession_date": "1929-09-30T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c. 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-10 07:02:39.867000"}, {"id": 142810, "accession_number": "1966.500.1", "share_license_status": "CC0", "tombstone": "Covered Teapot, 1887\u201396. Attributed to Feodor Ivanovich R\u00fcckert (Russian, 1840\u20131917), House of Faberg\u00e9 (Russian, 1842\u20131918). Silver gilt, opaque cloisonn\u00e9 enamel. The Cleveland Museum of Art, The India Early Minshall Collection, 1966.500.1", "current_location": "211 Faberg\u00e9", "title": "Covered Teapot", "creation_date": "1887\u201396", "creation_date_earliest": 1887, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "silver gilt, opaque cloisonn\u00e9 enamel", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "dimensions": {"overall": {"height": 0.127, "width": 0.178, "depth": 0.108}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "84, St. George [assay mark for Moscow, 1882-1896]; C. Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; St. George; initials of Carl Faberg\u00e9 (in Cyrillic).", "inscription_translation": null, "inscription_remark": "Some pieces made in the workshop of Feodor R\u00fcckert but intended to be sold as Faberg\u00e9 were marked \"KF\" (in Cyrillic) along with \"Faberg\u00e9\" (in Cyrillic).", "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}], "legacy": []}, "provenance": [{"description": "India Early Minshall [1885\u20131965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131966", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This covered teapot is part of a larger tea service.", "description": "Faberg\u00e9\u2019s craftsmen in Moscow, especially under the watchful eye of workmaster Feodor R\u00fcckert, became known for their work in the pan-Slavic or neo-Russian style, hearkening back to 17th-century motifs of Russian folk art. Often on rather conventional shapes, R\u00fcckert and his silversmiths created an explosion of color, achieved through the historic technique of cloisonn\u00e9 enamel in which tiny metal lines are soldered to the surface then filled with glass powders in various colors and fired to create a high gloss finish. The result is a spectacular evocation of the 17th-century originals. Far from mere copies, however, R\u00fcckert's designs, such as this tea service, employ naturalistic or abstract motifs in a thoroughly modern adaptation of a remarkable earlier period of Russian art and decoration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757733"], "internet_archive": ["https://archive.org/details/clevelandart-1966.500.1-covered-teapot"]}, "citations": [{"citation": "Hawley, Henry. <em>Faberg\u00e9 and His Contemporaries: The India Early Minshall Collection of The Cleveland Museum of Art.</em> Cleveland, Cleveland Museum of Art, 1967.", "page_number": "Reproduced: p. 125; mentioned: p. 124, cat. 59", "url": "https://archive.org/details/FabergeEarlyMinshallCMA/page/n133"}], "url": "https://clevelandart.org/art/1966.500.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.500.1/1966.500.1_web.jpg", "width": "900", "height": "770", "filesize": "190557", "filename": "1966.500.1_web.jpg"}, "print": 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the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887\u201396", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.500", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:33.115000"}, {"id": 144769, "accession_number": "1969.55", "share_license_status": "Copyrighted", "tombstone": "Veranda Post (\u00d2p\u00f3), early to mid-1900s. Probably by Agbonbiofe Adeshina (Yor\u00f9b\u00e1, c. 1880\u20131945). Wood, probably tar, cloth, and iron; overall: 106.6 cm (41 15/16 in.). The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1969.55", "current_location": "108A African", "title": "Veranda Post (\u00d2p\u00f3)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": ["male"], "culture": ["Africa, West Africa, Nigeria, probably Ekiti State"], "technique": "Wood, probably tar, cloth, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 106.6 cm (41 15/16 in.)", "dimensions": {"overall": {"height": 1.066}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": []}, "provenance": [{"description": "Saja Tunkara", "citations": [], "footnotes": null, "date": "by 1969", "sortorder": 1}, {"description": "The Cleveland Museum of Art by purchase", "citations": [], "footnotes": null, "date": "1969\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Adeshina family were well-known carvers in the town of <a href=\"https://en.wikipedia.org/wiki/%E1%BA%B8f%E1%BB%8D%CC%80n-Al%C3%A0%C3%A0y%C3%A8\">\u1eb8f\u1ecd\u0300n-Al\u00e0\u00e0y\u00e8</a> who passed their skills down through the generations.", "description": "Yor\u00f9b\u00e1 palaces comprise several courtyards surrounded by carved figurative veranda posts. This post was probably used on one of the smaller verandas containing a palace shrine. The mounted warrior and kneeling woman, two common themes in the Ekiti region, signify the distribution of power in Yor\u00f9b\u00e1 society. The warrior represents military skill, intellectual strength, and physical power.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746799"], "internet_archive": ["https://archive.org/details/clevelandart-1969.55-veranda-post-opo"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 411", "url": "https://archive.org/details/CMAHandbook1978/page/n431"}], "url": "https://clevelandart.org/art/1969.55", "images": {}, "alternate_images": [], "creditline": "James Albert and Mary Gardiner Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144769, "creators": [{"id": 9988, "description": "Agbonbiofe Adeshina (Yor\u00f9b\u00e1, c. 1880\u20131945)", "extent": null, "qualifier": "probably by", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1880", "death_year": "1945", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Veranda Post (Opo)", "Veranda Post (opo) of a Mounted Warrior and Kneeling Woman", "Post Sculpture with Two Figures"], "is_highlight": false, "updated_at": "2026-03-27 00:00:56.611000"}, {"id": 146102, "accession_number": "1971.29", "share_license_status": "CC0", "tombstone": "Sofa, c. 1820. America, New York, Empire style, 19th century. Wood with painted and gilded decoration; overall: 85.1 x 195.5 x 63.6 cm (33 1/2 x 76 15/16 x 25 1/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1971.29", "current_location": "205 Federal American", "title": "Sofa", "creation_date": "c. 1820", "creation_date_earliest": 1815, "creation_date_latest": 1825, "artists_tags": [], "culture": ["America, New York, Empire style, 19th century"], "technique": "wood with painted and gilded decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 85.1 x 195.5 x 63.6 cm (33 1/2 x 76 15/16 x 25 1/16 in.)", "dimensions": {"overall": {"height": 0.851, "width": 1.955, "depth": 0.636}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301427, "title": "Year in Review: 1971", "description": "<i>Year in Review: 1971</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1971-February 6, 1972).", "opening_date": "1971-12-28T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Peter Hill, Washington, D.C.).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "At first glance you might not notice the animals, but look closely and you will discover the small faces of lions and the outstretched wings of eagles that decorate this sofa's frame. Furniture made in the Empire style was adapted from ancient Grecian forms by Parisian and American cabinet makers influenced by the classical style.", "description": "The classically inspired elements of design such as the scrolled arms and the well executed gilt decoration identifies this sofa as an example of American Empire style furniture almost certainly made in New York City.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60751195"], "internet_archive": ["https://archive.org/details/clevelandart-1971.29-sofa"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 201", "url": "https://archive.org/details/CMAHandbook1978/page/n221"}], "url": "https://clevelandart.org/art/1971.29", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.29/1971.29_web.jpg", "width": "1263", "height": "703", "filesize": "445393", "filename": "1971.29_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.29/1971.29_print.jpg", "width": "3400", "height": "1892", "filesize": "3383602", "filename": "1971.29_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.29/1971.29_full.tif", "width": "5395", "height": "3002", "filesize": "48636576", "filename": "1971.29_full.tif"}}, "alternate_images": [{"date_created": "2007-04-30T17:16:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.29/1971.29_alt0_web.jpg", "width": "1263", "height": "693", "filesize": "431080"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.29/1971.29_alt0_print.jpg", "width": "3400", "height": "1865", "filesize": "3192580"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.29/1971.29_alt0_full.tif", "width": "6000", "height": "3291", "filesize": "59268608"}}, {"date_created": "2007-04-30T18:37:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.29/1971.29_alt1_web.jpg", "width": "1263", "height": "718", "filesize": "443153"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.29/1971.29_alt1_print.jpg", "width": "3400", "height": "1933", "filesize": "3213029"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.29/1971.29_alt1_full.tif", "width": "6000", "height": "3412", "filesize": "61446696"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 146102, "creators": [], "legal_status": "accessioned", "accession_date": "1971-05-13T00:00:00", "sortable_date": 1815, "date_added_to_oa": null, "date_text": "c. 1820", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:10.688000"}, {"id": 157139, "accession_number": "1993.38", "share_license_status": "CC0", "tombstone": "Portrait Bust, c. 1865. Albert-Ernest Carrier-Belleuse (French, 1824\u20131887). Terracotta; with base: 77.4 x 38.1 x 28.6 cm (30 1/2 x 15 x 11 1/4 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1993.38", "current_location": "219 19th Century European", "title": "Portrait Bust", "creation_date": "c. 1865", "creation_date_earliest": 1860, "creation_date_latest": 1870, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "terracotta", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "with base: 77.4 x 38.1 x 28.6 cm (30 1/2 x 15 x 11 1/4 in.)", "dimensions": {"with base": {"height": 0.774, "width": 0.381, "depth": 0.286}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "incised in the clay on the back:  \"A. Carrier\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311646, "title": "Changing Dimensions: Works on Paper by Sculptors", "description": "<i>Changing Dimensions: Works on Paper by Sculptors</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 22, 1995-January 24, 1996).", "opening_date": "1995-11-22T05:00:00"}], "legacy": []}, "provenance": [{"description": "possibly descendants of Carrier-Belleuse's daughter Marie-Gabrielle and her husband Joseph Cheret; [Elstir Galerie, Paris]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The possible muse for this bust, Virginia Oldonia, was a countess know for her drama and costumes.", "description": "Among the artists who reacted against the static poses of neoclassical art, Carrier-Belleuse drew inspiration from the opulence and excess of Rococo portraiture of the 1700s. This bust resembles one of Napoleon III's mistresses, Marguerite Bellanger, whose features the artist is known to have borrowed for his female busts. Carrier-Belleuse received commissions from Napoleon III, ruler of France from 1852 to 1870, and contributed to the sculptural decorations of the Louvre and Opera Garnier in Paris.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758245"], "internet_archive": ["https://archive.org/details/clevelandart-1993.38-portrait-bust"]}, "citations": [{"citation": "\"1993 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (1994): 143-218.", "page_number": "Reproduced: p. 169; Mentioned: p. 159", "url": "https://www.jstor.org/stable/25161457"}], "url": "https://clevelandart.org/art/1993.38", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1993.38/1993.38_web.jpg", "width": "625", "height": "893", "filesize": "261730", "filename": "1993.38_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1993.38/1993.38_print.jpg", "width": "2379", "height": "3400", "filesize": "3898173", "filename": "1993.38_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1993.38/1993.38_full.tif", "width": "4351", "height": "6218", "filesize": "81198508", "filename": "1993.38_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt0_web.jpg", "width": "620", "height": "893", "filesize": "352746"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt0_print.jpg", "width": "1421", "height": "2048", "filesize": "2075785"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt0_full.tif", "width": "1421", "height": "2048", "filesize": "8734084"}}, {"date_created": "2008-09-26T12:48:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt1_web.jpg", "width": "616", "height": "893", "filesize": "252035"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt1_print.jpg", "width": "2347", "height": "3400", "filesize": "3826167"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt1_full.tif", "width": "4211", "height": "6099", "filesize": "77082608"}}, {"date_created": "2008-09-26T13:03:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt2_web.jpg", "width": "601", "height": "893", "filesize": "252931"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt2_print.jpg", "width": "2289", "height": "3400", "filesize": "3785076"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt2_full.tif", "width": "4051", "height": "6017", "filesize": "73161724"}}, {"date_created": "2008-09-26T13:15:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt3_web.jpg", "width": "658", "height": "893", "filesize": "269520"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt3_print.jpg", "width": "2505", "height": "3400", "filesize": "3940635"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1993.38/1993.38_alt3_full.tif", "width": "4347", "height": "5901", "filesize": "76991180"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157139, "creators": [{"id": 5961, "description": "Albert-Ernest Carrier-Belleuse (French, 1824\u20131887)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1824", "death_year": "1887", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1993-05-05T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "c. 1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:36.317000"}, {"id": 167401, "accession_number": "2009.23", "share_license_status": "CC0", "tombstone": "Cigarette Case, c.1885. House of Faberg\u00e9 (Russian, 1842\u20131918), Eric August Kollin (Russian, 1836\u20131901). Tan tree agate with ribbed gold mounts and interior gold cigarette restraints set with cabechon sapphire thumpiece; overall: 6.7 cm (2 5/8 in.). The Cleveland Museum of Art, Gift of Howard F. Stirn, 2009.23", "current_location": "211 Faberg\u00e9", "title": "Cigarette Case", "creation_date": "c.1885", "creation_date_earliest": 1880, "creation_date_latest": 1890, "artists_tags": ["gender unknown", "male"], "culture": ["Russia, St. Petersburg"], "technique": "tan tree agate with ribbed gold mounts and interior gold cigarette restraints set with cabechon sapphire thumpiece", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Miscellaneous", "measurements": "Overall: 6.7 cm (2 5/8 in.)", "dimensions": {"overall": {"width": 0.067, "length": 0.095}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Howard Fenno Stirn [1923-2016], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-2009", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2009-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["144.2007", "2008.230"], "did_you_know": "Created during Finnish-born Erik Kollin\u2019s last year as Faberg\u00e9\u2019s chief workmaster.", "description": "This cigarette box displays one of the quintessential qualities of chief workmaster Erik Kollin\u2019s craft\u2014mounting superior vessels cut from agate with tasteful gold mounts. This casing is so delicate and finely made that the contents, held inside by a simple yet elegant bar, would almost be visible from the exterior. This particular box is made from a tan tree agate that is reminiscent of a patterned fish or tortoise.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778828"], "internet_archive": ["https://archive.org/details/clevelandart-2009.23-cigarette-case"]}, "citations": [{"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, OH: Cleveland Museum of Art in association with New Haven, CT: Yale University Press, 2008.", "page_number": "Reproduced and mentioned:  p. 185, cat. 35", "url": "https://ingallslibrary.on.worldcat.org/oclc/230187932"}], "url": "https://clevelandart.org/art/2009.23", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.23/2009.23_web.jpg", "width": "1263", "height": "822", "filesize": "548297", "filename": "2009.23_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.23/2009.23_print.jpg", "width": "3164", "height": "2059", "filesize": "3031394", "filename": "2009.23_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.23/2009.23_full.tif", "width": "3164", "height": "2059", "filesize": "19582868", "filename": "2009.23_full.tif"}}, "alternate_images": [], "creditline": "Gift of Howard F. Stirn", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 167401, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55081, "description": "Eric August Kollin (Russian, 1836\u20131901)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "First workmaster for Faberg\u00e9", "name_in_original_language": null, "birth_year": "1836", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c.1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:52.480000"}, {"id": 168728, "accession_number": "2010.434", "share_license_status": "CC0", "tombstone": "Male Figure (Nkisi), late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of the Congo, probably Yombe-style maker. Wood, organic material (including resin), metalized glass, and cloth; overall: 17 x 5.3 x 7 cm (6 11/16 x 2 1/16 x 2 3/4 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.434", "current_location": "108A African", "title": "Male Figure (Nkisi)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of the Congo, probably Yombe-style maker"], "technique": "Wood, organic material (including resin), metalized glass, and cloth", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 17 x 5.3 x 7 cm (6 11/16 x 2 1/16 x 2 3/4 in.)", "dimensions": {"overall": {"height": 0.17, "width": 0.053, "depth": 0.07}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Ren\u00e9 De Wolf, Brussels, BE, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "?\u20131972", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1972\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The medicinal substances remain intact in this particular figure, which is rare, as most were decommissioned before museum acquisition.", "description": "<em>Nkisi </em>is often associated with the word <em>spirit</em>, as these figures are believed to host a variety ancestral spirits. With an intact mirror-covered stomach cavity, this figure was not decommissioned before sale or disposal, deeming its particular powers sustained. The cloth knots and carvings suggest that it was used to bind agreements or oaths, and to reconcile social and cosmological contradictions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761733"], "internet_archive": ["https://archive.org/details/clevelandart-2010.434-male-figure-nkisi"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 50.", "page_number": "Mentioned: pp. 23, 46-47, 113; reproduced: p. 50, cat. 10", "url": null}], "url": "https://clevelandart.org/art/2010.434", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.434/2010.434_web.jpg", "width": "707", "height": "893", "filesize": "327665", "filename": "2010.434_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.434/2010.434_print.jpg", "width": "2693", "height": "3400", "filesize": "5918251", "filename": "2010.434_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.434/2010.434_full.tif", "width": "3076", "height": "3883", "filesize": "35868464", "filename": "2010.434_full.tif"}}, "alternate_images": [{"date_created": "2011-05-31T18:54:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt0_web.jpg", "width": "733", "height": "893", "filesize": "335894"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt0_print.jpg", "width": "2792", "height": "3400", "filesize": "5950984"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt0_full.tif", "width": "3076", "height": "3745", "filesize": "34593064"}}, {"date_created": "2011-05-31T18:25:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt1_web.jpg", "width": "709", "height": "893", "filesize": "313377"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt1_print.jpg", "width": "2700", "height": "3400", "filesize": "5662549"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt1_full.tif", "width": "3077", "height": "3874", "filesize": "35797280"}}, {"date_created": "2011-05-31T18:56:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt2_web.jpg", "width": "734", "height": "893", "filesize": "341897"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt2_print.jpg", "width": "2795", "height": "3400", "filesize": "6154618"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt2_full.tif", "width": "3077", "height": "3743", "filesize": "34588592"}}, {"date_created": "2011-05-31T18:48:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt3_web.jpg", "width": "746", "height": "893", "filesize": "351591"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt3_print.jpg", "width": "2839", "height": "3400", "filesize": "6114039"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt3_full.tif", "width": "3077", "height": "3684", "filesize": "34043192"}}, {"date_created": "2011-05-31T19:01:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt4_web.jpg", "width": "656", "height": "893", "filesize": "285238"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt4_print.jpg", "width": "2497", "height": "3400", "filesize": "5338700"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.434/2010.434_alt4_full.tif", "width": "2963", "height": "4034", "filesize": "35895112"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168728, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:37.230000"}, {"id": 286670, "accession_number": "2016.60", "share_license_status": "CC0", "tombstone": "Snuff Container, late 1800s or early 1900s. Africa, Southern Africa, South Africa, Xhosa-style maker. Hide, earth, and blood. The Cleveland Museum of Art, Gift of Frank Herreman in memory of Hendrik and Marcelle Herreman, 2016.60", "current_location": "108B Southern African", "title": "Snuff Container", "creation_date": "late 1800s or early 1900s", "creation_date_earliest": 1890, "creation_date_latest": 1910, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Xhosa-style maker"], "technique": "Hide, earth, and blood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "dimensions": {"No Extent Specified": {"height": 0.088}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "No exhibition history.", "opening_date": null}]}, "provenance": [{"description": "Hylton Nel [b. 1941], London, UK, 1970s, given to Frank Herreman", "citations": [], "footnotes": null, "date": "?\u20131970s", "sortorder": 1}, {"description": "Frank Herreman [b. 1949], Antwerp, Belgium, given to the Clevland Museum of Art", "citations": [], "footnotes": [], "date": "1970s\u20132016", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2016\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The tobacco product snuff was stored in decorative, yet useful, containers like this one.", "description": "Snuff containers made from a mixture of hide, earth, and blood constitute a very rare type of object in the artistic production of southern Africa. The specific gourdlike shape is an even more unusual occurrence. Its materials and purpose refer to the communication between animals and humans.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60745439"], "internet_archive": ["https://archive.org/details/clevelandart-2016.60-snuff-container"]}, "citations": [{"citation": "Unpublished", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2016.60", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2016.60/2016.60_web.jpg", "width": "900", "height": "826", "filesize": "189745", "filename": "2016.60_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2016.60/2016.60_print.jpg", "width": "3400", "height": "3120", "filesize": "2168184", "filename": "2016.60_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2016.60/2016.60_full.tif", "width": "6413", "height": "5885", "filesize": "113257388", "filename": "2016.60_full.tif"}}, "alternate_images": [{"date_created": "2016-08-22T09:24:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.60/2016.60_alt0_web.jpg", "width": "900", "height": "890", "filesize": "214040"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.60/2016.60_alt0_print.jpg", "width": "3400", "height": "3362", "filesize": "2538247"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.60/2016.60_alt0_full.tif", "width": "5888", "height": "5822", "filesize": "102876380"}}, {"date_created": "2016-08-22T10:30:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.60/2016.60_alt1_web.jpg", "width": "900", "height": "857", "filesize": "227468"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.60/2016.60_alt1_print.jpg", "width": "3400", "height": "3237", "filesize": "2553330"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.60/2016.60_alt1_full.tif", "width": "5449", "height": "5188", "filesize": "84844232"}}], "creditline": "Gift of Frank Herreman in memory of Hendrik and Marcelle Herreman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 286670, "creators": [], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "late 1800s or early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:26.297000"}, {"id": 692273, "accession_number": "2025.155", "share_license_status": "CC0", "tombstone": "Necklace (muriya or murriyya), late 1800s or early 1900s. Africa, East Africa, probably Harar, Ethiopia, unknown silversmith. Gilt silver, tree resin (possibly copal). The Cleveland Museum of Art, Gift of Raymond A. Silverman, 2025.155", "current_location": "108C African Jewelry and Metalwork", "title": "Necklace (muriya or murriyya)", "creation_date": "late 1800s or early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, East Africa, probably Harar, Ethiopia, unknown silversmith"], "technique": "gilt silver, tree resin (possibly copal)", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 692255, "title": "Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa", "description": "<i>Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-December 6, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Unknown Ethiopian Vendor/Shop", "citations": [], "footnotes": null, "date": "\u2013c. 2000", "sortorder": 1}, {"description": "Dr. Raymond Silverman", "citations": [], "footnotes": null, "date": "c. 2000\u20132025", "sortorder": 2}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2025", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Besides archaeological examples, the oldest known Ethiopian jewelry dates from the 1840s; damaged items were typically melted down to make new pieces or to use during times of hardship.", "description": "This necklace is from is from the Ethiopian city of Harar, where it was worn only by Muslim women. It was part of the bridal trousseau. The spherical silver beads of this <em>muriya</em> necklace resemble Muslim prayer necklaces. Its warm yellow Baltic amber or Zanzibari copal simultaneously conveyed the wearer\u2019s married status and her access to imported goods. Ornate filigree jewelry was historically made in Ethiopia for royals and nobility by specialized silversmiths trained through long apprenticeships. Customers were generally female, while silversmiths are always male.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "\u201cMuseum News.\u201d <em>Tribal Art 30</em>, i. 2 (Spring 2026): 28-41.", "page_number": "Reproduced: p. 39", "url": ""}], "url": "https://clevelandart.org/art/2025.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.155/2025.155_web.jpg", "width": "653", "height": "900", "filesize": "87397", "filename": "2025.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.155/2025.155_print.jpg", "width": "2468", "height": "3400", "filesize": "688131", "filename": "2025.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.155/2025.155_full.tif", "width": "9451", "height": "13022", "filesize": "369239608", "filename": "2025.155_full.tif"}}, "alternate_images": [{"date_created": "2025-09-25T20:00:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt0_web.jpg", "width": "900", "height": "862", "filesize": "100304"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt0_print.jpg", "width": "3400", "height": "3258", "filesize": "845479"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt0_full.tif", "width": "9451", "height": "9055", "filesize": "256763620"}}, {"date_created": "2025-09-26T20:55:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt1_web.jpg", "width": "803", "height": "900", "filesize": "95788"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt1_print.jpg", "width": "3035", "height": "3400", "filesize": "866103"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt1_full.tif", "width": "8389", "height": "9399", "filesize": "236571812"}}, {"date_created": "2025-09-25T20:05:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt2_web.jpg", "width": "900", "height": "867", "filesize": "102050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt2_print.jpg", "width": "3400", "height": "3274", "filesize": "868706"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.155/2025.155_alt2_full.tif", "width": "9451", "height": "9101", "filesize": "258068056"}}], "creditline": "Gift of Raymond A. Silverman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 692273, "creators": [], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s or early 1900s", "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": "2026-03-26 23:59:12.109000"}, {"id": 111654, "accession_number": "1930.189", "share_license_status": "CC0", "tombstone": "South Wind, Clear Sky, from Thirty-Six Views of Mount Fuji (\u51a8\u5dbd\u4e09\u5341\u516d\u666f\u3000\u51f1\u98a8\u5feb\u6674), early 1830s. Katsushika Hokusai (Japanese, 1760\u20131849). Color woodblock print; 25.6 x 37.5 cm (10 1/16 x 14 3/4 in.). The Cleveland Museum of Art, Bequest of Edward L. Whittemore, 1930.189", "current_location": null, "title": "South Wind, Clear Sky, from Thirty-Six Views of Mount Fuji", "title_in_original_language": "\u51a8\u5dbd\u4e09\u5341\u516d\u666f\u3000\u51f1\u98a8\u5feb\u6674", "creation_date": "early 1830s", "creation_date_earliest": 1830, "creation_date_latest": 1835, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "25.6 x 37.5 cm (10 1/16 x 14 3/4 in.)", "dimensions": {"No Extent Specified": {"height": 0.256, "width": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hokusai aratame Iitsu hitsu\r\nPublisher: Nishimuraya Yohachi", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 357023, "title": "Japanese Prints from the Museum Collection", "description": "<i>Japanese Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 5-October 28, 1934).", "opening_date": "1934-09-05T04:00:00"}, {"id": 301790, "title": "Ukiyo-e: Floating World", "description": "<i>Ukiyo-e: Floating World</i>. The Cleveland Museum of Art, Cleveland, OH (June 11-September 2, 1973).", "opening_date": "1973-06-11T04:00:00"}, {"id": 304431, "title": "Japanese Woodblock Prints: Themes and Techniques", "description": "<i>Japanese Woodblock Prints: Themes and Techniques</i>. The Cleveland Museum of Art (organizer) (September 3-October 19, 1980).", "opening_date": "1980-09-03T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309857, "title": "Transformations in Japanese Printmaking", "description": "<i>Transformations in Japanese Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25-December 30, 1984).", "opening_date": "1984-09-25T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 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"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": [{"description": "<em>Gallery One 2012</em>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-April 29, 2013).", "opening_date": "2012-11-05T00:00:00"}]}, "provenance": [{"description": "(Yamanaka & Co., New York, NY, sold to Edward L. Whittemore)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Edward L. Whittemore [1862\u20131930], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131930", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1930\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2143.1928"], "did_you_know": "During the printing process, the natural grain of the cherry wood printing block was imprinted onto the paper along with the red-colored dye.", "description": "Mt. Fuji, Japan\u2019s highest mountain, appeared in most Japanese 19th-century travel literature. Maps sometimes showed its location with a Fuji-shaped icon and indicated where travelers could get the best view of it. Between 1829 and 1833, Hokusai created a print series depicting thirty-six views of the mountain, including this one, sometimes known as \u201cRed Fuji.\u201d The season in this scene is a time between late summer and early autumn, when the mountain takes on a reddish hue.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757269"], "internet_archive": ["https://archive.org/details/clevelandart-1930.189-south-wind-clear-sky"]}, "citations": [{"citation": "Howard Conley Hollis. \"The Edward Loder Whittemore Collection of Japanese Prints.\" <em>The Bulletin of the Cleveland Museum of Art</em> 17, no. 4 (1930): 64-66.", "page_number": "p. 64-66", "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. 388", "url": "https://archive.org/details/CMAHandbook1978/page/n408"}], "url": "https://clevelandart.org/art/1930.189", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1930.189/1930.189_web.jpg", "width": "900", "height": "617", "filesize": "259461", "filename": "1930.189_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1930.189/1930.189_print.jpg", "width": "3400", "height": "2329", "filesize": "3623795", "filename": "1930.189_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1930.189/1930.189_full.tif", "width": "12310", "height": "8433", "filesize": "311461628", "filename": "1930.189_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.189/1930.189_alt0_web.jpg", "width": "1263", "height": "858", "filesize": "897163"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.189/1930.189_alt0_print.jpg", "width": "3400", "height": "2311", "filesize": "5936541"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.189/1930.189_alt0_full.tif", "width": "5000", "height": "3398", "filesize": "50999656"}}, {"date_created": "2014-07-02T10:37:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.189/1930.189_alt1_web.jpg", "width": "900", "height": "615", "filesize": "210433"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.189/1930.189_alt1_print.jpg", "width": "3400", "height": "2325", "filesize": "2958990"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.189/1930.189_alt1_full.tif", "width": "7567", "height": "5175", "filesize": "117507380"}}], "creditline": "Bequest of Edward L. Whittemore", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111654, "creators": [{"id": 23328, "description": "Katsushika Hokusai (Japanese, 1760\u20131849)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u845b\u98fe \u5317\u658e", "birth_year": "1760", "death_year": "1849", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-05-19T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "early 1830s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Fuji in Clear Weather (from the series Thirty-six Views of Mt. Fuji)", "Fuji in Clear Weather, from the series Thirty-six Views of Mt. Fuji", "South Wind, Clear Sky, from the series Thirty-six Views of Mount Fuji"], "is_highlight": false, "updated_at": "2026-03-27 00:01:31.590000"}, {"id": 112900, "accession_number": "1931.48", "share_license_status": "CC0", "tombstone": "Return from Russia, c. 1818. Th\u00e9odore G\u00e9ricault (French, 1791\u20131824). Lithograph printed in black and ochre with watercolor added by hand; border: 44.4 x 36.4 cm (17 1/2 x 14 5/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1931.48", "current_location": null, "title": "Return from Russia", "creation_date": "c. 1818", "creation_date_earliest": 1813, "creation_date_latest": 1823, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph printed in black and ochre with watercolor added by hand", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Border: 44.4 x 36.4 cm (17 1/2 x 14 5/16 in.)", "dimensions": {"border": {"height": 0.444, "width": 0.364}}, "state_of_the_work": "III/VI", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 301501, "title": "40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 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": 309649, "title": "Goya, Gericault and Delacroix", "description": "<i>Goya, Gericault and Delacroix</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-April 24, 1983).", "opening_date": "1983-01-25T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 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": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was created at a time when Th\u00e9odore G\u00e9ricault was focusing on military subjects in his prints, drawings, and paintings.", "description": "G\u00e9ricault was an accomplished lithographer who realized the potential of the medium. Two stones were used to print this image\u2014one for the design printed in black and the other to create the broad areas of tone printed in ochre. This is one of the earliest French lithographs in which a second color is somewhat integrated into the image instead of just being used for the overall background. G\u00e9ricault added white watercolor to indicate snow on the lower portion of the scene. Unlike other artists who glorified the Napoleonic Wars (1792\u20131815), Gericault portrayed a realistic image of the misery and horrors of combat. This scene of two wounded soldiers and exhausted, starving animals is a powerful statement of the pitiful conditions following Napoleon's defeat by the Russians.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005361"], "internet_archive": ["https://archive.org/details/clevelandart-1931.48-return-from-russia"]}, "citations": [{"citation": "Francis, Henry. \"Recent Accessions to the Department of Prints.\" <em>The Bulletin of the Cleveland Museum of Art </em>21, no. 10 (December 1934): 158-161.", "page_number": "Mentioned: p. 160", "url": "https://www.jstor.org/stable/25137657"}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949.", "page_number": "Mentioned: p. 37", "url": "https://archive.org/details/Lithography/page/n44"}], "catalogue_raisonne": "Delteil vol. 18, no.13", "url": "https://clevelandart.org/art/1931.48", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.48/1931.48_web.jpg", "width": "742", "height": "900", "filesize": "223017", "filename": "1931.48_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.48/1931.48_print.jpg", "width": "2802", "height": "3400", "filesize": "2499618", "filename": "1931.48_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.48/1931.48_full.tif", "width": "5018", "height": "6088", "filesize": "91680724", "filename": "1931.48_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112900, "creators": [{"id": 11643, "description": "Th\u00e9odore G\u00e9ricault (French, 1791\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1931-02-13T00:00:00", "sortable_date": 1813, "date_added_to_oa": null, "date_text": "c. 1818", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:30.261000"}, {"id": 125526, "accession_number": "1947.459", "share_license_status": "CC0", "tombstone": "Mary Cassatt at the Louvre: The Paintings Gallery, 1879\u201380. Edgar Degas (French, 1834\u20131917). Etching, softground etching, aquatint, and drypoint; platemark: 30.2 x 12.6 cm (11 7/8 x 4 15/16 in.); sheet: 36.3 x 26.6 cm (14 5/16 x 10 1/2 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1947.459", "current_location": null, "title": "Mary Cassatt at the Louvre: The Paintings Gallery", "creation_date": "1879\u201380", "creation_date_earliest": 1879, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching, softground etching, aquatint, and drypoint", "support_materials": [{"description": "cream (3) heavy laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 30.2 x 12.6 cm (11 7/8 x 4 15/16 in.); Sheet: 36.3 x 26.6 cm (14 5/16 x 10 1/2 in.)", "dimensions": {"sheet": {"height": 0.363, "width": 0.266}, "platemark": {"height": 0.302, "width": 0.126}}, "state_of_the_work": "VII/XX (only known impression of this state)", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Watermark: FRERES", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520685, "title": "Etchings of Edgar Degas", "description": "<i>Etchings of Edgar Degas</i>. The Renaissance Society, Chicago, IL (organizer) (May 3-June 12, 1964).", "opening_date": "1964-05-03T04:00:00"}, {"id": 442453, "title": "Degas 1879", "description": "<i>Degas 1879</i>. National Galleries of Scotland, Edinburgh, United Kingdom of Great Britain and Northern Ireland (organizer) (August 13-September 30, 1979).", "opening_date": "1979-08-13T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"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": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 218915, "title": "L'Impressionnisme vu d'Am\u00e9rique", "description": "<i>L'Impressionnisme vu d'Am\u00e9rique</i>. Mus\u00e9e Fabre, Montpellier, France (organizer) (June 9-September 9, 2007); Mus\u00e9e de Grenoble, Grenoble, France (October 6, 2007-January 20, 2008).", "opening_date": "2007-06-09T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}], "legacy": [{"description": "<em>Degas 1879</em>. National Gallery of Scotland, Edinburgh (August 13 - September 30, 1979).", "opening_date": "1979-08-13T00:00:00"}, {"description": "<em>L'Impressionnisme vu d'Am\u00e9rique. </em>Mus\u00e9e Fabre, Montpellier (June 9 - September 9, 2007); Mus\u00e9e de Grenoble (October 6, 2007 - January 20, 2008).", "opening_date": "2007-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The figure seated in the foreground is believed to be Mary Cassatt's sister, Lydia.", "description": "Degas and his friends Mary Cassatt and Camille Pissarro were all experimental printmakers who combined traditional printmaking techniques to create a black and white equivalent for the tonality and varied textures of paintings. They were all so involved in printmaking that in 1879\u201380 they planned to publish a journal, <em>Le Jour et la nuit </em>(Day and Night), that would contain original etchings. As a printmaker, Degas was ambivalent about when a plate was considered finished. What attracted him to printmaking was the variability. He thoroughly enjoyed reworking, retouching, and transforming plates, often progressing toward more subtle painterly effects.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79904171"], "internet_archive": ["https://archive.org/details/clevelandart-1947.459-mary-cassatt-at-the"]}, "citations": [{"citation": "Pickvance, Ronald. <em>Degas 1879</em>. Exh. Cat. Edinburgh: National Gallery of Scotland, 1979.", "page_number": "Mentioned: p. 82, no. 115", "url": null}], "catalogue_raisonne": "Reed & Shapiro 52", "url": "https://clevelandart.org/art/1947.459", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.459/1947.459_web.jpg", "width": "359", "height": "893", "filesize": "270900", "filename": "1947.459_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.459/1947.459_print.jpg", "width": "1368", "height": "3400", "filesize": "3741538", "filename": "1947.459_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.459/1947.459_full.tif", "width": "2217", "height": "5512", "filesize": "36690036", "filename": "1947.459_full.tif"}}, "alternate_images": [], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125526, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:57.780000"}, {"id": 131761, "accession_number": "1954.337", "share_license_status": "CC0", "tombstone": "Bastille Day, 1892. Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924). Color monotype; image: 17.4 x 13.1 cm (6 7/8 x 5 3/16 in.); platemark: 25.5 x 20 cm (10 1/16 x 7 7/8 in.); sheet: 30.5 x 24.8 cm (12 x 9 3/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1954.337", "current_location": null, "title": "Bastille Day", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["America"], "technique": "color monotype", "support_materials": [{"description": "cream laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Monotype", "type": "Print", "measurements": "Image: 17.4 x 13.1 cm (6 7/8 x 5 3/16 in.); Platemark: 25.5 x 20 cm (10 1/16 x 7 7/8 in.); Sheet: 30.5 x 24.8 cm (12 x 9 3/4 in.)", "dimensions": {"sheet": {"height": 0.305, "width": 0.248}, "image": {"height": 0.174, "width": 0.131}, "platemark": {"height": 0.255, "width": 0.2}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, at bottom in image: Le Quatorze Juillet 1892; initialed, at lower right in image: MBP [in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 703539, "title": "Four Boston Masters", "description": "<i>Four Boston Masters</i>. Wellesley College, Wellesley, MA (organizer) (May 10-April 10, 1959); Museum of Fine Arts, Boston, Boston, MA (May 15-June 15, 1959).", "opening_date": "1959-04-10T05:00:00"}, {"id": 302024, "title": "Maurice Prendergast: 1859-1924", "description": "<i>Maurice Prendergast: 1859-1924</i>. The Cleveland Museum of Art, Cleveland, OH (June 21-July 30, 1961).", "opening_date": "1960-10-26T04:00:00"}, {"id": 304210, "title": "What Was the Armory Show?", "description": "<i>What Was the Armory Show?</i>. The Cleveland Museum of Art, Cleveland, OH (June 27-September 15, 1963).", "opening_date": "1963-06-27T04:00:00"}, {"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": 443027, "title": "The Painterly Print", "description": "<i>The Painterly Print</i>. The Metropolitan Museum of Art, New York, NY (organizer) (May 1-June 29, 1980); Museum of Fine Arts, Boston, Boston, MA (July 29-September 28, 1980).", "opening_date": "1980-05-01T04:00:00"}, {"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": 211421, "title": "Singular Impressions:  The Monotype in America", "description": "<i>Singular Impressions:  The Monotype in America</i>. National Museum of American Art, Washington, DC (April 4-August 3, 1997).", "opening_date": "1997-04-04T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 203146, "title": "Monotypes: Painterly Prints", "description": "<i>Monotypes: Painterly Prints</i>. The Cleveland Museum of Art (organizer) (May 31-October 11, 2015).", "opening_date": "2015-05-31T00:00:00"}, {"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": "(Peter H. Deitsch, New York, NY, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1954", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1954", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1954-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is one of the few works that can be dated to Maurice Prendergast's early years in Paris.", "description": "Maurice Prendergast began to make monotypes in the early 1890s while living in Paris, where he was influenced by Edgar Degas's use of the technique. Prendergast focused on scenes from daily life, such as this depiction of crowds filling the streets of the French capital on the country's national holiday. He used layers of blue and black ink to evoke the shadowy tones of nighttime and orbs of bright pink to suggest the artificial light of lanterns illuminating the boulevards.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80023317"], "internet_archive": ["https://archive.org/details/clevelandart-1954.337-bastille-day"]}, "citations": [{"citation": "Glaubinger, Jane. \u201cUnique Prints. The museum collection contains a wealth of monotypes, one-off prints that embody creative exploration.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 3 (May/June 2015): 6-8.", "page_number": "Reproduced: p. 6; Mentioned: p. 7", "url": "https://archive.org/details/CMAMM2015-03"}], "url": "https://clevelandart.org/art/1954.337", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1954.337/1954.337_web.jpg", "width": "688", "height": "900", "filesize": "283740", "filename": "1954.337_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1954.337/1954.337_print.jpg", "width": "2599", "height": "3400", "filesize": "3669633", "filename": "1954.337_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1954.337/1954.337_full.tif", "width": "11213", "height": "14666", "filesize": "493382356", "filename": "1954.337_full.tif"}}, "alternate_images": [{"date_created": "2005-03-24T17:00:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.337/1954.337_alt0_web.jpg", "width": "689", "height": "893", "filesize": "522097"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.337/1954.337_alt0_print.jpg", "width": "2622", "height": "3400", "filesize": "3043910"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1954.337/1954.337_alt0_full.tif", "width": "3968", "height": "5146", "filesize": "61281996"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 131761, "creators": [{"id": 3246, "description": "Maurice Prendergast (American, born Newfoundland [now Canada], 1858\u20131924)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1924", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1954-06-04T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:09:05.742000"}, {"id": 170246, "accession_number": "2012.42", "share_license_status": "CC0", "tombstone": "Pipe Bowl, possibly 1800s. Africa, Southern Africa, South Africa, Southern Nguni-style maker. Nephrite and metal; overall: 5.5 cm (2 3/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2012.42", "current_location": "108B Southern African", "title": "Pipe Bowl", "creation_date": "possibly 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Southern Nguni-style maker"], "technique": "Nephrite and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 5.5 cm (2 3/16 in.)", "dimensions": {"overall": {"height": 0.055}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "David Lewin, London, United Kingdom", "citations": [], "footnotes": null, "date": "by at least 2007\u2013latest 2011", "sortorder": null}, {"description": "(Jacaranda LLC, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2012\u2013", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2012\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This object is made of nephrite, one of two different mineral species called jade; the other is jadeite.", "description": "Carved from a deep green, translucent stone with a highly polished surface, this exquisite example of an extremely rare type of pipe bowl originates from the Eastern Cape Province in South Africa. Like the few other known examples, this pipe bowl would have been complemented by a stem, now lost, made from wood or reed or another less durable material. It is believed that such nephrite pipe bowls were copied from stone examples introduced by 17th-century Dutch settlers in the Cape region. In southern Africa, smoking tobacco and taking snuff were and still are enjoyed as activities that establish or solidify harmonious social relationships. In addition to their practical function as smoking devices, pipes of unusual and therefore costly materials and in fancy and refined shapes and forms, like this example, served as markers of rank and status and indicated prestige and socioeconomic prominence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756840"], "internet_archive": ["https://archive.org/details/clevelandart-2012.42-pipe-bowl"]}, "citations": [{"citation": "Art and Ambiguity: Perspectives on the Brenthurst Collection of Southern African Art, exhibition catalogue, 1991, Johannesburg Art Gallery.", "page_number": "", "url": ""}, {"citation": "Klopper, Sandra and Karel Nel, The Art of Southeast Africa from the Conru Collection, Milan: 5 Continents, 2008.", "page_number": "", "url": ""}, {"citation": "Lewin, David 2007, The Spirit of Africa: Southern Africa by Design, exhibition catalogue, 24 April- 30 September, Clayarch Gimhae Museum, Gyeongsangnam-ho, South Korea.", "page_number": "", "url": ""}, {"citation": "Ratzel, Friedrich, The History of Mankind: (V. 2) (1896-98), Cornell University Library's Digital Collection, 2009.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 02, March/April 2013", "page_number": "Mentioned and reproduced: p. 25", "url": "https://archive.org/details/CMAMM2013-02/page/n23"}], "url": "https://clevelandart.org/art/2012.42", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2012.42/2012.42_web.jpg", "width": "985", "height": "893", "filesize": "36361", "filename": "2012.42_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.42/2012.42_print.jpg", "width": "3400", "height": "3083", "filesize": "557001", "filename": "2012.42_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.42/2012.42_full.tif", "width": "3658", "height": "3317", "filesize": "36439920", "filename": "2012.42_full.tif"}}, "alternate_images": [{"date_created": "2012-07-12T13:48:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2012.42/2012.42_alt0_web.jpg", "width": "953", "height": "893", "filesize": "32519"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2012.42/2012.42_alt0_print.jpg", "width": "3400", "height": "3185", "filesize": "454896"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2012.42/2012.42_alt0_full.tif", "width": "3648", "height": "3418", "filesize": "37444188"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170246, "creators": [], "legal_status": "accessioned", "accession_date": "2012-06-04T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "possibly 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:07.786000"}, {"id": 125236, "accession_number": "1947.198", "share_license_status": "CC0", "tombstone": "View of Lake Pepin, Minnesota, 1862. Robert S. Duncanson (American, 1821\u20131872). Oil on canvas; framed: 38.5 x 63 x 6.5 cm (15 3/16 x 24 13/16 x 2 9/16 in.); unframed: 30.2 x 54.5 cm (11 7/8 x 21 7/16 in.). The Cleveland Museum of Art, Gift of William Macbeth, 1947.198", "current_location": null, "title": "View of Lake Pepin, Minnesota", "creation_date": "1862", "creation_date_earliest": 1862, "creation_date_latest": 1862, "artists_tags": ["Black American Artists", "male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 38.5 x 63 x 6.5 cm (15 3/16 x 24 13/16 x 2 9/16 in.); Unframed: 30.2 x 54.5 cm (11 7/8 x 21 7/16 in.)", "dimensions": {"framed": {"height": 0.385, "width": 0.63, "depth": 0.065}, "unframed": {"height": 0.302, "width": 0.545}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: R.S.D. / 1862; signed on verso: Valley of Lake Pepin/Minnesota/Painted By R.S.D.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 706714, "title": "Painters of Ohio's Past", "description": "<i>Painters of Ohio's Past</i>. Columbus Museum of Art, Columbus, OH (organizer) (June 5-July 5, 1953); Dayton Art Institute, Dayton, OH (July 17-August 16, 1953); Akron Art Museum, Akron, OH (September 1-22, 1953); The Toledo Museum of Art, Toledo, OH (October 4-26, 1953).", "opening_date": "1953-06-05T04:00:00"}, {"id": 516393, "title": "American Negro Artists of the 19th Century", "description": "<i>American Negro Artists of the 19th Century</i>. Howard University, Washington, D.C., DC (organizer) (February 1-March 25, 1967).", "opening_date": "1967-02-01T05:00:00"}, {"id": 445200, "title": "XIXth Century Afro-American Artists, Bannister and Duncanson", "description": "<i>XIXth Century Afro-American Artists, Bannister and Duncanson</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (January 9-February 6, 1972); The Cincinnati Art Museum, Cincinnati, OH (March 15-April 30, 1972).", "opening_date": "1972-01-09T05:00:00"}], "legacy": [{"description": "<em>Robert S. Duncanson: A Centennial Exhibition. </em>Cincinnati Art Museum, Cincinnati, OH (March 16-April 30, 1972).", "opening_date": "1972-03-16T00:00:00"}, {"description": "<em>Two Centuries of Black American Art. </em>Los Angeles County Museum of Art, Los Angeles, CA (September 30-November 21, 1976); The High Museum of Art, Alanta, GA (January 8-February 20, 1977); Dallas Museum of Fine Arts, Dallas, TX (March 30-May 15, 1977); The Brooklyn Museum, Brooklyn, NY (25 June 25-August 21,1977).", "opening_date": "1976-09-30T00:00:00"}]}, "provenance": [{"description": "Eric Lundberg, Tuttle's Book Shop, Rutland, VT, 1945, sold to William Macbeth", "citations": [], "footnotes": null, "date": "-1945", "sortorder": null}, {"description": "(William Macbeth, Inc., New York, NY, given to  the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1945-1947", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1947-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sport of waterskiing was invented on Lake Pepin in 1922.", "description": "Duncanson was the first African American painter to achieve recognition at home and abroad. Although most of his career was spent in Cincinnati, he painted this calm, panoramic scene during a journey up the Mississippi River to Canada, which he likely made to escape the upheaval of the Civil War. Duncanson worked in Montreal and London, England, before returning home after the war.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515394"], "internet_archive": ["https://archive.org/details/clevelandart-1947.198-view-of-lake-pepin-m"]}, "citations": [{"citation": "Porter, James A. <em>Ten Afro-American Artists of the Nineteenth Century</em>. Washington DC: Gallery of Art, Howard University, 1967.", "page_number": "Mentioned: p. 14", "url": null}, {"citation": "Duncanson, Robert S. <em>Robert S. Duncanson: A Centennial Exhibition</em>. Cincinnati, OH: Cincinnati Art Museum,1972.", "page_number": "Mentioned: p. 13; Reproduced: p. 26", "url": null}, {"citation": "Coen, Rena Neumann. <em>Painting and Sculpture in Minnesota, 1820-1914</em>. Minneapolis, MN: Published by the University of Minnesota Press for the University Gallery of the University of Minnesota, 1976.", "page_number": "Mentioned: p. 32-50; Reproduced: p. 43", "url": null}, {"citation": "Driskell, David C., and Leonard Simon. <em>Two Centuries of Black American Art: [Exhibition], Los Angeles County Museum of Art, the High Museum of Art, Atlanta, Museum of Fine Arts, Dallas, the Brooklyn Museum</em>. Los Angeles, CA: Los Angeles County Museum of Art, 1976.", "page_number": "Mentioned: p. 33, 124", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland,OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 67", "url": null}, {"citation": "Ketner, Joseph D., and Robert S. Duncanson. <em>The Emergence of the African-American Artist: Robert S. Duncanson, 1821-1872</em>. Columbia, MO: University of Missouri Press, 1993.", "page_number": "Mentioned: p.  112-133, 156-176, 198-203, 219-222; Reproduced: fig. 102", "url": null}, {"citation": "Adams, Henry. <em>What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2008.", "page_number": "Reproduced: p. 81", "url": null}, {"citation": "Cole, Mark, Amy Sparks, and Rebecca Michaels. <em>African American Art: The Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Reproduced: p. 16", "url": null}, {"citation": "Zellman, Michael David. <em>American Art Analog</em>. New York, NY: Chelsea House Publishers in association with American Art Analog, 1986.", "page_number": "Mentioned and reproduced: p. 401-410, vol. 2", "url": null}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Reproduced: P. 123, fig. 57", "url": ""}, {"citation": "Arabindan-Kesson, Anna. \"From Poetry to Paint: <em>Robert S. Duncanson and the Song of Hiawatha</em>.\" In <em>Intermedia, </em>Ursula Frohne, ed., 86-121. Chicago: Terra Foundation for American Art, 2022.", "page_number": "Mentioned and reproduced: P. 102, fig. 8", "url": ""}], "url": "https://clevelandart.org/art/1947.198", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.198/1947.198_web.jpg", "width": "1263", "height": "691", "filesize": "534618", "filename": "1947.198_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.198/1947.198_print.jpg", "width": "3400", "height": "1861", "filesize": "3996489", "filename": "1947.198_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.198/1947.198_full.tif", "width": "6333", "height": "3466", "filesize": "65880372", "filename": "1947.198_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.198/1947.198_alt0_web.jpg", "width": "1263", "height": "811", "filesize": "735316"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.198/1947.198_alt0_print.jpg", "width": "3400", "height": "2182", "filesize": "4493682"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.198/1947.198_alt0_full.tif", "width": "3753", "height": "2408", "filesize": "27150444"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.198/1947.198_alt1_web.jpg", "width": "1146", "height": "893", "filesize": "739528"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.198/1947.198_alt1_print.jpg", "width": "3142", "height": "2449", "filesize": "4903439"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.198/1947.198_alt1_full.tif", "width": "3142", "height": "2449", "filesize": "23123812"}}], "creditline": "Gift of William Macbeth", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125236, "creators": [{"id": 2605, "description": "Robert S. Duncanson (American, 1821\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-07-18T00:00:00", "sortable_date": 1862, "date_added_to_oa": null, "date_text": "1862", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:15.762000"}, {"id": 117901, "accession_number": "1938.56", "share_license_status": "CC0", "tombstone": "Smelting Works at Denver, 1892. Thomas Moran (American, born England, 1837\u20131926). Watercolor and gouache; sheet: 24 x 31.8 cm (9 7/16 x 12 1/2 in.). The Cleveland Museum of Art, Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1938.56", "current_location": null, "title": "Smelting Works at Denver", "creation_date": "1892", "creation_date_earliest": 1892, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor and gouache", "support_materials": [{"description": "light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 24 x 31.8 cm (9 7/16 x 12 1/2 in.)", "dimensions": {"sheet": {"height": 0.24, "width": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in graphite: [artist's monogram: TM] Moran; signed, lower right, in graphite: smelting works at Denver / T. Moran: June 12th 1892\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304428, "title": "The Most Remarkable Scenery: Thomas Moran's Watercolors of the American West", "description": "<i>The Most Remarkable Scenery: Thomas Moran's Watercolors of the American West</i>. Amon Carter Museum (organizer) (May 23-July 13, 1980); The Cleveland Museum of Art (August 5-October 5, 1980); Yale University Art Gallery (October 23, 1980-January 4, 1981).", "opening_date": "1980-05-23T04:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 177119, "title": "Thomas Moran Retrospective", "description": "<i>Thomas Moran Retrospective</i>. National Gallery of Art, Landover, MD (organizer) (September 28, 1997-January 11, 1998).", "opening_date": "1997-09-28T00:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}], "legacy": [{"description": "<em>The Works of Thomas Moran,</em> no. 82 (as <em>The Smelters, Denver</em>). Denver Art League, Denver, CO (December 1892). No. 82", "opening_date": "1892-12-01T05:00:00Z"}, {"description": "<em>Water Color Sketches by Thomas Moran, N. A.</em>, no. 49 (as <em>The Smelters, Denver, Colorado</em>). Santa Barbara Art Club, Santa Barbara, CA (June 1925).", "opening_date": "1925-06-01T00:00:00"}, {"description": "<em>Memorial Exhibition: Water Color Sketches by Thomas Moran, N.A., </em>no. 53 (as <em>The Smelters, Denver, Col., June 12</em>). The Milch Galleries, New York, NY (December 20, 1926 - January 8, 1927). No. 53", "opening_date": "1926-12-20T00:00:00"}, {"description": "<em>Water Colors by Thomas Moran, N.A.</em>, no. 6 (as <em>The Smelters, Denver, Colorado)</em>. The Biltmore Salon, Los Angeles, CA (January 2 - January 29, 1927). No. 6", "opening_date": "1927-01-02T00:00:00"}]}, "provenance": [{"description": "(The Milch Galleries, New York, NY, cat no. 53.)", "citations": [], "footnotes": null, "date": "1926-1927", "sortorder": 1}, {"description": "(Biltmore Salon, Los Angeles, CA, January 1927, cat. no. 6, sold.)", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "Henry A. [1856-1917] and Josephine P. [1866-1938] Everett, Cleveland, OH.", "citations": [], "footnotes": [], "date": "1927?-1938", "sortorder": 3}, {"description": "Bequest of Josephine P. Everett to The Cleveland Museum of Art, Cleveland, OH, for the Dorothy Burnham Everett Memorial Collection.", "citations": [], "footnotes": null, "date": "1938-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Moran sketched this image while waiting for his travel arrangements to be resolved, having learned that he received a commission for a large painting of Wyoming for the World\u2019s Columbian Exposition in Chicago in 1893.", "description": "For today's viewers of Thomas Moran\u2019s watercolor, the sight of factory smoke pouring into pristine mountain air might prophesy environmental ruin. Yet within the context of America\u2019s western expansion, the imagery of factories was more ambiguous. Some in Moran's time regarded the factories as a force of destruction, while others interpreted them as symbols of progress. Moran himself viewed Denver\u2019s budding industry with enthusiasm, writing positively to his wife about the city\u2019s growth since he first visited while part of a government survey in 1873. Two decades later, when Moran returned to Denver to paint advertisements for the Santa Fe Railroad, smelting\u2014the extraction of metal from heated rock\u2014had transformed the city into an industrial hub. Although the brooding tone of this watercolor is unlike the artist\u2019s bright, misty-eyed paintings of Edenic splendor, his depiction of the west\u2019s emerging industrial landscape reinforces the same myth of manifest destiny\u2014the belief that settler conquest of Native American lands was inevitable and justified\u2014by illustrating the land\u2019s richness in natural resources. Like the English Romantic painter J. M. W. Turner, whose style he emulated, Moran was primarily interested in the pictorial possibilities of industry. In this impressionistic study, Moran manipulates gray wash and white gouache to capture the vaporous quality of smoke and clouds as the two substances, industrial and natural, dissipate into the yellow atmosphere.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q22912358"], "internet_archive": ["https://archive.org/details/clevelandart-1938.56-smelting-works-at-de"]}, "citations": [{"citation": "Francis, Henry Sayles, \"In Memoriam: Josephine Pettengill Everett 1866-1937,\" <em>The Bulletin of The Cleveland Museum of Art</em> No. 6/part II (June, 1938): 123-130.", "page_number": "Mentioned, p. 129.", "url": ""}, {"citation": "Anderson, Nancy K., Thomas Moran, Joni Kinsey, and Anne Morand. <em>Thomas Moran</em>. 1997.", "page_number": "Mentioned and Reproduced: cat. no. 72, pp125-126, p. 143, p. 254, p. 400", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 90, pp. 216-217; p. 296", "url": null}], "url": "https://clevelandart.org/art/1938.56", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1938.56/1938.56_web.jpg", "width": "1177", "height": "893", "filesize": "693817", "filename": "1938.56_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1938.56/1938.56_print.jpg", "width": "3400", "height": "2580", "filesize": "2123887", "filename": "1938.56_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1938.56/1938.56_full.tif", "width": "6114", "height": "4640", "filesize": "85140876", "filename": "1938.56_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117901, "creators": [{"id": 3207, "description": "Thomas Moran (American, born England, 1837\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1837", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:04:27.958000"}, {"id": 120286, "accession_number": "1941.14", "share_license_status": "CC0", "tombstone": "Roses in a Vase, c. 1890. Pierre-Auguste Renoir (French, 1841\u20131919). Oil on fabric; unframed: 25.5 x 34 cm (10 1/16 x 13 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1941.14", "current_location": null, "title": "Roses in a Vase", "creation_date": "c. 1890", "creation_date_earliest": 1890, "creation_date_latest": 1910, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 25.5 x 34 cm (10 1/16 x 13 3/8 in.)", "dimensions": {"unframed": {"height": 0.255, "width": 0.34}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Renoir \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 300822, "title": "Horticulture Motifs in Art", "description": "<i>Horticulture Motifs in Art</i>. The Cleveland Museum of Art, Cleveland, OH (March 9-April 24, 1955).", "opening_date": "1955-03-09T05:00:00"}], "legacy": [{"description": "Worcester Art Museum, Worcester, MA (June 1, 1932-June 1, 1934).", "opening_date": "1932-06-01T00:00:00"}, {"description": "<em>Exhibition of Still Life Paintings, Seventeenth to Nineteenth Century. </em>Allen Memorial Art Museum, Oberlin, OH (1945).", "opening_date": "1945-01-01T00:00:00"}, {"description": "<em>A Loan Exhibition of Renoir</em>. Wildenstein, New York, NY (March 23-April 29, 1950).", "opening_date": "1950-03-23T00:00:00"}]}, "provenance": [{"description": "Marcel Bernheim, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "G. Tanner [1880-1958], Zurich, Switzerland", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Josef Stransky [1872-1936], New York", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Wildenstein, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Mrs. Henry White Cannon [ca.1861-1954], New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "-1941", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1941-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Renoir was an excellent singer who wanted to be a musician, but for financial reasons left school at age thirteen to work as an apprentice painter in a porcelain factory.", "description": "The palette Renoir used to depict the seven roses in this still life ranges from various shades of red to warm whites, light yellows, and pinks. The artist declared, \"'Painting flowers lets my brain rest. It does not cause the same tension of spirit as when I face a model. When I paint flowers, I put down tones, I boldly try values, without having to worry about losing a canvas.'\" He was particularly fond of roses, whose full, rounded shapes he likened to the female body. In 1861, Renoir met Claude Monet (1840\u20131926) and later shared a studio with him. Monet became an important influence on Renoir's art, as can be seen here in the rapid brush strokes, thinly scuffled background, and buildup of paint (impasto) in the blooms.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514423"], "internet_archive": ["https://archive.org/details/clevelandart-1941.14-roses-in-a-vase"]}, "citations": [{"citation": "Flint, Ralph. \"The Private Collection of Josef Stransky.\" <em>Art News 19</em> (May 16, 1931): 87-88.", "page_number": "Reproduced: p. 95; Mentioned: p. 87-88", "url": null}, {"citation": "Milliken, William. \"Silver Jubilee Exhibition.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no.6 (June 1941): 88-108", "page_number": "Mentioned: p. 86; Reproduced: p. 107", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "Allen Memorial Art Museum. \"Exhibition of Still Life Paintings, Seventeenth to Nineteenth Century.\" <em>Bulletin 2, </em>no. 1Oberlin, OH: Dept. of Fine Arts of Oberlin College, (1945):8.", "page_number": "Reproduced: p. 8", "url": null}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 35", "url": "https://archive.org/details/CMAPaintings1945/page/n43"}, {"citation": "Wildenstein and Company (New York, N.Y.), and Daniel Wildenstein. <em>A Loan Exhibition of Renoir for the Benefit of the New York Infirmary, March 23-April 29, 1950 at Wildenstein</em>. New York, NY:1950.", "page_number": "Reproduced: no. 73", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 195", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of t he 19th Century</em>. Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 188", "url": null}], "url": "https://clevelandart.org/art/1941.14", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_web.jpg", "width": "900", "height": "654", "filesize": "261361", "filename": "1941.14_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_print.jpg", "width": "3400", "height": "2469", "filesize": "3692212", "filename": "1941.14_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.14/1941.14_full.tif", "width": "14577", "height": "10586", "filesize": "462967104", "filename": "1941.14_full.tif"}}, "alternate_images": [{"date_created": "2013-07-31T14:51:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt0_web.jpg", "width": "1220", "height": "893", "filesize": "268070"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt0_print.jpg", "width": "3400", "height": "2488", "filesize": "2130832"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt0_full.tif", "width": "6881", "height": "5036", "filesize": "103981808"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt1_web.jpg", "width": "1226", "height": "893", "filesize": "988380"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt1_print.jpg", "width": "2048", "height": "1492", "filesize": "2829924"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt1_full.tif", "width": "2048", "height": "1492", "filesize": "9170012"}}, {"date_created": "2013-07-31T14:59:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt2_web.jpg", "width": "1214", "height": "893", "filesize": "263480"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt2_print.jpg", "width": "3400", "height": "2502", "filesize": "2226167"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt2_full.tif", "width": "7126", "height": "5244", "filesize": "112130020"}}, {"date_created": "2017-05-09T15:42:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt3_web.jpg", "width": "900", "height": "735", "filesize": "322412"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt3_print.jpg", "width": "3400", "height": "2777", "filesize": "4065671"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt3_full.tif", "width": "8960", "height": "7317", "filesize": "196711140"}}, {"date_created": "2017-05-09T15:42:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt4_web.jpg", "width": "900", "height": "668", "filesize": "313219"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt4_print.jpg", "width": "3400", "height": "2525", "filesize": "4005048"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.14/1941.14_alt4_full.tif", "width": "6973", "height": "5179", "filesize": "108369440"}}], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120286, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-04-28T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:11.140000"}, {"id": 154915, "accession_number": "1989.48", "share_license_status": "Copyrighted", "tombstone": "Face Mask, early 1900s. Attributed to Sabariko Kon\u00e9 (Senufo, d. c. 1950). Wood, upholstery studs, resin, and paint; overall: 31.6 x 16.7 x 11.4 cm (12 7/16 x 6 9/16 x 4 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1989.48", "current_location": null, "title": "Face Mask", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": ["male"], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire"], "technique": "Wood, upholstery studs, resin, and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 31.6 x 16.7 x 11.4 cm (12 7/16 x 6 9/16 x 4 1/2 in.)", "dimensions": {"overall": {"height": 0.316, "width": 0.167, "depth": 0.114}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 204227, "title": "Senufo: Art and Identity in West Africa", "description": "<i>Senufo: Art and Identity in West Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-May 31, 2015); Saint Louis Art Museum, St. Louis, MO (June 28-September 27, 2015); Mus\u00e9e Fabre, Montpellier, France (November 28, 2015-March 6, 2016).", "opening_date": "2015-02-22T00:00:00"}, {"id": 287107, "title": "African Master Carvers: Known and Famous", "description": "<i>African Master Carvers: Known and Famous</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}], "legacy": [{"description": "CMA 1991: \"Notable Acquisitions,\" Bulletin 78 (June 1991), p. 114, repr.", "opening_date": "1991-06-01T00:00:00"}, {"description": "The Cleveland Museum of Art (2/22/15-5/31/15) Saint Louis Art Museum (6/28/15-9/27/15) Mus\u00e9e Fabre, Montpellier, France (11/28/15-3/6/16) \"Senufo: Art and Identity in West Africa\"", "opening_date": "2015-02-22T00:00:00"}, {"description": "The Cleveland Museum of Art (3/26/2017-7/16/2017); \u201cAfrican Master Carvers: Known and Famous\u201d.", "opening_date": "2017-03-26T00:00:00"}]}, "provenance": [{"description": "James Freeman, Kyoto, Japan", "citations": [], "footnotes": [], "date": "?-1989", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH by purchase", "citations": [], "footnotes": [], "date": "1989-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Sabarikwo, the sculptor of this mask, enjoyed great fame and traveled widely through C\u00f4te d'Ivoire's Boundiali region.", "description": "Face masks like this example are most typically worn during initiation and funerary rituals of a <em>poro</em> association, an age-based organization with religious and sociopolitical responsibilities. Though only worn by men, the masks have facial characteristics that are essentially female, and their imagery is closely related to ideas of sexuality and fertility. The scarification mark on this mask\u2019s forehead is an oblique symbol of a woman\u2019s genitalia, while its lustrous black surface imitates a woman\u2019s oiled, smooth skin\u2014a sign of ideal feminine beauty.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1989.48-face-mask"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>CMA Handbook</em>, 1991, p. 143.", "page_number": "", "url": ""}, {"citation": "Young-S\u00e1nchez, Margaret. \"The Cleveland Museum of Art.\" African Arts 30, no. 1 (1997): pp. 66-71, repr. p. 69.", "page_number": "", "url": ""}, {"citation": "Drewal, Henry John. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 114", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 6, p. 42 - 43", "url": ""}, {"citation": "Gagliardi, Susan Elizabeth, and Constantijn Petridis.<em> Senufo Unbound: Dynamics of Art and Identity in West Africa.</em> Cleveland: The Cleveland Museum of Art, 2015.", "page_number": "fig. 103, pp. 152-3", "url": ""}, {"citation": "\"Collections..\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 6 (November/December 2015): 12.", "page_number": "Reproduced: p. 12", "url": "https://archive.org/details/CMAMM2015-06"}, {"citation": "Petridis, Constantijn, and Susan Elizabeth Gagliardi, \"Mapping Senufo: Making Visible Debatable Information and Situated Knowledge\" Emily Lew Fry and Erin Canning, eds.,<em> Perspectives on Data</em> (Art Institute of Chicago, 2022).", "page_number": "Fig. 9", "url": "https://www.artic.edu/digital-publications/37/perspectives-on-data/23/mapping-senufo"}], "url": "https://clevelandart.org/art/1989.48", "images": {}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154915, "creators": [{"id": 10029, "description": "Sabariko Kon\u00e9 (Senufo, d. c. 1950)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": "See http://www.mappingsenufo.org/archives/734", "name_in_original_language": null, "death_year": "1950", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-06-29T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Face Mask (Kpeliyehe)", "Female Mask (kpeli-yebe)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:44.364000"}, {"id": 109337, "accession_number": "1927.477.1", "share_license_status": "CC0", "tombstone": "The Temptation of Saint Anthony (First Series): Cover, 1888. Odilon Redon (French, 1840\u20131916), printed by Becquet (French), published by Edmond Deman. Lithograph; image: 20 x 14 cm (7 7/8 x 5 1/2 in.); sheet: 45.2 x 31.8 cm (17 13/16 x 12 1/2 in.); matted: 71 x 55.7 cm (27 15/16 x 21 15/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.477.1", "current_location": null, "title": "Cover", "series": "The Temptation of Saint Anthony (First Series)", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 20 x 14 cm (7 7/8 x 5 1/2 in.); Sheet: 45.2 x 31.8 cm (17 13/16 x 12 1/2 in.); Matted: 71 x 55.7 cm (27 15/16 x 21 15/16 in.)", "dimensions": {"image": {"height": 0.2, "width": 0.14}, "sheet": {"height": 0.452, "width": 0.318}, "matted": {"height": 0.71, "width": 0.557}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60 (58 printed)", "copyright": null, "inscriptions": [{"inscription": "initialed at bottom center of image: OR; printed at upper left: ODILON REDON; diagonally at right of image: TENTATION / DE / SAINT-ANTOINE / TEXTE DE GUSTAVE FLAUBERT", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.477"], "did_you_know": "Publisher Edmond Deman commissioned this portfolio after he saw an 1886 exhibition of Redon's work in Brussels, Belgium.", "description": "This portfolio is one of three made by Odilon Redon inspired by avant-garde writer Gustave Flaubert\u2019s novel <em>The Temptation of Saint Anthony </em>(1874). Captivated by the book\u2019s fantastical account of moralizing tests encountered by a hermit in the desert, Redon executed charcoal drawings and attempted to evoke that medium\u2019s dense blackness in his lithographs. Based on the text\u2019s darkly imaginative tone rather than its actual content, the works in this series present invented monsters and figures in otherworldly settings with jarring tonal variations. Although Redon felt that the prints effectively translated the surreal universe of his source material, they were largely misunderstood in his own time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723701"], "internet_archive": ["https://archive.org/details/clevelandart-1927.477.1-cover"]}, "citations": [{"citation": "Yamamoto, Atsuko. <em>Redon, His Life and Works: I Want to Know More</em>. Tokyo: Bijutsu, 2011.", "page_number": "Mentioned and reproduced: p. 32", "url": null}], "catalogue_raisonne": "Mellerio 83", "url": "https://clevelandart.org/art/1927.477.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.1/1927.477.1_web.jpg", "width": "623", "height": "893", "filesize": "386129", "filename": "1927.477.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.1/1927.477.1_print.jpg", "width": "2373", "height": "3400", "filesize": "4912882", "filename": "1927.477.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.477.1/1927.477.1_full.tif", "width": "3576", "height": "5124", "filesize": "54999832", "filename": "1927.477.1_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109337, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 367963, "description": "Edmond Deman", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.477", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Temptation of Saint Anthony (First Series): Cover"], "is_highlight": false, "updated_at": "2026-03-27 00:09:31.018000"}, {"id": 142695, "accession_number": "1966.413.1", "share_license_status": "CC0", "tombstone": "The Haunted House: Title Plate, 1896. Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on wove paper; image: 44.9 x 31.9 cm (17 11/16 x 12 9/16 in.); matted: 71 x 55.7 x 0.3 cm (27 15/16 x 21 15/16 x 1/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1966.413.1", "current_location": null, "title": "Title Plate", "series": "The Haunted House", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 44.9 x 31.9 cm (17 11/16 x 12 9/16 in.); Matted: 71 x 55.7 x 0.3 cm (27 15/16 x 21 15/16 x 1/8 in.)", "dimensions": {"image": {"height": 0.449, "width": 0.319}, "matted": {"height": 0.71, "width": 0.557, "depth": 0.003}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60", "copyright": null, "inscriptions": [{"inscription": "printed, from top center: Texte de BULWER-LYTTON / LA MAISON HANT\u00c9E / Traduction REN\u00c9 PHILIPON / 6 Lithographies \u00e0 60 Exemplaires / ODILON REDON / 1896", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1966.415"], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. This series was inspired by <em>The Haunted and the Haunters,</em> an 1859 novel by British writer Edward Bulwer-Lytton. Redon\u2019s prints capture the book\u2019s mysterious tone and emphasis on the supernatural through vague but evocative imagery that sometimes borders on abstraction. By this time a seasoned expert in lithography, the artist collaborated with master printer Auguste Clot. Their combined technical skills allowed for the rich tonal variation seen here, made by turning Redon\u2019s lithographic crayon on its side, layering various marks, and even scratching directly into the surface of his stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042653"], "internet_archive": ["https://archive.org/details/clevelandart-1966.413.1-title-plate"]}, "citations": [{"citation": "\"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (1967): 302-46.", "page_number": "Mentioned: pp. 344-345", "url": "https://www.jstor.org/stable/25152183"}], "catalogue_raisonne": "Mellerio 160", "url": "https://clevelandart.org/art/1966.413.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.1/1966.413.1_web.jpg", "width": "643", "height": "893", "filesize": "307949", "filename": "1966.413.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.1/1966.413.1_print.jpg", "width": "2450", "height": "3400", "filesize": "4281580", "filename": "1966.413.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.1/1966.413.1_full.tif", "width": "3828", "height": "5312", "filesize": "61031484", "filename": "1966.413.1_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142695, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.413", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Haunted House: Title Plate"], "is_highlight": false, "updated_at": "2026-03-27 00:07:22.633000"}, {"id": 142752, "accession_number": "1966.458", "share_license_status": "CC0", "tombstone": "Imperial Framed Miniatures, 1896. Johannes Zehngraf (Russian, 1857\u20131908), Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9 (Russian, 1842\u20131918). Jade, gold, rubies, gouache, ivory, glass; overall: 15.3 x 5 x 5 cm (6 x 1 15/16 x 1 15/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.458", "current_location": null, "title": "Imperial Framed Miniatures", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "jade, gold, rubies, gouache, ivory, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Portrait Miniature", "measurements": "Overall: 15.3 x 5 x 5 cm (6 x 1 15/16 x 1 15/16 in.)", "dimensions": {"overall": {"height": 0.153, "width": 0.05, "depth": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "both miniatures signed: Zehngraf.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "1966.458.1(Tsar Nicholas II): \nMarks underneath base: 56, crossed anchors [assay mark for St. Petersburg, 1882-96]; hallmark for workmaster Mikhail Perkhin (in Cyrillic); FABERGE (in Cyrillic); scratched 312 H, BMM 1+.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "1966.458.2 (Grand Duchess Olga Nicolaievna):\nMarks underneath base: 56, crossed anchors [assay mark for St. Petersburg, 1882-96]; hallmark for workmaster Mikhail Perkhin (in Cyrillic); FABERGE (in Cyrillic); scratched 54471.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301086, "title": "The India Early Minshall Collection: Faberge and his Contemporaries", "description": "<i>The India Early Minshall Collection: Faberge and his Contemporaries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15, 1967-January 21, 1968).", "opening_date": "1967-03-15T05:00:00"}, {"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 443609, "title": "Faberge 1846 - 1920", "description": "<i>Faberge 1846 - 1920</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (June 23-October 23, 1977).", "opening_date": "1977-06-23T04:00:00"}, {"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 402955, "title": "Faberg\u00e9: Romance to Revolution", "description": "<i>Faberg\u00e9: Romance to Revolution</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (November 20, 2021-May 8, 2022) https://www.vam.ac.uk/exhibitions/faberge.", "opening_date": "2021-11-20T05:00:00"}], "legacy": [{"description": "<em>Charity Exhibition of Faberg\u00e9 Artistic Objects, Old Miniatures, and Snuff Boxes (\u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0439 \u041a. \u0424\u0430\u0431\u0435\u0440\u0436\u0435 \u0432 \u043e\u0441\u043e\u0431\u043d\u044f\u043a\u0435 \u041f.\u041f. \u0444\u043e\u043d \u0414\u0435\u0440\u0432\u0438\u0437\u0430, \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433). </em>Baron von Dervis Mansion, Saint Petersburg, Russia (March 1902).", "opening_date": "1902-03-01T00:00:00"}]}, "provenance": [{"description": "Tsar Nicholas II [1868-1918] and Tsarina Alexandra Feodorovna [1872-1918], purchased from the maker, November 22, 1896 (by tsarina) and December 18, 1896 (by tsar), Alexander Palace, Tsarskoye Selo, Russia", "citations": [], "footnotes": ["<div><!--block-->Imperial provenance discovered in Russian state ledgers by Kieran McCarthy, Wartski, London, 2019.</div>"], "date": "1896-1918", "sortorder": 1}, {"description": "Provisional Russian Government, Kremlin, Moscow", "citations": [], "footnotes": null, "date": "1918-1922", "sortorder": 2}, {"description": "(The Schaffer Collection of Russian Imperial Art Treasures [A La Vieille Russie, Inc.], New York, NY), sold to India Early Minshall, 1948.", "citations": [], "footnotes": null, "date": "?-1948", "sortorder": 3}, {"description": "India Early Minshall [1885-1965], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1948-1966", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The tsar gave the miniature of himself to the tsarina, and in turn, she gave the miniature of their firstborn child, Grand Duchess Olga Nicoaievna to the tsar a year after their daughter's birth. .", "description": "The giving of miniatures had long been a common practice among wealthy and aristocratic families by the time Faberg\u00e9 began combining portraits with his richly decorated frames. The Russian imperial family delighted in having these personal mementos and commissioned many different miniatures to place around their private apartments, providing a warm family atmosphere in an otherwise highly formal existence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758768"], "internet_archive": ["https://archive.org/details/clevelandart-1966.458-imperial-framed-mini"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced:  p. 24-5; cat. 8", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996", "page_number": "Mentioned and reproduced:  p. 107, cat. 83", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}, {"citation": "Hawley, Henry H., \"Jeweler to the Czars\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 37 no. 03, March 1997", "page_number": "Mentioned and reproduced: p. 4", "url": "https://archive.org/details/CMAMM1997-03/page/4"}, {"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. 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The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 2003.36", "current_location": "108A African", "title": "Male Figure", "creation_date": "mid- to late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Hungaan-style maker"], "technique": "Wood and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 68 cm (26 3/4 in.)", "dimensions": {"overall": {"height": 0.68}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "colonial official in the Belgian Congo", "citations": [], "footnotes": null, "date": "by 1925", "sortorder": 1}, {"description": "Pierre Loos, Brussels, Belgium", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Mr. and Mrs. Willem Vranken, Brussels, Belgium, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "early 1980s\u20132003", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2003\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The red powdery surface of this figure mimics a red body adornment that mixed ground camwood with palm oil.", "description": "Hungaan figures of this size served as guardians of ritual shrines and functioned in rituals to promote fertility, guarantee well-being, and ensure longevity. The striking crested hairstyle imitates a real coiffure or a wig, indicative of status and prestige. The hands supporting the chin identify the figure as a chief who is immersed in thought and contemplation, pondering over his responsibilities.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779114"], "internet_archive": ["https://archive.org/details/clevelandart-2003.36-male-figure"]}, "citations": [{"citation": "Utotombo: l'art d'Afrique noire dans les collections priv\u00e9es belges, exh. cat., Palais des Beaux-Arts. Brussels: Soci\u00e9t\u00e9 des Expositions, 1988, cat. 171.", "page_number": "", "url": ""}, {"citation": "Cornet, Joseph-Aur\u00e9lien. Za\u00efre: peuples/art/culture. 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Mary Cassatt (American, 1844\u20131926). Black and tan pencil; sheet: 40 x 30.9 cm (15 3/4 x 12 3/16 in.). The Cleveland Museum of Art, Gift of Fifty Members of The Print Club of Cleveland on the Occasion of the Fiftieth Anniversary, 1966.176", "current_location": null, "title": "The Visitor (recto); The Visitor (verso)", "creation_date": "c. 1881", "creation_date_earliest": 1876, "creation_date_latest": 1886, "artists_tags": ["female"], "culture": ["America"], "technique": "black and tan pencil", "support_materials": [], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 40 x 30.9 cm (15 3/4 x 12 3/16 in.)", "dimensions": {"sheet": {"height": 0.4, "width": 0.309}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"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": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 454246, "title": "Mary Cassatt at Work", "description": "<i>Mary Cassatt at Work</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 18-September 8, 2024) https://www.philamuseum.org/calendar/exhibition/mary-cassatt-at-work.", "opening_date": "2024-05-18T04:00:00"}], "legacy": []}, "provenance": [{"description": "Edgar Degas, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "acquired from artist by Edgar Degas, Paris, c. 1880-1917; [his sale, H\u00f4tel Drouot, Paris, 15-16 November, 1918, no. 82]; Ren\u00e9 de Gas, Paris [all this according to Chicago et. al. 1998]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing's first owner was the artist Edgar Degas, a friend of Cassatt's and a collaborator in her experiments with etching.", "description": "Mary Cassatt produced this sheet as a working drawing for an etching of the same title. She framed the subject's slanted silhouette against the verticals and horizontals of the window, and featured a seated figure in profile in the lower left quadrant of the composition. The bold, dramatic contrasts of sunlight and shadow throughout the room contrast with the delicacy and sensitivity with which the visitor's face were drawn by Cassatt from direct observation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042069"], "internet_archive": ["https://archive.org/details/clevelandart-1966.176-the-visitor-recto-th"]}, "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. 189", "url": "https://archive.org/details/CMAHandbook1966/page/n213"}, {"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. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"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. 234", "url": "https://archive.org/details/CMAHandbook1978/page/n254"}, {"citation": "Richards, Louise S. \u201cMary Cassatt\u2019s Drawing of the Visitor.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 8 (October 1978): 268\u2013276.", "page_number": "Mentioned and reproduced: p. 268-272, figs. 1-2", "url": "http://www.jstor.org/stable/25159598"}, {"citation": "Cassatt, Mary, Shalini Le Gall, Justin McCann, Justine de Young, and Daniel Harkett. <em>Inside Out: The Prints of Mary Cassatt</em>. 2021, 24.", "page_number": "Mentioned and reproduced, p. 24, fig. 7", "url": ""}, {"citation": "Thompson, Jennifer A., and Laurel Garber. <em>Mary Cassatt at Work.</em> Philadelphia, PA: Philadelphia Museum of Art, 2024.", "page_number": "Reproduced: p. 184, fig. 102a & b", "url": ""}], "url": "https://clevelandart.org/art/1966.176", "images": {}, "alternate_images": [], "creditline": "Gift of Fifty Members of The Print Club of Cleveland on the Occasion of the Fiftieth Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142353, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "c. 1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:04.882000"}, {"id": 148371, "accession_number": "1975.83", "share_license_status": "CC0", "tombstone": "Young Saint John, 1890. Berthe Morisot (French, 1841\u20131895). Pastel on pale blue laid paper; 57.1 x 38.1 cm (22 1/2 x 15 in.). The Cleveland Museum of Art, Gift of Mrs. Lewis B. Williams, 1975.83", "current_location": null, "title": "Young Saint John", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "pastel on pale blue laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "57.1 x 38.1 cm (22 1/2 x 15 in.)", "dimensions": {"No Extent Specified": {"height": 0.571, "width": 0.381}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Berthe Morisot, exposition de son \u0153uvre</em>. Durand-Ruel, Paris (March 5\u201321, 1896).", "opening_date": null}]}, "provenance": [{"description": "Mr. [1874\u20131942] and Mrs. [1878\u20131966] Ernest Rouart, Paris", "citations": [], "footnotes": [], "date": "after 1896", "sortorder": null}, {"description": "(Durand-Ruel, Paris)", "citations": [], "footnotes": null, "date": "1896", "sortorder": 2}, {"description": "Private collection", "citations": [], "footnotes": null, "date": "1896-by 1929", "sortorder": 3}, {"description": "Mr. [1880\u20131966] and Mrs. [1879\u20131980] Lewis B. Williams, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "by 1929-1975", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This pastel's first owner was Berthe Morisot's daughter, Julie Manet, and her husband Ernest Rouart.", "description": "In the spring of 1890 Berthe Morisot and her husband, Eug\u00e8ne Manet, rented a house with a garden overlooking the Seine River in the rural French town of M\u00e9zy. Morisot worked in the attic studio while the pair was there. A young boy from the village served as the model for this pastel, one of several studies for a full-length painting of Saint John the Baptist with his cross. In this drawing, Morisot developed the loose and sketchy marks that would characterize her final canvas.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928736"], "internet_archive": ["https://archive.org/details/clevelandart-1975.83-young-saint-john"]}, "citations": [{"citation": "<em>Berthe Morisot, exposition de son \u0153uvre.</em> Exh. cat. Paris: Durand-Ruel, 1896.", "page_number": "Mentioned: p. 30, no. 184", "url": null}, {"citation": "\u201cStudio-Talk,\u201d <em>The Studio</em> 42 (1908): 318-20.", "page_number": "Reproduced: p. 318", "url": ""}, {"citation": "Fourreau, Armand. <em>Berthe Morisot</em>. Paris: F. Rieder, 1925.", "page_number": "Mentioned: p. 25; Reproduced: pl. 27", "url": null}, {"citation": "Angoulvent, Monique. <em>Berthe Morisot</em>. Paris: Albert Moranc\u00e9, 1933.", "page_number": "Mentioned: p. 138, no. 410", "url": null}, {"citation": "Bataille, M.-L. and G. Wildenstein. <em>Berthe Morisot: Catalogue des peintures, pastels, et aquarelles</em>. Paris: Beaux-Arts, 1961.", "page_number": "Mentioned and reproduced: p. 58, no. 558", "url": null}, {"citation": "Stuckey, Charles F. \u201cBerthe Morisot.\u201d In Charles F. Stuckey, Willam P. Scott, and Suzanne G. Lindsay. <em>Berthe Morisot: Impressionist</em>. Exh. cat. South Hadley, MA: Mount Holyoke College Art Museum, 1987.", "page_number": "Mentioned: p. 145", "url": ""}, {"citation": "Shennan, Margaret. <em>Berthe Morisot: First Lady of Impressionism</em>. Phoenix Mill, UK: Sutton, 1996.", "page_number": "Mentioned: p. 15", "url": ""}, {"citation": "Salsbury, Britany. \u201cNineteenth-Century French Drawings: Acquiring the now-on-view Cleveland collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 63, no. 1 (2023): 8-9.", "page_number": "Reproduced and Mentioned: P. 9.", "url": "https://archive.org/details/CMAMM2023-01/page/n7"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 126-129, no. 21b", "url": ""}], "catalogue_raisonne": "Bataille and Wildenstein 558; Angoulvent 410", "url": "https://clevelandart.org/art/1975.83", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.83/1975.83_web.jpg", "width": "597", "height": "900", "filesize": "218791", "filename": "1975.83_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.83/1975.83_print.jpg", "width": "2256", "height": "3400", "filesize": "2756691", "filename": "1975.83_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.83/1975.83_full.tif", "width": "5155", "height": "7769", "filesize": "120177876", "filename": "1975.83_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Lewis B. Williams", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148371, "creators": [{"id": 1865, "description": "Berthe Morisot (French, 1841\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a prosperous family, Berthe Morisot was encouraged at an early age to become an amateur artist. Along with her sister Edma, she began her studies with Geoffroy-Alphonse Chocarne (act. 1838-1857), a painter trained in the neoclassical tradition. In 1858 the sisters entered the studio of Joseph-Beno\u00eet Guichard (1806-1880), a student of Ingres (q.v.) and Delacroix (q.v.). Through Guichard they met Corot (q.v.) in 1861, under whose encouragement they began to paint out of doors near Pontoise as well as in Normandy and Brittany. Berthe Morisot exhibited at the Salon from 1864 until 1873. Fantin-Latour (q.v.) introduced her to Manet (q.v.) around 1867. They developed a close friendship, and Morisot modeled for him many times (see Manet, Berthe Morisot, no. 141). In 1874 she married his brother, Eug\u00e8ne, and that same year began participating in the impressionist exhibitions, never to show at the Salon again. Four years after their marriage, the couple's only child, Julie, was born on 14 November 1878 and would become a main source of artistic inspiration. Morisot matured as a central member of the group of impressionists. Her home became a meeting place for painters and writers alike, including Renoir (q.v.), Degas (q.v.), Mary Cassatt (1845-1926), and St\u00e9phane Mallarm\u00e9. She participated in the Drouot sale of 1875, where the artists were ridiculed extensively. Her paintings, however, fetched slightly higher prices than those of Renoir, Monet (q.v.), and Sisley (q.v.). Morisot made pastels and watercolors as well as oil paintings, and during the final years of her life she experimented with lithography and drypoint etching.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "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": ["Child in Shirt", "Petit Saint-Jean \u00e0 M\u00e9zy"], "is_highlight": false, "updated_at": "2026-03-27 00:08:14.764000"}, {"id": 154403, "accession_number": "1989.117", "share_license_status": "CC0", "tombstone": "Vase with Bird and Flower Design (\ubc31\uc790 \uccad\ud654 \ud654\uc870\ubb38 \ud638 [\u767d\u78c1\u9751\u7575\u82b1\u9ce5\u6587\u58fa]), late 1800s\u2013early 1900s. Korea, Joseon dynasty (1392\u20131910). Porcelain with underglaze blue; outer diameter: 34.3 cm (13 1/2 in.); overall: 49.4 cm (19 7/16 in.). The Cleveland Museum of Art, Gift of Yamanaka Shoji in memory of Jiro Yamanaka, 1989.117", "current_location": null, "title": "Vase with Bird and Flower Design", "title_in_original_language": "\ubc31\uc790 \uccad\ud654 \ud654\uc870\ubb38 \ud638 [\u767d\u78c1\u9751\u7575\u82b1\u9ce5\u6587\u58fa]", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "porcelain with underglaze blue", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "measurements": "Outer diameter: 34.3 cm (13 1/2 in.); Overall: 49.4 cm (19 7/16 in.)", "dimensions": {"outer diameter": {"width": 0.343}, "overall": {"height": 0.494}, "diameter of mouth": {"width": 0.167}, "diameter of base": {"width": 0.07}, "length of neck": {"height": 0.057}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 337978, "title": "Ink, Paper, and Brush - Korean Gallery 236 Rotation", "description": "<i>Ink, Paper, and Brush - Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (July 24, 2019-January 26, 2020).", "opening_date": "2019-07-24T04:00:00"}, {"id": 439071, "title": "Popular Art from Early Modern Korea", "description": "<i>Popular Art from Early Modern Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 2021-April 17, 2022).", "opening_date": "2021-10-29T04:00:00"}, {"id": 670878, "title": "Pattern and Decoration in Royal Art of the Joseon Dynasty", "description": "<i>Pattern and Decoration in Royal Art of the Joseon Dynasty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 2024-March 16, 2025).", "opening_date": "2024-10-04T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Tregoning Fine Art, Cleveland, OH, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131989", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1989\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Nineteenth-century Korean blue-and-white porcelains tend to feature broad shoulders and a tall neck.", "description": "This vase with broad shoulders and a tall neck represents a typical style of 19th-century blue-and-white porcelain. Unlike earlier examples decorated mainly with literati themes that evoke neo-Confucian moral values\u2014plum blossoms (purity), orchids (grace), bamboo (integrity), and chrysanthemums (loftiness)\u2014porcelain works of the 1800s feature fully bloomed peonies and a pair of playful birds, symbols of wealth and familial harmony.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941261"], "internet_archive": ["https://archive.org/details/clevelandart-1989.117-vase-with-bird-and-f"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review: Selections 1989.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 2 (February 1990): 38\u201378.", "page_number": "Reproduced: p. 60; Mentioned: p. 78, no. 219", "url": "https://www.jstor.org/stable/25160106"}, {"citation": "Choi, Kyung-hwa, \u201cStylistic Features of 19th-Century Blue and White Ware as Seen in Dated Materials [\ud3b8\ub144\uc790\ub8cc\ub97c \ud1b5\ud558\uc5ec \ubcf8 19\uc138\uae30 \uccad\ud654\ubc31\uc790\uc758 \uc591\uc2dd\uc801 \ud2b9\uc9d5].\u201d <em>Misulsahak yeongu</em> (1996): 77-107.", "page_number": null, "url": "https://www.kci.go.kr/"}, {"citation": "Bang, Byungsun. \"The Technology of Porcelain Manufacturing in the late Joseon Dynasty [\u671d\u9bae\u5f8c\u671f\u767d\u78c1\uc758\u88fd\u4f5c\u6280\u8853\u784f\u7a76].\" <em>Misul sahak yeongu </em>(1997): 67 -104.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00995382"}, {"citation": "Jeon, Seung-chang. \"Painted Images of Late Joseon-Period Porcelains and Their Connections with Folk Painting [\uc870\uc120\ud6c4\uae30 \ubc31\uc790\uc7a5\uc2dd\uc758 \ubbfc\ud654\uc694\uc18c \uace0\ucc30].\" <em>Misulsa yeongu </em>(2002): 255-278.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00195406"}, {"citation": "Bang, Byungsun. \"Park Jae-ka and Lee Hee-kyung's Views on Chosun Porcelain [\u695a\u4ead \u6734\u9f4a\u5bb6\u318d\u7db8\u83f4 \uf9e1\u559c\u7d93\uc758 \ub3c4\uc790 \uc778\uc2dd].\" <em>Misul sahak yeongu</em> (2003): 213-234.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE00996906"}, {"citation": "Kang, Kyeong-sook. <em>History of Korean Ceramics</em> [\u97d3\u570b\u9676\u78c1\u53f2]. Seoul: Yekyong, 2012.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Choi, Kyung-hwa. \u201cObservations on the Relation between Designs on White Porcelain and Folk Paintings of the Late Joseon Period [\uc870\uc120 \ud6c4\uae30 \uccad\ud654\ubc31\uc790 \ubb38\uc591\uacfc \ubbfc\ud654\uc640\uc758 \uc0c1\uad00\uc131 \uace0\ucc30].\u201d <em>Hanguk munhwa yeongu </em>(2018): 151-18.", "page_number": null, "url": "https://www.kci.go.kr/"}, {"citation": "\"Patterns and Decoration in the Joseon Dynasty.\" <em>Asian Art Newspaper: Monthly for Collectors, Dealers, Museums and Galleries </em>v.28: i.1 (November 2024).", "page_number": "Reproduced", "url": "https://asianartnewspaper.com/patterns-and-decoration-in-the-joseon-dynasty/"}], "url": "https://clevelandart.org/art/1989.117", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1989.117/1989.117_web.jpg", "width": "730", "height": "900", "filesize": "182791", "filename": 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"impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-10 07:02:28.761000"}, {"id": 92480, "accession_number": "2020.116", "share_license_status": "CC0", "tombstone": "Seascape with Open Sky, 1860. Eug\u00e8ne Boudin (French, 1824\u20131898). Pastel on gray wove paper mounted on thin paperboard; sheet: 21.5 x 28.7 cm (8 7/16 x 11 5/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.116", "current_location": null, "title": "Seascape with Open Sky", "creation_date": "1860", "creation_date_earliest": 1860, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel on gray wove paper mounted on thin paperboard", "support_materials": [{"description": "cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 21.5 x 28.7 cm (8 7/16 x 11 5/16 in.)", "dimensions": {"sheet": {"height": 0.215, "width": 0.287}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in black chalk: - 1860 -; stamped, lower right, in blue ink: artist\u2019s stamp [Lugt 828]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>R\u00e9trospective Eug\u00e8ne Boudin</em>. Osaka City Museum of Fine Arts (June 7\u201319, 1996); Hiroshima Museum of Art (June 29\u2013August 11, 1996); Kagoshima City Art Museum (August 21\u2013September 16, 1996); Chiba City Art Museum (October 2\u201327, 1996); Shizuoka City Art Museum (November 10\u2013December 15, 1996).", "opening_date": "1996-08-11T00:00:00"}, {"description": "<em>Eug\u00e8ne Boudin: Antesala del impresionismo</em>. Museo Nacional de Colombia, Bogot\u00e1 (May 7\u2013June 28, 1998); Suramericana de Seguros, Medell\u00edn, Colombia (July 5\u2013August 30, 1998).", "opening_date": "1998-06-28T00:00:00"}, {"description": "<em>Eug\u00e8ne Boudin (1824\u20131898): Impressionist der ersten Stunde</em>. Stiftung Langmatt Sidney und Jenny Brown, Baden (April 1\u2013June 25, 2000); Fondation de l\u2019Hermitage, Lausanne (July 7\u2013October 15, 2000).", "opening_date": "2000-06-25T00:00:00"}]}, "provenance": [{"description": "Studio of the artist [1824-1898; Lugt 828]", "citations": [], "footnotes": null, "date": "1860-1898", "sortorder": 1}, {"description": "(his posthumous studio sale, Hotel Drouot, Paris, March 20-21, 1899, probably one of nos. 243\u201354)", "citations": [], "footnotes": ["<div><!--block-->Given the presence of Boudin's studio stamp (Lugt 828), presumably one of numerous lots sold as \"<em>\u00c9tude de ciel </em>(pastel).\"</div>"], "date": "1899", "sortorder": 2}, {"description": "Dr. Gustav Rau [1922-2002], Stuttgart", "citations": [], "footnotes": [], "date": "?-2002", "sortorder": 4}, {"description": "(his sale, Kunsthaus Lempertz, Cologne, May 25, 2013, no. 650, for the UNICEF Germany Foundation, sold to Le Claire Kunst, Hamburg)", "citations": [], "footnotes": [], "date": "2013", "sortorder": 5}, {"description": "(Le Claire Kunst, Hamburg, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "2013-2014", "sortorder": 6}, {"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014-2020", "sortorder": 7}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The well-known Parisian critic and writer Charles Baudelaire singled out Eug\u00e8ne Boudin's seascape pastels in a review published around the time this work was made, describing them as characterized by \"meteorological beauty.\"", "description": "Eug\u00e8ne Boudin is best known for inspiring Impressionist artists, especially a young Claude Monet, to paint outdoors. This drawing belongs to a series that Boudin made throughout much of his career depicting seascapes with dramatic skylines onsite. He favored pastel, the powdery medium used here, for its portability and directness, allowing him to capture the dramatic effects of nature as they shifted.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481121"], "internet_archive": ["https://archive.org/details/clevelandart-2020.116-seascape-with-open-s"]}, "citations": [{"citation": "<em>Atelier Eug\u00e8ne Boudin: Catalogue des Tableaux, Pastels, Aquarelles et Dessins</em> (Paris: H\u00f4tel Drouot, 1899).", "page_number": "Mentioned: 62\u201363, nos. 243\u201354 (presumably one of numerous pastels sold as \u00c9tude de ciel).", "url": ""}, {"citation": "<em>R\u00e9trospective Eug\u00e8ne Boudin</em>. Exh. Cat. Osaka: Mus\u00e9e d'Art de Kintsu, 1996.", "page_number": "Mentioned and reproduced: p. 114, no. 3", "url": ""}, {"citation": "<em>Eug\u00e8ne Boudin, 1824-1898: Antesala del impresionismo</em>. Exh. Cat. Bogota\u0301: Museo Nacional de Colombia, 1998.", "page_number": "Mentioned and reproduced: p. 20, no. 9", "url": ""}, {"citation": "Koella, Rudolf. <em>Eug\u00e8ne Boudin (1824-1898): Impressionist der ersten Stunde</em>. Exh. Cat. Baden: Stiftung Langmatt Sidney und Jenny Brown, 2000.", "page_number": "Mentioned: p. 172, no. 65; Reproduced: p. 105", "url": ""}, {"citation": "Brown, Heather Lemonedes. \"Boudin and Matisse.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 58-59, 140-141. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 58-59; Mentioned: p. 257", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 102-103, no. 12", "url": ""}, {"citation": "Spinazze\u0300, Sabrina. \"Internazionalita di Michetti. Contatti, Scambi, Influenze e Convergenze con John Singer Sargent, Wilhelm von Gloeden, James Abbott McNeil Whistler ed Edgar Degas.\" In <em>Francesco Paolo Michetti: Catalogo Generale. </em>Edited by Fabio Benzi, Gianluca Berardi, Teresa Sacchi Lodispoto, and Sabrina Spinazze\u0300, 37-55. Cinisello Balsamo, Milano: Silvana Editoriale, 2024.", "page_number": "Mentioned and reproduced: p. 52-53, fig. 40, Vol. 2", "url": ""}, {"citation": "Rehahn. <em>Impressionism : From Photography to Painting</em>. \u0110\u1ed3ng Nai, Vietnam: Nh\u00e0 xu\u1ea5t b\u1ea3n \u0110\u1ed3ng Nai, 2024.", "page_number": "Reproduced: p. 21, no.7", "url": ""}, {"citation": "<em>Suivre Les Nuages Le Pinceau \u00c0 La Main: Correspondances, 1861-1898 d\u2019Eug\u00e8ne Boudin</em>. Edited by Laurent Manoeuvre and Archives Durand-Ruel. [Strasbourg]: L\u2019Atelier contemporain, Fran\u00e7ois-Marie Deyrolle \u00e9diteur, 2025.", "page_number": "Reproduced: p. 3 of color plate section", "url": ""}], "url": "https://clevelandart.org/art/2020.116", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_web.jpg", "width": "900", "height": "679", "filesize": "318062", "filename": "2020.116_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_print.jpg", "width": "3400", "height": "2565", "filesize": "4217827", "filename": "2020.116_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.116/2020.116_full.tif", "width": "9879", "height": "7454", "filesize": "220942292", "filename": "2020.116_full.tif"}}, "alternate_images": [{"date_created": "2020-02-21T15:55:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.116/2020.116_alt0_web.jpg", "width": "900", "height": "679", "filesize": "318062"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.116/2020.116_alt0_print.jpg", "width": "3400", "height": "2565", "filesize": "4217827"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.116/2020.116_alt0_full.tif", "width": "9879", "height": "7454", "filesize": "220942292"}}, {"date_created": "2020-02-21T15:56:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.116/2020.116_alt1_web.jpg", "width": "900", "height": "679", "filesize": "390094"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.116/2020.116_alt1_print.jpg", "width": "3400", "height": "2565", "filesize": "5723656"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.116/2020.116_alt1_full.tif", "width": "9879", "height": "7454", "filesize": "220941068"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 92480, "creators": [{"id": 1568, "description": "Eug\u00e8ne Boudin (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre. <br>1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42. <br>2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23. <br>3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville. <br>4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "1860", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:23.328000"}, {"id": 144221, "accession_number": "1968.69", "share_license_status": "CC0", "tombstone": "Vesuvius and the Bay of Naples from a Cave, 1820. Adolf von Heydeck (German, 1787\u20131856). Watercolor with graphite; framing lines in pen and black ink; sheet: 26.9 x 37.9 cm (10 9/16 x 14 15/16 in.); secondary support: 27.5 x 37.9 cm (10 13/16 x 14 15/16 in.). The Cleveland Museum of Art, Gift of the John B. Putnam Foundation, 1968.69", "current_location": null, "title": "Vesuvius and the Bay of Naples from a Cave", "creation_date": "1820", "creation_date_earliest": 1820, "creation_date_latest": 1820, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "watercolor with graphite; framing lines in pen and black ink", "support_materials": [{"description": "cream wove paper laid down on gray-blue laid paper (artist's mount?)", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 26.9 x 37.9 cm (10 9/16 x 14 15/16 in.); Secondary Support: 27.5 x 37.9 cm (10 13/16 x 14 15/16 in.)", "dimensions": {"sheet": {"height": 0.269, "width": 0.379}, "secondary support": {"height": 0.275, "width": 0.379}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on secondary support [by artist?], lower right, in graphite: al Posilipo A Napoli 1820; on verso of secondary support, upper left, in graphite: 44/ ; upper left, in graphite: Al Posilipo a Napoli", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "unidentified collector's mark, verso of secondary support, upper right, stamped in blue ink: H [illegible] [surrounded by an oval double border]", "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": 304508, "title": "German Drawings of the 18th, 19th, and 20th Centuries", "description": "<i>German Drawings of the 18th, 19th, and 20th Centuries</i>. The Cleveland Museum of Art (April 1-July 13, 1980).", "opening_date": "1980-04-01T05:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 309859, "title": "Eastward from the Rhine: Romanticism to Abstraction, 1800-1925", "description": "<i>Eastward from the Rhine: Romanticism to Abstraction, 1800-1925</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-September 9, 1984).", "opening_date": "1984-06-12T04:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 198256, "title": "The Last Days of Pompeii: Decadence, Apocalypse, Resurrection", "description": "<i>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-July 7, 2013).", "opening_date": "2012-09-03T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "(C.G. Boerner, D\u00fcsseldorf, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1968", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mount Vesuvius was almost continuously active at the time that Adolf von Heydeck visited Naples, and erupted just two years after this drawing was completed.", "description": "Adolf von Heydeck worked in Rome and later traveled south to Naples. This drawing presents that city\u2019s most distinctive attraction: Mount Vesuvius, an active volcano that appears against an otherwise calm sky. Von Heydeck portrayed the scene from within a cave interior, contrasting the potentially overwhelming force of nature with the illusion of protection offered by distance and enclosed space.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921148"], "internet_archive": ["https://archive.org/details/clevelandart-1968.69-vesuvius-and-the-bay"]}, "citations": [{"citation": "Porzio, Annalisa and Marina Causa Picone. <em>Goethe e i suoi interlocutori</em>. Exh. Cat. Naples: Palazzo Reale, 1983.", "page_number": "Mentioned: p. 167, no. 56; Reproduced: p. 225", "url": null}], "url": "https://clevelandart.org/art/1968.69", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.69/1968.69_web.jpg", "width": "1225", "height": "893", "filesize": "831920", "filename": "1968.69_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.69/1968.69_print.jpg", "width": "3400", "height": "2478", "filesize": "6457303", "filename": "1968.69_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.69/1968.69_full.tif", "width": "6185", "height": "4508", "filesize": "83679764", "filename": "1968.69_full.tif"}}, "alternate_images": [], "creditline": "Gift of the John B. Putnam Foundation", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144221, "creators": [{"id": 12633, "description": "Adolf von Heydeck (German, 1787\u20131856)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1787", "death_year": "1856", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-03-09T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "1820", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:37.649000"}, {"id": 110123, "accession_number": "1928.750", "share_license_status": "CC0", "tombstone": "The Good Samaritan, 1861. Rodolphe Bresdin (French, 1822\u20131885), Lemercier. Lithograph; image: 56.7 x 44.3 cm (22 5/16 x 17 7/16 in.). The Cleveland Museum of Art, Gift of Mrs. George A. Martin, 1928.750", "current_location": null, "title": "The Good Samaritan", "creation_date": "1861", "creation_date_earliest": 1861, "creation_date_latest": 1861, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "lithograph", "support_materials": [{"description": "chine appliqu\u00e9", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 56.7 x 44.3 cm (22 5/16 x 17 7/16 in.)", "dimensions": {"image": {"height": 0.567, "width": 0.443}}, "state_of_the_work": "i/ii", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in stone: Rodolphe Bresdin 1861 (in reverse); lower center, printed: Imp. Lemercier, Paris; center, in plate: RB (within image)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 357312, "title": "Prints of the Fifteenth to Twentieth Century from the Museum Collection", "description": "<i>Prints of the Fifteenth to Twentieth Century from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (June 5-September 12, 1934).", "opening_date": "1934-06-05T04:00:00"}, {"id": 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": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 310015, "title": "Animals as Romantic Icons in French Art", "description": "<i>Animals as Romantic Icons in French Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 6-July 27, 1986).", "opening_date": "1986-04-06T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints,\" no catalogue.", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rodolphe Bresdin was known in his time as \"Chien-Caillou\" after the impoverished artist who served as the protagonist in an 1845 novel with the same title.", "description": "This is a highly original treatment of the biblical story of a Jewish man who had been beaten, stripped, robbed, and left for dead, and the Samaritan who helped him. This kind act is all the more heroic considering the great hatred between the Samaritans and Jews (each claimed to be the exclusive descendants of Abraham and Moses). The small scene in the center of the large sheet is surrounded by an exuberant landscape teeming with an unrealistic assortment of tropical and nontropical plants and a variety of peering animals. Bresdin used a pen and lithographic ink to detail the fauna and flora of his extraordinary imagination. However, these bizarre visions were appreciated during his lifetime by only a select circle primarily comprising inventive writers such as Victor Hugo (1802\u20131885) and Charles Baudelaire (1821\u20131867).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002433"], "internet_archive": ["https://archive.org/details/clevelandart-1928.750-the-good-samaritan"]}, "citations": [{"citation": "\"Some Phases of the Romantic Movement.\" <em>The Bulletin of the Cleveland Museum of Art </em>16, no. 3 (March 1929): 43-46, 49-51", "page_number": "Mentioned: p. 46; Reproduced: p. 49", "url": "https://www.jstor.org/stable/25137194"}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949.", "page_number": "Mentioned: p. 22", "url": "https://archive.org/details/Lithography/page/n29"}], "catalogue_raisonne": "van Gelder 100", "url": "https://clevelandart.org/art/1928.750", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1928.750/1928.750_web.jpg", "width": "713", "height": "900", "filesize": "309603", "filename": "1928.750_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1928.750/1928.750_print.jpg", "width": "2694", "height": "3400", "filesize": "4179353", "filename": "1928.750_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1928.750/1928.750_full.tif", "width": "5273", "height": "6656", "filesize": "105325092", "filename": "1928.750_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. George A. Martin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110123, "creators": [{"id": 25686, "description": "Rodolphe Bresdin (French, 1822\u20131885)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1822", "death_year": "1885", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68489, "description": "Lemercier", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1928-12-17T00:00:00", "sortable_date": 1861, "date_added_to_oa": null, "date_text": "1861", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:56.237000"}, {"id": 159837, "accession_number": "1997.149", "share_license_status": "CC0", "tombstone": "Mother and Child Figure, late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of the Congo, probably Yombe-style maker. Wood and paint; overall: 64.7 cm (25 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.149", "current_location": null, "title": "Mother and Child Figure", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of the Congo, probably Yombe-style maker"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 64.7 cm (25 1/2 in.)", "dimensions": {"overall": {"height": 0.647}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 316953, "title": "Second Careers: Two Tributaries in African Art", "description": "<i>Second Careers: Two Tributaries in African Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1, 2020-March 14, 2021).", "opening_date": "2020-11-01T04:00:00"}], "legacy": [{"description": "New York, NY, The African-American Institute: Masterpieces of the People's Republic of the Congo, 1980, catalogue.", "opening_date": "1980-01-01T00:00:00"}, {"description": "New York, NY, The Metropolitan Museum of Art: Academic Study, The Department of Primitive Art, September 1984-October 1985.", "opening_date": "1984-09-01T00:00:00"}, {"description": "Los Angeles, CA, Los Angeles County Museum of Art: The Mother and Child in African Sculpture, December 1985-June 1986. catalogue", "opening_date": "1985-12-01T00:00:00"}]}, "provenance": [{"description": "Collection F. Burniaux, Dinant, Belgium", "citations": [], "footnotes": [], "date": "before 1930-1980", "sortorder": null}, {"description": "Mr. and Mrs. B. A. Kitnick", "citations": [], "footnotes": [], "date": "after 1980-?", "sortorder": 2}, {"description": "Private Collection", "citations": [], "footnotes": [], "date": "after 1980-?", "sortorder": 3}, {"description": "(Anthony Slater-Ralph, Santa Barbara, CA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1997", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1997-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sculpture may have been carved in honor of a woman after her death, or after the death of a male chief. Kongo society is matrilineal, so the chief's right to political power is inherited through the female line.", "description": "This <em>Mother and Child Figure</em> is attributed to the Yombe peoples, who inhabit a large territory now divided among the nations of Congo, Democratic Republic of Congo, Zambia, and Angola. Its origin has been traced to the areas surrounding the village of a master carver in the western Democratic Republic of Congo, where similarly carved objects were collected in the early 20th century. Its naturalism suggests that it could have been the portrait of a real person, and thus an excellent testimonial to the immense talent of the artist who carved it. Once referred to as the \u201cBurniaux maternity figure,\u201d after the Belgian collector F. Burniaux, who owned it from about 1930 to 1980, the sculpture was acquired by the Cleveland Museum of Art in 1998.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980086"], "internet_archive": ["https://archive.org/details/clevelandart-1997.149-mother-and-child-fig"]}, "citations": [{"citation": "Duponcheel, Christian. Masterpieces of the People's Republic of the Congo, exh. cat. New York: African American Institute, 1980, p. 21, no. 10, with comments on pages 7 and 50.", "page_number": "", "url": ""}, {"citation": "Bassani, Ezio. \"Due grandi artisti Yombe: Il 'Maestro della maternit\u00e0 Roselli-Lorenzini' e il 'Maestro della maternit\u00e0 de Briey.' \" Critica d'Arte 56, no. 178 (1981): 66-84, fig.24.", "page_number": "", "url": ""}, {"citation": "Cole, Herbert M. The Mother and Child in African Sculpture, exh. cat. Los Angeles: Museum Associates, Los Angeles County Museum of Art, 1985 (Ethnic Arts Series 4), cover and cat. 15.", "page_number": "", "url": ""}, {"citation": "Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections: Survey 1989. Washington/London: Smithsonian Institution Press, 1989, no. 932.", "page_number": "", "url": ""}, {"citation": "Felix, Marc Leo. \"Sundi de l'Ouest.\" In Marc Leo Felix, Charles Meur, and Niangi Batulukisi. Art et Kongos: les peuples kongophones et leur sculpture, 111-18. Brussels: Za\u00efre Basin Art History Research Center, 1995, 115, no.1.", "page_number": "", "url": ""}, {"citation": "The Cleveland Museum of Art, \"Annual Report 1997.\" listed p. 43, repr. color p. 31.", "page_number": "", "url": ""}, {"citation": "May, Sally Ruth, Jane Takac, Barbara J Bradley, and Cleveland Museum of Art. 2001. <em>Knockouts : A Pocket Guide</em>. Cleveland: Cleveland Museum of Art, no. 72, p. 69, repr. color; listed p. 118.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cMajor African Sculpture, Recent Mark Tansey Painting, and Other Works of Art Enter CMA Collection,\u201d September 16, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4152"}, {"citation": "Young-Sanchez, Margaret, \"African Maternity\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 02, February", "page_number": "Mentioned & reproduced: p.8-9", "url": "https://archive.org/details/CMAMM1998-02/page/n7"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 41, p. 112 - 113", "url": ""}, {"citation": "Cole, Herbert M. <em>Maternity: Mothers and Children in the Arts of Africa</em>. <br> Brussels : Mercatorfonds, 2017", "page_number": "Mentioned: p. 242; reproduced: p. 244, fig. 216", "url": null}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Reproduced:  p. 31, fig. 20; p. 61, pl. 7; mentioned:  p. 22, 32.", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Reproduced:  p. 31, fig. 20; p. 61, pl. 7; mentioned:  p. 22, 32.", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}], "url": "https://clevelandart.org/art/1997.149", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.149/1997.149_web.jpg", "width": "595", "height": "893", "filesize": "255127", "filename": "1997.149_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.149/1997.149_print.jpg", "width": "2267", "height": "3400", "filesize": "3890446", "filename": "1997.149_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.149/1997.149_full.tif", "width": "4096", "height": "6144", "filesize": "75529932", "filename": "1997.149_full.tif"}}, "alternate_images": [{"date_created": "2009-10-28T12:37:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt0_web.jpg", "width": "595", "height": "893", "filesize": "251430"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt0_print.jpg", "width": "2267", "height": "3400", "filesize": "3852563"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt0_full.tif", "width": "4096", "height": "6144", "filesize": "75529792"}}, {"date_created": "2009-10-28T12:38:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt1_web.jpg", "width": "595", "height": "893", "filesize": "228059"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt1_print.jpg", "width": "2267", "height": "3400", "filesize": "3500412"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt1_full.tif", "width": "4096", "height": "6144", "filesize": "75529336"}}, {"date_created": "2009-10-28T12:39:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt2_web.jpg", "width": "595", "height": "893", "filesize": "233523"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt2_print.jpg", "width": "2267", "height": "3400", "filesize": "3632151"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt2_full.tif", "width": "4096", "height": "6144", "filesize": "75529276"}}, {"date_created": "2009-10-28T12:38:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt3_web.jpg", "width": "595", "height": "893", "filesize": "231087"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt3_print.jpg", "width": "2267", "height": "3400", "filesize": "3545006"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.149/1997.149_alt3_full.tif", "width": "4096", "height": "6144", "filesize": "75529332"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159837, "creators": [], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Mother and Child"], "is_highlight": false, "updated_at": "2026-03-26 23:59:14.820000"}, {"id": 148001, "accession_number": "1974.93", "share_license_status": "CC0", "tombstone": "Woman in Front of a Fireplace, c. 1805\u20137. Louis L\u00e9opold Boilly (French, 1761\u20131845). Black chalk and gray wash heightened with white chalk, squared in black chalk, on blue wove paper; sheet: 46 x 37 cm (18 1/8 x 14 9/16 in.). 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Paris: Ho\u0302tel Drouot, 1866.", "page_number": "Mentioned: p. 22, no. 149", "url": ""}, {"citation": "Harrisse, Henry. <em>L.-L. Boilly, peintre, dessinateur et lithographe: Sa vie et son \u0153uvre, 1761\u20131845</em>. Paris: Soci\u00e9t\u00e9 de Propagation des Livres d\u2019art, 1898.", "page_number": "Mentioned: p. 169, no. 948", "url": ""}, {"citation": "<em>Catalogue des tableaux anciens, pastels, dessins anciens </em>[. . .] <em>provenant de la collection de M. B. </em>Paris: H\u00f4tel Drouot, 1936.", "page_number": "Mentioned: p. 5, no. 10", "url": ""}, {"citation": "<em>Dessins et tableaux anciens</em>. Paris: H\u00f4tel Drouot, 1972.", "page_number": "Mentioned: no. 16; Reproduced: cover", "url": ""}, {"citation": "Lee, Sherman E. \"The Year in Review for 1974.\" <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 3 (1975): 62-102.", "page_number": "p. 99 no. 58, illus. p. 78.", "url": "www.jstor.org/stable/25152580"}, {"citation": "Scottez-De Wambrechies, Annie and Sylvain Laveissi\u00e8re. <em>Boilly, 1761\u20131845: Un Grand Peintre fran\u00e7ais de la R\u00e9volution \u00e0 la Restauration</em>. Exh. cat. Lille: Mus\u00e9e des Beaux-Arts de Lille, 1989.", "page_number": "Mentioned: p. 108", "url": ""}, {"citation": "Br\u00e9ton, \u00c9tienne and Pascal Zuber. <em>Louis-L\u00e9opold Boilly, 1761\u20131845: Le Peintre de la soci\u00e9t\u00e9 parisienne de Louis XVI \u00e0 Louis-Philippe</em>, 2:642 (ill.), 918, no. 658 D. 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Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. 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Muslim women wore such massive jewelry, which holds aesthetic links to nearby Yemen. Its half-moon pendant is a protective crescent shape and its upper filigreed capsule is an amulet. 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This silver necklace is composed of numerous box-shaped amulet pendants (<em>t\u00e4ls\u00e4m)</em> meant to ward off the evil eye or other dangers. Linked to Islamic amuletic practices, the boxes are effective whether empty or whether they contain magical or prayerful texts. 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Silverman, 2025.153", "current_location": "108C African Jewelry and Metalwork", "title": "Necklace with beads (sadi?)", "creation_date": "late 1800s or early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, East Africa, Ethiopia, unknown silversmith"], "technique": "silver alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 692255, "title": "Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa", "description": "<i>Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa</i>. 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This northern Ethiopian symbol is especially common in the city of Aksum. Box-shaped amulet pendants (<em>t\u00e4ls\u00e4m)</em> are meant to ward off the evil eye or other dangers. Linked to Islamic amuletic practices, the boxes are effective whether empty or whether they contain magical or prayerful texts. Their fine filigree and granulation work is characteristic of Harar as well as the Ethiopian Orthodox Christian city of Aksum.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.153", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.153/2025.153_web.jpg", "width": "663", "height": "900", "filesize": "73492", "filename": "2025.153_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.153/2025.153_print.jpg", "width": "2505", "height": "3400", "filesize": "588186", "filename": "2025.153_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.153/2025.153_full.tif", "width": "8740", "height": "11861", "filesize": "311021864", "filename": "2025.153_full.tif"}}, "alternate_images": [{"date_created": "2025-09-25T20:46:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt0_web.jpg", "width": "900", "height": "887", "filesize": "89905"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt0_print.jpg", "width": "3400", "height": "3352", "filesize": "767367"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt0_full.tif", "width": "8740", "height": "8616", "filesize": "225938672"}}, {"date_created": "2025-09-25T20:56:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt1_web.jpg", "width": "900", "height": "803", "filesize": "83677"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt1_print.jpg", "width": "3400", "height": "3033", "filesize": "779021"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt1_full.tif", "width": "9750", "height": "8698", "filesize": "254443268"}}, {"date_created": "2025-09-25T20:51:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt2_web.jpg", "width": "900", "height": "842", "filesize": "90980"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt2_print.jpg", "width": "3400", "height": "3179", "filesize": "858128"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.153/2025.153_alt2_full.tif", "width": "9062", "height": "8473", "filesize": "230374036"}}], "creditline": "Gift of Raymond A. Silverman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 692271, "creators": [], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s or early 1900s", "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": "2026-03-27 00:09:46.776000"}, {"id": 692272, "accession_number": "2025.154", "share_license_status": "CC0", "tombstone": "Necklace (ash\u00e4n ketab) with amulet pendants (t\u00e4ls\u00e4m) and bead, late 1800s or early 1900s. Africa, East Africa, Ethiopia, unknown silversmith. Mercury-gilded copper alloy. The Cleveland Museum of Art, Gift of Raymond A. Silverman, 2025.154", "current_location": "108C African Jewelry and Metalwork", "title": "Necklace (ash\u00e4n ketab) with amulet pendants (t\u00e4ls\u00e4m) and bead", "creation_date": "late 1800s or early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, East Africa, Ethiopia, unknown silversmith"], "technique": "mercury-gilded copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 692255, "title": "Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa", "description": "<i>Silver, Gold, and Gems: A Spotlight on Jewelry Across Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-December 6, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Unknown Ethiopian Vendor/Shop", "citations": [], "footnotes": null, "date": "\u2013c. 2000", "sortorder": 1}, {"description": "Dr. Raymond Silverman", "citations": [], "footnotes": null, "date": "c. 2000\u20132025", "sortorder": 2}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2025", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gold and silver jewelry has been made in Ethiopia for at least 2000 years.", "description": "Ornate filigree jewelry was historically made in Ethiopia for royals and nobility by specialized silversmiths trained through long apprenticeships. This gold-washed silver necklace is composed of numerous box-shaped amulet pendants (<em>t\u00e4ls\u00e4m)</em> meant to ward off the evil eye or other dangers. Linked to Islamic amuletic practices, the boxes are effective whether empty or whether they contain magical or prayerful texts. Their fine filigree and granulation work is characteristic of Harar as well as the Ethiopian Orthodox Christian city of Aksum.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/2025.154", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.154/2025.154_web.jpg", "width": "726", "height": "900", "filesize": "76312", "filename": "2025.154_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.154/2025.154_print.jpg", "width": "2744", "height": "3400", "filesize": "722714", "filename": "2025.154_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.154/2025.154_full.tif", "width": "9533", "height": "11813", "filesize": "337866616", "filename": "2025.154_full.tif"}}, "alternate_images": [{"date_created": "2025-09-25T21:08:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt0_web.jpg", "width": "900", "height": "899", "filesize": "159665"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt0_print.jpg", "width": "3400", "height": "3398", "filesize": "1779277"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt0_full.tif", "width": "4528", "height": "4525", "filesize": "61495928"}}, {"date_created": "2025-09-25T21:27:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt1_web.jpg", "width": "900", "height": "733", "filesize": "88665"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt1_print.jpg", "width": "3400", "height": "2770", "filesize": "1041297"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt1_full.tif", "width": "6729", "height": "5483", "filesize": "110711916"}}, {"date_created": "2025-09-25T21:13:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt2_web.jpg", "width": "900", "height": "696", "filesize": "81308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt2_print.jpg", "width": "3400", "height": "2630", "filesize": "902665"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.154/2025.154_alt2_full.tif", "width": "7382", "height": "5710", "filesize": "126480096"}}], "creditline": "Gift of Raymond A. Silverman", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 692272, "creators": [], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s or early 1900s", "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": "2026-03-27 00:10:09.698000"}, {"id": 135518, "accession_number": "1958.57", "share_license_status": "CC0", "tombstone": "At the Caf\u00e9, c. 1897\u201399. \u00c9douard Vuillard (French, 1868\u20131940). Oil on board, laid on cradled panel; unframed: 28.8 x 27.5 cm (11 5/16 x 10 13/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna Jr., 1958.57", "current_location": null, "title": "At the Caf\u00e9", "creation_date": "c. 1897\u201399", "creation_date_earliest": 1897, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on board, laid on cradled panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 28.8 x 27.5 cm (11 5/16 x 10 13/16 in.)", "dimensions": {"unframed": {"height": 0.288, "width": 0.275}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: E Vuillard \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "Louisville, Ky., J. B. Speed Memorial Museum. The Hanna Collection of Modern Masterpieces (1944), no cat.", "opening_date": "1944-01-01T00:00:00"}, {"description": "Dayton Art Institute. The Little Show (1945), no. 12, Caf\u00e9 Scene, lent by L. C. Hanna Jr., Cleveland.", "opening_date": "1945-01-01T00:00:00"}, {"description": "New York, Jacques Seligmann &amp; Co. \u00c9. Vuillard. His Dynamic Early Period (1948), no. 10, Le caf\u00e9, private collection, New York.", "opening_date": "1948-01-01T00:00:00"}, {"description": "CMA; New York, Museum of Modern Art. \u00c9douard Vuillard (1954), 59 (repr.), 101.", "opening_date": "1954-01-01T00:00:00"}]}, "provenance": [{"description": "Ambroise Vollard, Paris. Andr\u00e9 Weil, Paris. Jacques Seligmann, New York. Theodore Schempp, Brodhead, Wisc. Purchased from him by Leonard C. Hanna together with a Gauguin painting, 7 June 1943. Bequeathed to the CMA in 1958.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vuillard once said, \u201cI don\u2019t do portraits. I paint people in their surroundings.\u201d", "description": "This scene of two women in a Parisian caf\u00e9 has a hushed atmosphere that is heightened by the warm palette and glow of gaslight. \u00c9douard Vuillard and F\u00e9lix Vallotton were close friends and painted together in the 1890s, but Vuillard\u2019s quiet caf\u00e9 and Vallotton\u2019s riotous <em>Bistro</em> (2020.114) could not be more different in mood.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60465169"], "internet_archive": ["https://archive.org/details/clevelandart-1958.57-at-the-cafe"]}, "citations": [{"citation": "\u201cAnnual Report of the Year 1958.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 46, no. 6 (June 1959): 111\u2013158.", "page_number": "Mentioned: p. 122", "url": "http://www.jstor.org/stable/25142346"}, {"citation": "Henning, Edward B. \u201cPierre Bonnard: La Terrasse de Caf\u00e9.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 2 (February 1978): 58\u201365.", "page_number": "Mentioned and reproduced: p. 64-65, fig. 7", "url": "http://www.jstor.org/stable/25159565"}, {"citation": "Henning, Edward B. \u201cNew Paintings by Four Artists from Britain.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 10 (December 1982): 311\u2013323.", "page_number": "Mentioned and reproduced: p. 312, fig. 3", "url": "http://www.jstor.org/stable/25159795"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 630-631, Vol. II, no. 220", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 233; Reproduced: P. 260, no. 179", "url": ""}], "url": "https://clevelandart.org/art/1958.57", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1958.57/1958.57_web.jpg", "width": "850", "height": "893", "filesize": "139005", "filename": "1958.57_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1958.57/1958.57_print.jpg", "width": "3237", "height": "3400", "filesize": "1804391", "filename": "1958.57_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1958.57/1958.57_full.tif", "width": "5412", "height": "5684", "filesize": "92307296", "filename": "1958.57_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.57/1958.57_alt0_web.jpg", "width": "845", "height": "893", "filesize": "668775"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.57/1958.57_alt0_print.jpg", "width": "1536", "height": "1623", "filesize": "2182439"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.57/1958.57_alt0_full.tif", "width": "1536", "height": "1623", "filesize": "7481564"}}, {"date_created": "2013-05-21T17:16:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.57/1958.57_alt1_web.jpg", "width": "891", "height": "893", "filesize": "155257"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.57/1958.57_alt1_print.jpg", "width": "3394", "height": "3400", "filesize": "2126894"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1958.57/1958.57_alt1_full.tif", "width": "6000", "height": "6009", "filesize": "108183896"}}], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135518, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "c. 1897\u201399", "collapse_artists": false, "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": ["Cafe Scene"], "is_highlight": false, "updated_at": "2026-03-27 00:00:44.990000"}, {"id": 151543, "accession_number": "1983.88", "share_license_status": "CC0", "tombstone": "Painting Party (\u66f8\u753b\u4f1a), 1880. Kawanabe Ky\u014dsai (Japanese, 1831\u20131889). Hanging scroll; ink and color on paper; painting only: 139 x 69 cm (54 3/4 x 27 3/16 in.); including mounting: 221 x 97.5 cm (87 x 38 3/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1983.88", "current_location": null, "title": "Painting Party", "title_in_original_language": "\u66f8\u753b\u4f1a", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "hanging scroll; ink and color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting only: 139 x 69 cm (54 3/4 x 27 3/16 in.); Including mounting: 221 x 97.5 cm (87 x 38 3/8 in.)", "dimensions": {"painting only": {"height": 1.39, "width": 0.69}, "including mounting": {"height": 2.21, "width": 0.975}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature and seal at lower left.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (February 20-May 6, 2003).", "opening_date": "2003-02-20T00:00:00"}, {"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (August 26-December 2, 2003).", "opening_date": "2003-08-26T00:00:00"}]}, "provenance": [{"description": "(David Newman, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131983", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1983\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One participant in this gathering appears to be taking a nap.", "description": "In this collaborative painting, artists create works in response to patrons\u2019 requests. Kawanabe Ky\u014dsai painted the figures and outlines of the screens and scrolls, and 10 <em>bunjin</em> completed them. Each calligraphy and painting has a signature. Physician and calligrapher Nakane Hanrei (\u4e2d\u6839\u534a\u5dba) (1831\u20131914) wrote \u201clongevity\u201d (\u58fd) with an enormous ink-filled brush. Painter Fukushima Ry\u016bho (\u798f\u5cf6\u67f3\u5703) (1820\u20131889) did the plum on the folding screen, while Matsuoka Kansui (\u677e\u5ca1\u74b0\u7fe0) (1818\u20131887) did the lotus; the two seem to be standing nearby, pointing others toward their accomplishment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475263"], "internet_archive": ["https://archive.org/details/clevelandart-1983.88-painting-party"]}, "citations": [{"citation": "Turner, Evan H. \u201cYear in Review for 1983.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 2 (January 1984): 38\u201379.", "page_number": "Mentioned and Reproduced: pp. 39, 48, and 76, no. 229", "url": "https://www.jstor.org/stable/25159848"}, {"citation": "Graham, Patricia J. \"Lifestyles of Scholar-Painters in Edo Japan.\" <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 7 (September 1990): 262\u2013283.", "page_number": "Reproduced: cover, p. 271; Mentioned: pp. 270\u2013272", "url": "https://www.jstor.org/stable/25161293"}, {"citation": "Clark, Timothy. <em>Demon of Painting: The Art of Kawanabe Ky\u014dsai</em>. London: Published for the Trustees of the British Museum by the British Museum Press, 1993.", "page_number": "Mentioned and Reproduced: p. 37, fig. 2.1", "url": ""}, {"citation": "Grossman, Nancy, James T. Ulak, Marjorie Williams, and Laurence Channing. <em>Art of Japan: Masterpieces from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2005.", "page_number": "Mentioned and Reproduced: p. 117", "url": ""}, {"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 9, pp. 22-23", "url": null}], "url": "https://clevelandart.org/art/1983.88", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_web.jpg", "width": "452", "height": "893", "filesize": "376220", "filename": "1983.88_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_print.jpg", "width": "1720", "height": "3400", "filesize": "4801348", "filename": "1983.88_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.88/1983.88_full.tif", "width": "3296", "height": "6513", "filesize": "64430840", "filename": "1983.88_full.tif"}}, "alternate_images": [{"date_created": "2010-02-04T15:10:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.88/1983.88_alt0_web.jpg", "width": "393", "height": "893", "filesize": "304322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.88/1983.88_alt0_print.jpg", "width": "1496", "height": "3400", "filesize": "4314977"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.88/1983.88_alt0_full.tif", "width": "2854", "height": "6485", "filesize": "55552276"}}], "creditline": "Purchase from the J. 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Adolphe Braun (French, 1812\u20131877). Carbon print; image: 78 x 59.8 cm (30 11/16 x 23 9/16 in.); framed: 99.7 x 79.4 cm (39 1/4 x 31 1/4 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1985.144", "current_location": null, "title": "Trophy of the Hunt", "creation_date": "c. 1867", "creation_date_earliest": 1862, "creation_date_latest": 1872, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "carbon print", "support_materials": [], "department": "Photography", "collection": "PH - French 19th Century", "type": "Photograph", "measurements": "Image: 78 x 59.8 cm (30 11/16 x 23 9/16 in.); Framed: 99.7 x 79.4 cm (39 1/4 x 31 1/4 in.)", "dimensions": {"image": {"height": 0.78, "width": 0.598}, "framed": {"height": 0.997, "width": 0.794}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}, {"id": 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": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 208365, "title": "Image and Enterprise: The Photographs of Adolphe Braun", "description": "<i>Image and Enterprise: The Photographs of Adolphe Braun</i>. Rhode Island School of Design (February 4-April 22, 2000); The Cleveland Museum of Art, Cleveland, OH (June 18-August 27, 2000).", "opening_date": "2000-02-04T05:00:00"}, {"id": 178383, "title": "Trophies of the Hunt: Capturing Nature as Art", "description": "<i>Trophies of the Hunt: Capturing Nature as Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 24-November 3, 2004).", "opening_date": "2004-07-24T00:00:00"}, {"id": 197576, "title": "France at the Dawn of Photography", "description": "<i>France at the Dawn of Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 24, 2010).", "opening_date": "2009-10-04T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Lunn Limited, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "November 13, 1985", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Adolphe Braun\u2019s hunt still lifes continue a tradition popular in Northern European painting from the 17th century on.", "description": "Braun intended his extraordinarily large prints as affordable middle-class alternatives to the painted hunt scenes adorning the country houses of the European upper classes. Here he shows an array of game birds prized for their flavor and the hunting challenge they offer. The 19th-century versions, created by photographers and even some Impressionist painters, evoke a leisurely rural pastime that was becoming rare in an increasingly urban, industrialized France.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761573"], "internet_archive": ["https://archive.org/details/clevelandart-1985.144-trophy-of-the-hunt"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1985.\" <em>The Bulletin of the Cleveland Museum of Art</em> 73, no. 2 (1986): 26-71.", "page_number": "p. 64, no. 65, repr. p.53", "url": "www.jstor.org/stable/25159930"}, {"citation": "Cleveland Museum of Art, and Tom E. Hinson. Catalogue of Photography. [Cleveland, OH]: The Museum, 1996.", "page_number": "p. 24-25", "url": null}, {"citation": "Braun, Adolphe, Maureen C. O'Brien, and Mary Bergstein. Image and Enterprise: The Photographs of Adolphe Braun. Providence: Museum of Art, Rhode Island School of Design, 2000.", "page_number": "no. 63, p. 149", "url": null}, {"citation": "Chaffee, Cathleen, \"The Perfect Shot\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 07, September 2004", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2004-07/page/n7"}, {"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. 306-307", "url": ""}], "url": "https://clevelandart.org/art/1985.144", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.144/1985.144_web.jpg", "width": "684", "height": "893", "filesize": "405929", "filename": "1985.144_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.144/1985.144_print.jpg", "width": "2604", "height": "3400", "filesize": "5068731", "filename": "1985.144_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.144/1985.144_full.tif", "width": "4098", "height": "5350", "filesize": "65806768", "filename": "1985.144_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152264, "creators": [{"id": 274, "description": "Adolphe Braun (French, 1812\u20131877)", "extent": null, "qualifier": null, "role": "artist", "biography": "Adolphe Braun French, 1812-1877\r\n\r\nAdolphe Braun, a French textile designer born in Besan\u00e7on and trained in Paris, opened his own studio in Dornach, Alsace, before becoming involved in photography in the early 1850s. He produced several early floral textile designs that were published as lithographs. In 1853 Braun began work on a large album of some 300 photographic still-life studies of flowers, intended as aids for artists in the field of decorative arts. The work met with such success at the 1855 Exposition Universelle in Paris that he left the field of design for photography. Braun's carefully executed still lifes are considered to be among the finest ever done.\r\n\tFrom the mid-1850s on, Braun's firm, Adolphe Braun et Cie., later headed by his son Gaston (1845\u20131928), became one of the world's largest studios and publishers of topographical views and of reproductions of works of art. In the latter effort, their importance was in part due to Gaston's success with the orthochromatic process, in which photographic reproductions retained a tonal range very close to that of the original work of art. Braun et Cie. were the official photographers to Napol\u00e9on III and Pope Pius IX. Their reproductions of works in the Louvre, the Sistine Chapel, and many other subjects in architecture, sculpture, painting, and drawing, sometimes using the more permanent carbon or Woodburytype processes, were offered in all sizes and formats, and became the standard in their field. The number of negatives taken by the Brauns or their operators was variously estimated in 1870 to be between 4,000 and 8,000. The Brauns were members of the Soci\u00e9t\u00e9 fran\u00e7aise de photographie. Both were awarded the French Legion of Honor-Adolphe in 1860, and Gaston in 1892. T.W.F.", "name_in_original_language": null, "birth_year": "1812", "death_year": "1877", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-11-13T00:00:00", "sortable_date": 1862, "date_added_to_oa": null, "date_text": "c. 1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:06:08.680000"}, {"id": 163542, "accession_number": "2004.84", "share_license_status": "CC0", "tombstone": "Helmet Mask, mid- to late 1800s. Africa, West Africa, Mali, Malinke-style blacksmith-carver. Wood and probably resin; overall: 47 cm (18 1/2 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 2004.84", "current_location": "108A African", "title": "Helmet Mask", "creation_date": "mid- to late 1800s", "creation_date_earliest": 1840, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Malinke-style blacksmith-carver"], "technique": "Wood and probably resin", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 47 cm (18 1/2 in.)", "dimensions": {"overall": {"height": 0.47}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Leonce and Pierre Guerre by purchase", "citations": [], "footnotes": null, "date": "1927\u20131996", "sortorder": 1}, {"description": "(Loudmer, Arts Primitifs:  Collection Pierre Guerre, Paris, June 20, 1996, Lot #5, sold to Helene and Philippe Leloup)", "citations": [], "footnotes": null, "date": "1996", "sortorder": 2}, {"description": "Helene and Philippe Leloup, given to Madame H\u00e9rica Ravel", "citations": [], "footnotes": ["<div><!--block-->It is believed that Madame Ravel is one of Helene and Pilippe Leloup's daughters</div>"], "date": "1996\u20132004", "sortorder": 3}, {"description": "Madame H\u00e9rica Ravel, Castera Verduzan, FR, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2004", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2004\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Holes along the top ridge of this mask once held a crest made of cane, red fibers, and cowrie shells.", "description": "Combining animal and human traits, this example of a genre of mask called <em>suruku</em>, meaning \u201chyena,\u201d most likely belonged to the Kor\u00e8, one of six power associations that the Malinke would have adopted from their Bamana neighbors. The Kor\u00e8 is concerned with the circumcision and initiation of male youths into adulthood. The mask probably served as one of the symbols of the different Kor\u00e8 classes.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2004.84-helmet-mask"]}, "citations": [{"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". African Arts. (44) No. 1, Spring 2011. Pg. 55, Fig. 3.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine, \"Celebrating Bamanaya\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 46 no. 02, February 2006", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM2006-02/page/8"}, {"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. 28", "url": ""}], "url": "https://clevelandart.org/art/2004.84", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.84/2004.84_web.jpg", "width": "516", "height": "893", "filesize": "210931", "filename": "2004.84_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.84/2004.84_print.jpg", "width": "1964", "height": "3400", "filesize": "2491539", "filename": "2004.84_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.84/2004.84_full.tif", "width": "3438", "height": "5952", "filesize": "61418540", "filename": "2004.84_full.tif"}}, "alternate_images": [{"date_created": "2009-10-30T12:20:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt0_web.jpg", "width": "780", "height": "893", "filesize": "277106"}, "print": {"url": 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{"date_created": "2009-10-30T12:23:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt6_web.jpg", "width": "612", "height": "893", "filesize": "252523"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt6_print.jpg", "width": "2330", "height": "3400", "filesize": "3607773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt6_full.tif", "width": "3378", "height": "4930", "filesize": "49991028"}}, {"date_created": "2009-10-30T12:23:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt7_web.jpg", "width": "612", "height": "893", "filesize": "252523"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt7_print.jpg", "width": "2330", "height": "3400", "filesize": "3607773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.84/2004.84_alt7_full.tif", "width": "3378", "height": "4930", "filesize": "49991028"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163542, "creators": [], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1840, "date_added_to_oa": null, "date_text": "mid- to late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Helmet Mask (Suruku)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:03.632000"}, {"id": 444535, "accession_number": "2021.134", "share_license_status": "CC0", "tombstone": "Portrait of Renoir, 1867. Fr\u00e9d\u00e9ric Bazille (French, 1841\u20131870). Oil on canvas; unframed: 40.5 x 32.5 cm (15 15/16 x 12 13/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2021.134", "current_location": "222 Impressionism & Post-Impressionism", "title": "Portrait of Renoir", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 40.5 x 32.5 cm (15 15/16 x 12 13/16 in.)", "dimensions": {"unframed": {"height": 0.405, "width": 0.325}, "framed": {"height": 0.543, "width": 0.467, "depth": 0.052}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Family of the artist Montpellier, France;", "citations": [], "footnotes": null, "date": "1867\u2013?", "sortorder": 1}, {"description": "Marc Bazille, brother of the artist, Montpellier, France;", "citations": [], "footnotes": null, "date": "after 1867\u2013?", "sortorder": 2}, {"description": "to his son, Andr\u00e9 Bazille, the artist's nephew, Montpellier, France;", "citations": [], "footnotes": null, "date": "after 1867\u2013?", "sortorder": 3}, {"description": "to his daughter, Madame Jean Rachou (n\u00e9e Andr\u00e9 Bazille), the artist's nephew\u2019s daughter;", "citations": [], "footnotes": null, "date": "c. 1870\u2013probably c. 1960", "sortorder": 4}, {"description": "Private collection, France, acquired from Madame Jean Rachou (n\u00e9e Andr\u00e9 Bazille),\nMontpellier, France;", "citations": [], "footnotes": null, "date": "probably c. 1960\u2013?", "sortorder": 5}, {"description": "Private Collection, France, by descent from the above;", "citations": [], "footnotes": null, "date": "after 1960\u2013before 2017", "sortorder": 6}, {"description": "Private collection, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2017\u20132021", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u2013", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Born to a wealthy family in Montpellier, France, Bazille came to Paris to study medicine and provided crucial financial support to his friends Claude Monet and Pierre-August Renoir.", "description": "Fr\u00e9d\u00e9ric Bazille painted this charming, poignant portrait of his close friend and fellow Impressionist Pierre-Auguste Renoir at a time when he was sharing his studio with Renoir and Claude Monet. Although Bazille played an important role in the early development of Impressionism, he is not as well-known as his colleagues due to his early death at age 28 while serving in the French army during the Franco-Prussian War of 1870.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246887", "https://www.wikidata.org/wiki/Q108929078"], "internet_archive": ["https://archive.org/details/clevelandart-2021.134-portrait-of-renoir"]}, "citations": [{"citation": "Schulman, Michel, and Fre\u0301de\u0301ric Bazille. <em>Fre\u0301de\u0301ric Bazille: 1841-1870 : catalogue raisonne\u0301, peintures, dessins, pastels, aquarelles : sa vie, son \u0153uvre, sa correspondance</em>. Paris: Editions de l'amateur, 1995.", "page_number": "Reproduced:  pp. 151-52, no. 31.", "url": ""}, {"citation": "Jeancolas, Claude. Le groupe des Batignolles: les impressionnistes avant l'impressionnisme. Paris: FVW, 2014.", "page_number": "Reproduced:  p. 36.", "url": ""}, {"citation": "Robinson, William H. \u201cPortrait of Renoir.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 4 (Fall 2021): 27-28.", "page_number": "Reproduced: p. 27; Mentioned: p. 27-28", "url": "https://archive.org/details/CMAMM2021-04"}], "url": "https://clevelandart.org/art/2021.134", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_web.jpg", "width": "723", "height": "900", "filesize": "272833", "filename": "2021.134_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_print.jpg", "width": "2730", "height": "3400", "filesize": "3632117", "filename": "2021.134_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.134/2021.134_full.tif", "width": "9358", "height": "11654", "filesize": "327200384", "filename": "2021.134_full.tif"}}, "alternate_images": [{"date_created": "2021-08-18T12:37:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt0_web.jpg", "width": "715", "height": "900", "filesize": "252314"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt0_print.jpg", "width": "2701", "height": "3400", "filesize": "2550774"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt0_full.tif", "width": "4201", "height": "5289", "filesize": "66683236"}}, {"date_created": "2021-08-18T12:37:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt1_web.jpg", "width": "754", "height": "900", "filesize": "298322"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt1_print.jpg", "width": "2847", "height": "3400", "filesize": "2917805"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt1_full.tif", "width": "7098", "height": "8477", "filesize": "180536456"}}, {"date_created": "2021-12-29T16:27:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt2_web.jpg", "width": "752", "height": "900", "filesize": "306989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt2_print.jpg", "width": "2842", "height": "3400", "filesize": "4237393"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.134/2021.134_alt2_full.tif", "width": "10211", "height": "12216", "filesize": "374238868"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 444535, "creators": [{"id": 37223, "description": "Fr\u00e9d\u00e9ric Bazille (French, 1841\u20131870)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1841", "death_year": "1870", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:27.303000"}, {"id": 92951, "accession_number": "2022.140", "share_license_status": "CC0", "tombstone": "The Lovers, 1872. James Tissot (French, 1836\u20131902). Oil on canvas; unframed: 101 x 61.5 cm (39 3/4 x 24 3/16 in.). The Cleveland Museum of Art, Partial gift from Ralph and Terry Kovel and Family, and partial purchase from the John L. Severance Fund, 2022.140", "current_location": "220 19th Century European", "title": "The Lovers", "creation_date": "1872", "creation_date_earliest": 1872, "creation_date_latest": 1872, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 101 x 61.5 cm (39 3/4 x 24 3/16 in.)", "dimensions": {"framed": {"height": 1.219, "width": 0.838}, "unframed": {"height": 1.01, "width": 0.615}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "[Brodney Gallery, Boston, early 1950s]", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Ralph and Terry Kovel, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, acquired 2022", "citations": [], "footnotes": null, "date": null, "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["12.2013"], "did_you_know": "James Tissot was close friends with Edgar Degas, \u00c9douard Manet, and Berthe Morisot, but declined Degas\u2019s invitation to participate in the first Impressionist exhibition of 1874.", "description": "James Tissot lived in London in 1871\u201382 where he established a reputation as painter of elegantly dressed women in modern, fashionable settings. This painting, made at the beginning of his London period, was designed to appeal to Victorian audiences who enjoyed art that hinted at narrative. Here, a young couple enters an upholstered interior, leaving a sunlit garden. The woman\u2019s gesture suggests contemplation; might she be considering a proposal made by the man who follows closely behind her? Their exchange, ultimately, remains mysterious.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q116190481"], "internet_archive": ["https://archive.org/details/clevelandart-2022.140-two-figures-at-a-doo"]}, "citations": [{"citation": "Sotheby\u2019s New York, \u201cJames Tissot: The Proposal,\u201d The European Art Sale, May 20, 2021, lot 219", "page_number": "", "url": ""}, {"citation": "Melissa E. Buron, Krystyna Matyjaszkiewicz, et. al. <em>James Tissot</em>, exh. cat. (San Francisco, CA : de Young, Legion of Honor, Fine Arts Museums of San Francisco; Munich; New York: DelMonico Books\u00b7Prestel, 2019), fig 23, p. 19.", "page_number": "", "url": ""}, {"citation": "Robinson, William H. \"Two Figures at a Door (The Proposal?): A James Tissot painting joins the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 63, no. 1 (2023): 34-35.", "page_number": "Reproduced: P. 35; Mentioned: P. 34", "url": "https://archive.org/details/CMAMM2023-01/page/n33/mode/2up"}], "url": "https://clevelandart.org/art/2022.140", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.140/2022.140_web.jpg", "width": "531", "height": "900", "filesize": "270729", "filename": "2022.140_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.140/2022.140_print.jpg", "width": "2005", "height": "3400", "filesize": "2572963", "filename": "2022.140_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.140/2022.140_full.tif", "width": "7640", "height": "12957", "filesize": "297004792", "filename": "2022.140_full.tif"}}, "alternate_images": [{"date_created": "2022-11-22T15:52:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.140/2022.140_alt0_web.jpg", "width": "548", "height": "900", "filesize": "213646"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.140/2022.140_alt0_print.jpg", "width": "2070", "height": "3400", "filesize": "1999133"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.140/2022.140_alt0_full.tif", "width": "8145", "height": "13377", "filesize": "326895200"}}], "creditline": "Partial gift from Ralph and Terry Kovel and Family, and partial purchase from the John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 92951, "creators": [{"id": 1824, "description": "James Tissot (French, 1836\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a fabric merchant, Tissot left for Paris in 1856 in order to study at the \u00c9cole des Beaux-Arts under Louis Lamothe (1822-1869) and Hippolyte Flandrin (1809-1864). Just like Alma Tadema (q.v.), Tissot, in his early career, was influenced by Belgian history painter Henry Leys (1815-1869), which resulted in such paintings as those illustrating Goethe's Faust (1808-32). In Paris he became close friends with J. A. M. Whistler (1834-1903), Degas (q.v.), and later Morisot (q.v.) and Manet (q.v.). Tissot made his debut at the Salon of 1859, and in 1864 he showed his first works depicting scenes of modern life. He became quite successful, and by 1865 his financial troubles had disappeared. His fame had already spread to the other side of the Channel, and in 1864 he exhibited for the first time at the Royal Academy in London. Intrigued by Japanese art, Tissot amassed a renowned collection and painted some fashionable japonaiseries. In 1870 he fought in the Franco-Prussian War and joined the Paris Commune. He left the war-ravaged city in 1871 for London, where his success continued. Degas asked him to participate in the first impressionist exhibition in 1874, but he declined. Around 1875 he met Kathleen Newton, who became his companion until her death at age twenty-eight. Overcome with grief, he moved back to Paris. There he had a large solo exhibition in 1883 at the Palais de l'Industrie, showing paintings, works on paper, and enamels. Two years later he exhibited Quinze tableaux sur la femme \u00e0 Paris, depicting the life of the modern urban woman. From that point on, Tissot became deeply involved with spiritualism and religion. He departed completely from secular subjects and began illustrating the life of Christ.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "1872", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:55.020000"}, {"id": 109193, "accession_number": "1927.344.3", "share_license_status": "CC0", "tombstone": "Homage to Goya: A Madman in a Dismal Landscape, 1885. Odilon Redon (French, 1840\u20131916), printed by Lemercier & Cie.. Lithograph on China paper laid on wove paper; image: 22.6 x 19.5 cm (8 7/8 x 7 11/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.344.3", "current_location": null, "title": "A Madman in a Dismal Landscape", "series": "Homage to Goya", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "wove paper", "watermarks": []}, {"description": "China paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 22.6 x 19.5 cm (8 7/8 x 7 11/16 in.)", "dimensions": {"image": {"height": 0.226, "width": 0.195}}, "state_of_the_work": "I/I", "edition_of_the_work": "first edition (edition of 50)", "copyright": null, "inscriptions": [{"inscription": "printed above image at center: Planche III.; below image at center: Un FOU, dans un morne paysage.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.346"], "did_you_know": "This portfolio was published in an edition of 50, one of which Redon sent to poet St\u00e9phane Mallarm\u00e9 soon after Redon became a frequent participant in a literary salon held regularly at Mallarm\u00e9's home.", "description": "This series is one of many that Odilon Redon created throughout his career. Nearly two-thirds of his lithographs took the form of portfolios\u2014prints connected conceptually by a theme or narrative and physically by a folder or binding. Such works were often dispersed over time, but Cleveland was fortunate to acquire several complete sets with their original covers during the 1920s. Dating from Redon\u2019s early experimentation with lithography, <em>Homage to Goya</em> was intended as a tribute to 18th-century Spanish master Francisco de Goya, whose interest in dreams and the subconscious influenced Redon. The six seemingly unrelated images celebrate Goya\u2019s ambiguity and collectively suggest the introspection and isolation of artistic practice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001390"], "internet_archive": ["https://archive.org/details/clevelandart-1927.344.3-a-madman-in-a-dismal"]}, "citations": [], "catalogue_raisonne": "Mellerio 56", "url": "https://clevelandart.org/art/1927.344.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.3/1927.344.3_web.jpg", "width": "743", "height": "893", "filesize": "504258", "filename": "1927.344.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.3/1927.344.3_print.jpg", "width": "2827", "height": "3400", "filesize": "6636537", "filename": "1927.344.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.3/1927.344.3_full.tif", "width": "3672", "height": "4416", "filesize": "48677936", "filename": "1927.344.3_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109193, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.344", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Homage to Goya:  A Madman in a Desolate Landscape"], "is_highlight": false, "updated_at": "2026-03-27 00:07:01.699000"}, {"id": 109194, "accession_number": "1927.344.4", "share_license_status": "CC0", "tombstone": "Homage to Goya: There Were Also Embryonic Beings, 1885. Odilon Redon (French, 1840\u20131916), Lemercier & Cie.. Lithograph on China paper laid on wove paper; image: 23.8 x 20 cm (9 3/8 x 7 7/8 in.). 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Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.344", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Homage to Goya:  Upon Awakening I Observed the Hard and Severe Profile of an Intelligent Goddess"], "is_highlight": false, "updated_at": "2026-03-27 00:05:53.798000"}, {"id": 75763, "accession_number": "2020.108", "share_license_status": "CC0", "tombstone": "Procession or Pardon at Perros-Guirec, 1891. Maurice Denis (French, 1870\u20131943). Oil on canvas; unframed: 55.9 x 46.4 cm (22 x 18 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.108", "current_location": null, "title": "Procession or Pardon at Perros-Guirec", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["Nabis", "male"], "culture": ["France"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 55.9 x 46.4 cm (22 x 18 1/4 in.)", "dimensions": {"unframed": {"height": 0.559, "width": 0.464}, "framed": {"height": 0.676, "width": 0.587, "depth": 0.063}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Maurice Denis</em>. Orangerie des Tulleries, Paris, France (June 3-13, 1970).", "opening_date": "1970-06-03T04:00:00Z"}, {"description": "<em>Maurice Denis</em>. Kunsthalle Bremen, Bremen, Germany; Kunsthaus Zurich, Zurich, Switzerland; Staten Museum for Kunst, Copenhagen, Denmark (1971-1972).", "opening_date": "1971-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Huguett Beres, Paris, France (1992).", "opening_date": "1992-01-01T00:00:00"}, {"description": "<em>Maurice Denis</em>. Musee des Beaux-Arts, Lyon, France (September 29-December 18, 1994); Wallraf-Richartz Museum, Cologne, Germany (January 22-February 4, 1995); Walker Art Gallery, Liverpool, United Kingdom (April 21-June 18, 1995).", "opening_date": "1994-09-29T00:00:00"}]}, "provenance": [{"description": "Edouard Vuillard [1868-1940] Paris, France, gifted from the artist in 1891", "citations": [], "footnotes": ["<div><!--block-->According to Maurice Denis, 1870-1943 (Paris: Re\u0301union des Muse\u0301es Nationaux, 1994), p. 133, cat. no. 14, the painting remained with Vuillard until his death in 1940.&nbsp;</div>"], "date": "1891\u20131940", "sortorder": 1}, {"description": "Private Collection, Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to Maurice Denis and Anne Distel, <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970.</em> (Paris: Ministe\u0300re d'E\u0301tat, Affaires Culturelles, 1970), cat. no. 60.</div>"], "date": "by 1970", "sortorder": 2}, {"description": "(Galerie Hopkins-Custot, Paris, France)", "citations": [], "footnotes": ["<div><!--block-->Galerie Hopkins-Custot was founded in 1984 by Waring Hopkins and St\u00e9phane Custot.</div>"], "date": "after 1984", "sortorder": 3}, {"description": "Private Collection, France", "citations": [], "footnotes": ["<div><!--block-->According to Anisabelle Bere\u0300s, <em>Maurice Denis, 1870-1943</em> (Paris: Huguette Bere\u0300s, 1992), cat. no. 24.&nbsp;</div>"], "date": "by 1992", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of \nArt", "citations": [], "footnotes": null, "date": "2020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A pardon is a ceremony that occurs on the feast of the patron saint of a church often followed by a procession.", "description": "One of the leading artists of a group called the Nabis (\"Prophets\"), Denis rejected naturalism and materialism out of desire to return spirituality to art. His imaginative compositions emphasize flat, decorative shapes and abstract colors. This painting depicts an annual procession in a small village in Brittany held on the feast day of Saint-Jacques. Young women dressed in white lead the procession; they are followed by married women wearing black and carrying a religious icon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480814"], "internet_archive": ["https://archive.org/details/clevelandart-2020.108-procession-on-pardon", "https://archive.org/details/clevelandart-2020.108-procession-or-pardon"]}, "citations": [{"citation": "Lefevre Galleries, London.<em> Vuillard Et Son Kodak. [Exposition] March 5-26.</em> [London]: Lefevre Gallery, 1964.", "page_number": "Mentioned: P. 13, no. 28", "url": ""}, {"citation": "Muse\u0301e de l'Orangerie, Maurice Denis, and Anne Distel. <em>Maurice Denis. Orangerie des Tuileries, 3 juin-31 aou\u0302t 1970</em>. Paris, France: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1970.", "page_number": "Mentioned: no. 60", "url": null}, {"citation": "<em>Maurice Denis. Gema\u0308lde, Handzeichnungen, Druckgraphik. Meisterwerke des Nachimpressionismus aus der Sammlung Maurice Denis. </em>(Ausstellung,) Kunsthaus Zu\u0308rich, 29. Jan-12. Ma\u0308rz 1972. (Katalog.). Zu\u0308rich, 1972.", "page_number": "Mentioned: P. 41, no. 39", "url": ""}, {"citation": "Bere\u0300s, Anisabelle. <em>Maurice Denis, 1870-1943</em>. Paris, France: Huguette Bere\u0300s, 1992.", "page_number": "Mentioned: no. 24", "url": null}, {"citation": "Mus\u00e9e des Beaux-Arts, Wallraf-Richartz Museum, Walker Art Gallery, Van Gogh Museum. <em>Maurice Denis, 1870-1943</em>. Lyon: Re\u0301union des Muse\u0301es Nationaux, 1994.", "page_number": "Mentioned and Reproduced: P. 133, no. 14", "url": null}, {"citation": "Cogeval, Guy, Claire Fre\u0300ches-Thory, and Gilles Genty. <em>Il tempo dei Nabis: Bonnard, Vuillard, Maurice Denis, Vallotton, Se\u0301rusier, Ranson, Roussel.</em> Firenze: Artificio, 1998.", "page_number": "Reproduced: P. 60; Mentioned: P. 182, no. 19", "url": ""}, {"citation": "Stahl, Fabienne. \"Maurice Denis.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 68-73. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 68-73; Mentioned: p. 261-263", "url": ""}], "url": "https://clevelandart.org/art/2020.108", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.108/2020.108_web.jpg", "width": "740", "height": "900", "filesize": "389658", "filename": "2020.108_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.108/2020.108_print.jpg", "width": "2797", "height": "3400", "filesize": "4670948", "filename": "2020.108_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.108/2020.108_full.tif", "width": "8011", "height": "9737", "filesize": "234037964", "filename": "2020.108_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 75763, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:32.400000"}, {"id": 94940, "accession_number": "1915.495", "share_license_status": "CC0", "tombstone": "Lamellophone (chisanji), late 1800s. Africa, Central Africa, Democratic Republic of the Congo or Angola, Chokwe-style maker. Wood, iron, and wire; overall: 19.1 x 10.2 x 6.4 cm (7 1/2 x 4 x 2 1/2 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1915.495", "current_location": null, "title": "Lamellophone (chisanji)", "creation_date": "late 1800s", "creation_date_earliest": 1880, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo or Angola, Chokwe-style maker"], "technique": "Wood, iron, and wire", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Musical Instrument", "measurements": "Overall: 19.1 x 10.2 x 6.4 cm (7 1/2 x 4 x 2 1/2 in.)", "dimensions": {"overall": {"height": 0.191, "width": 0.102, "depth": 0.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 218538, "title": "Chokwe! Art and Initiation Among Chokwe and Related Peoples", "description": "<i>Chokwe! Art and Initiation Among Chokwe and Related Peoples</i>. Birmingham Museum of Art, Birmingham, AL (organizer) (November 1, 1998-January 3, 1999); The Baltimore Museum of Art, Baltimore, MD (June 13-September 5, 1999); Minneapolis Institute of Arts, MN (October 24, 1999-January 16, 2000).", "opening_date": "1998-11-01T00:00:00"}, {"id": 301531, "title": "Striking Iron: The Art of African Blacksmiths", "description": "<i>Striking Iron: The Art of African Blacksmiths</i>. Fowler Museum at UCLA, Los Angeles, CA (organizer) (June 3-December 30, 2018); National Museum of African Art, Washington, DC (February 10-October 20, 2019); Mus\u00e9e du quai Branly, Paris, France (November 10, 2019-August 16, 2020).", "opening_date": "2018-06-03T04:00:00"}, {"id": 535628, "title": "Narrative Wisdom and African Arts", "description": "<i>Narrative Wisdom and African Arts</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (October 19, 2024-January 5, 2025) https://www.slam.org/exhibitions/narrative-wisdom-and-african-arts/.", "opening_date": "2024-10-19T04:00:00"}], "legacy": [{"description": "<em>Sounding Forms: African Musical Instruments</em>. The National Museum of African Art, Washington, DC (organizer)(April 23\u2013June 18, 1989) The Virginia Museum of Fine Arts, Richmond, VA (July 16-September 10, 1989); Nelson Atkins Museum, Kansas City, MO (October 7-November 26, 1989); Mus\u00e9e des Arts Africains, Paris, France ( January 6-March 3, 1990).", "opening_date": "1989-04-23T04:00:00Z"}]}, "provenance": [{"description": "(F. M. Rapp, probably by field collection in Portuguese West Africa (Angola) or Belgian Congo (Democratic Republic of Congo)", "citations": [], "footnotes": ["<div><!--block-->\"In the spring of 1916, Mr. F. M. Rapp, mining engineer, now at Tonopah, Nevada, returned from the Belgian Congo, Central Africa, where he has been engaged for two years in geological work along the Kasai River and its tributaries.\"<br>M. G. Edwards, \"Diamond-bearing gravel from Belgian Congo,\"<em> American Mineralogist </em>(1917) 2 (7): 88\u201389.</div>"], "date": "by 1915", "sortorder": 1}, {"description": "(F. M. Rapp, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1915", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1915-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The CMA acquired this plucky instrument in 1915, one year before it opened to the public.", "description": "The thumb piano portrays a wonderfully animated man riding a curious quadruped. His hat suggests he is probably a trader (<em>pombeiro</em>) engaged in long-distance commerce.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79475802"], "internet_archive": ["https://archive.org/details/clevelandart-1915.495-lamellophone-chisanj"]}, "citations": [{"citation": "Wixom, WIlliam D. \"African Art at the Cleveland Museum of Art.\" In <em>African Arts</em>. 10, no. 3. (April 1977): 16-25.", "page_number": "Mentioned: p. 16; reproduced: p. 19", "url": "https://www.jstor.org/stable/3335296"}, {"citation": "Bourgeois, Arthur P, et al. <em>Sounding Forms : African Musical Instruments</em>. Edited by Brincard Marie-The\u0301re\u0300se. New York: American Federation of Arts, 1989.", "page_number": "Reproduced:  p. 131, fig. 74.", "url": ""}, {"citation": "Chanda, Jacqueline. <em>African Arts &amp; Cultures</em>. Worcester, MA: Davis Publications, 1993.", "page_number": "P. 75", "url": ""}, {"citation": "Jorda\u0301n, Manuel, and Marie Louise Bastin. <em>Chokwe!: Art and Initiation Among the Chokwe and Related Peoples</em>. Munich: Prestel, 1998.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "reproduced: fig. 2, p. 13", "url": ""}, {"citation": "Petridis, Constantine, \"African Art Revisited\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 09, November 2003", "page_number": "Mentioned & reproduced: p. 4-5", "url": "https://archive.org/details/CMAMM2003-09/page/n3"}, {"citation": "Chemeche, George, and John Pemberton. <em>The Horse Rider in African Art</em>. London: Antique Collectors' Club, 2011.", "page_number": "p. 106", "url": ""}, {"citation": "Berzock, Kathleen Bickford, and Christa Clarke. <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Seattle: University of Washington Press, 2011.", "page_number": "Reproduced:  p. 105, fig. 5.1", "url": ""}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and </em>Display, edited by Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 104; reproduced: p. 105, fig. 5.1", "url": null}, {"citation": "Roberts, Allen F., Tom Joyce, Marla Berns, William Joseph Dewey, Henry John Drewal, Candice Lee Goucher, and Rowland Abiodun. <em>Striking Iron: The Art of African Blacksmiths</em>. Los Angeles, California: Fowler Museum at UCLA, 2019.", "page_number": "Reproduced:  p. 427, fig. 17.3; discussed: p. 430.", "url": ""}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Reproduced: p. 18, fig. 1; mentioned:  p. 19", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}], "url": "https://clevelandart.org/art/1915.495", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.495/1915.495_web.jpg", "width": "544", "height": "893", "filesize": "273002", "filename": "1915.495_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.495/1915.495_print.jpg", "width": "2070", "height": "3400", "filesize": "3988444", "filename": "1915.495_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.495/1915.495_full.tif", "width": "3350", "height": "5502", "filesize": "55316224", "filename": "1915.495_full.tif"}}, "alternate_images": [{"date_created": "2009-06-05T18:59:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.495/1915.495_alt0_web.jpg", "width": "487", "height": "893", "filesize": "244037"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.495/1915.495_alt0_print.jpg", "width": "1853", "height": "3400", "filesize": "3545494"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.495/1915.495_alt0_full.tif", "width": "3134", "height": "5750", "filesize": "54082588"}}, {"date_created": "2009-06-05T19:01:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.495/1915.495_alt1_web.jpg", "width": "507", "height": "893", "filesize": "247422"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.495/1915.495_alt1_print.jpg", "width": "1929", "height": "3400", "filesize": "3191108"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.495/1915.495_alt1_full.tif", "width": "2671", "height": "4707", "filesize": "37738280"}}], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": "82596352e4c849508593bf8c6e37340b", "sketchfab_url": "https://sketchfab.com/models/82596352e4c849508593bf8c6e37340b", "gallery_donor_text": null, "athena_id": 94940, "creators": [], "legal_status": "accessioned", "accession_date": "1915-11-19T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-10 07:01:33.554000"}, {"id": 172806, "accession_number": "1922.220", "share_license_status": "CC0", "tombstone": "Autumn, a Wood Path, 1876. Sanford Robinson Gifford (American, 1823\u20131880). Oil on canvas; unframed: 38 x 31.8 cm (14 15/16 x 12 1/2 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1922.220", "current_location": null, "title": "Autumn, a Wood Path", "creation_date": "1876", "creation_date_earliest": 1876, "creation_date_latest": 1876, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 38 x 31.8 cm (14 15/16 x 12 1/2 in.)", "dimensions": {"unframed": {"height": 0.38, "width": 0.318}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  S R Gifford / 1876", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 445846, "title": "Sanford R. Gifford", "description": "<i>Sanford R. Gifford</i>. Blanton Museum of Art, The University of Texas at Austin, Austin, TX (organizer) (October 25-December 15, 1970); Albany Institute of History and Art, Albany, NY (January 1-February 1, 1971).", "opening_date": "1970-10-25T04:00:00"}, {"id": 442840, "title": "American Paintings 1825 - 1915 from the Cleveland Museum of Art", "description": "<i>American Paintings 1825 - 1915 from the Cleveland Museum of Art</i>. Johnson-Humrickhouse Museum, Coshocton, OH (organizer) (July 7-November 1, 1979).", "opening_date": "1979-07-07T04:00:00"}], "legacy": [{"description": "?????  Cleveland, OH, Cleveland Loan Exhibition (1878), no. 10 as Woods in Autumn by S.K. [sic?] Gifford.", "opening_date": null}, {"description": "Austin, TX, University Art Museum, Sanford R. Gifford (25 October - 15 December 1970); traveled to Albany, NY, Albany Institute of History and Art (1 January - 1 February 1971); cat no. ?, ill. p. 76.", "opening_date": "1970-10-25T00:00:00"}, {"description": "Coshocton, OH, Johnson-Humrickhouse Museum, American Paintings 1825-1915 from The Cleveland Museum of Art (7 July - 1 November 1979), traveled to Lakewood, OH, The Kenneth C. Beck Center (17 September - 13 October 1980), p. 11.", "opening_date": "1979-07-07T00:00:00"}, {"description": "Mansfield, OH, Mansfield Art Center, The American Landscape (8 March - 5 April 1981), cat. no. 6, p. 6.", "opening_date": "1981-03-08T00:00:00"}]}, "provenance": [{"description": "(George E. Gage Galleries, 1922)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["220.1922"], "did_you_know": "The artist's namesake, Gifford Pinchot, was the first chief of the United States Forest Service.", "description": "Gifford created several paintings depicting forest interiors, including this intimately scaled canvas set amid full autumnal blaze. The dense network of overarching trees casts shadows on the rugged ground below, restricting sunlight to haphazard patches. A solitary hiker is visible in the distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230183", "https://www.wikidata.org/wiki/Q60482513"], "internet_archive": ["https://archive.org/details/clevelandart-1922.220-autumn-a-wood-path"]}, "citations": [{"citation": "Cleveland Museum of Art. \"A Check List: American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in The Cleveland Museum of Art.\" <em>The Cleveland Museum of Art Bulletin</em>. 60:1 (January, 1973). pp 21-35.", "page_number": "Mentioned: p 26,", "url": null}, {"citation": "Weiss, Ila. <em>Poetic Landscape: The Art and Experience of Sanford R. Gifford</em>. Newark: University of Delaware Press, 1987.", "page_number": "Reproduced: p 306; Mentioned: p 307", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p 85", "url": null}, {"citation": "Green, Tyler. <em>Emerson's Nature and the Artists: Idea As Landscape, Landscape As Idea</em>. Munich: Prestel, 2021.", "page_number": "Reproduced: P. 55, fig. 8", "url": ""}], "url": "https://clevelandart.org/art/1922.220", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.220/1922.220_web.jpg", "width": "745", "height": "893", "filesize": "579948", "filename": "1922.220_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.220/1922.220_print.jpg", "width": "2835", "height": "3400", "filesize": "2482892", "filename": "1922.220_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.220/1922.220_full.tif", "width": "3650", "height": "4378", "filesize": "47968736", "filename": "1922.220_full.tif"}}, "alternate_images": [], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172806, "creators": [{"id": 2816, "description": "Sanford Robinson Gifford (American, 1823\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-01-31T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "1876", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:05.764000"}, {"id": 145764, "accession_number": "1971.12", "share_license_status": "CC0", "tombstone": "La Serpentara near Olevano, 1829. Friedrich Preller (German, 1804\u20131878). Pen and brown ink over black chalk; sheet: 40.8 x 54 cm (16 1/16 x 21 1/4 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1971.12", "current_location": null, "title": "La Serpentara near Olevano", "creation_date": "1829", "creation_date_earliest": 1829, "creation_date_latest": 1829, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "pen and brown ink over black chalk", "support_materials": [{"description": "cream(3) laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 40.8 x 54 cm (16 1/16 x 21 1/4 in.)", "dimensions": {"sheet": {"height": 0.408, "width": 0.54}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "by artist, lower left, in brown ink: Olevano / alla Serpentara il 2 di Guinio / 1829.\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301427, "title": "Year in Review: 1971", "description": "<i>Year in Review: 1971</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1971-February 6, 1972).", "opening_date": "1971-12-28T05:00:00"}, {"id": 304508, "title": "German Drawings of the 18th, 19th, and 20th Centuries", "description": "<i>German Drawings of the 18th, 19th, and 20th Centuries</i>. The Cleveland Museum of Art (April 1-July 13, 1980).", "opening_date": "1980-04-01T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}], "legacy": [{"description": "<em>C. G. Boerner Graphik-Zeichnungen</em>: Gustav-Siegle-Haus am Leonhardsplatz, Stuttgart; C. G. Boerner Dusseldorf (1971).", "opening_date": "1971-01-01T00:00:00"}]}, "provenance": [{"description": "with C. G. Boerner, Inc., Dusseldorf.", "citations": [], "footnotes": null, "date": "1971", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio.", "citations": [], "footnotes": [], "date": "1971-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Like many of his German contemporaries in the early 19th century, here Friedrich Preller relied on precise pen lines only without use of brushwork or wash.", "description": "Friedrich Preller studied in Weimer, Dresden, and Antwerp before winning a stipend from Grand Duke Karl Alexander von Sachsen-Weimar to study in Rome. During his years in Italy (1828-31), he formed important ideas about landscape painting that would develop into a long career in Germany as a landscape painter. Like his teacher in Italy, the painter Joseph Anton Koch, Preller was inspired by the area known as La Serpentara around the picturesque mountain village of Olevano, southeast of Rome. He made numerous trips there and was especially struck by the oak forest depicted in this drawing. He inscribed the drawing with the locale and date (2 June 1829) in its lower left corner. His lively pen work leaves the lightest areas in outline only, so that the white of the paper helps record the fresh and bright atmosphere of the scene, set in relief by darker areas of firm, parallel hatching. Preller later wrote about the area around Olevano: \"Nowhere was the organic coherence in nature so clear as there, and my observation was mainly directed toward that.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79923704"], "internet_archive": ["https://archive.org/details/clevelandart-1971.12-la-serpentara-near-o"]}, "citations": [{"citation": "C. G. Boerner (firm). Neue Lagerliste Nr. 56. Graphik - Zeichnungen 1971. C.G. Boerner: Dusseldorf, 1971.", "page_number": "no. 132, p. 128.", "url": null}, {"citation": "Cleveland Museum of Art. \"The Year in Review for 1971,\" The Bulletin of the Cleveland Museum of Art. Cleveland, Ohio: Cleveland Museum of Art. Vol. LIX / No. 1 (January, 1972): pp. 3-47.", "page_number": "no. 97, p. 43", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster.<em> Master Drawings from the Cleveland Museum of Art. </em>Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 65, p. 10, pp.160-161, p. 293; Reproduced: p. 161", "url": null}, {"citation": "<em>Friedrich Nerly von Erfurt in Die Welt: Die Gema\u0308lde Und O\u0308lstudien Des Nerly-Bestandes Im Angermuseum Erfurt.</em> Edited by Claudia Denk, Berlin, Erfurt: Deutscher Kunstverlag; Angermuseum Erfurt, 2024.", "page_number": "Mentioned and reproduced: p. 134-136, abbr. 3d.2", "url": ""}], "url": "https://clevelandart.org/art/1971.12", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.12/1971.12_web.jpg", "width": "1173", "height": "893", "filesize": "294746", "filename": "1971.12_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.12/1971.12_print.jpg", "width": "3400", "height": "2589", "filesize": "2248931", "filename": "1971.12_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.12/1971.12_full.tif", "width": "6113", "height": "4656", "filesize": "85411140", "filename": "1971.12_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.12/1971.12_alt0_web.jpg", "width": "1191", "height": "893", "filesize": "971486"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.12/1971.12_alt0_print.jpg", "width": "2048", "height": "1536", "filesize": "2990658"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.12/1971.12_alt0_full.tif", "width": "2048", "height": "1536", "filesize": "9440436"}}], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145764, "creators": [{"id": 11958, "description": "Friedrich Preller (German, 1804\u20131878)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1804", "death_year": "1878", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1971-02-23T00:00:00", "sortable_date": 1829, "date_added_to_oa": null, "date_text": "1829", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Open Woodland Near Olevano alla Serpentara"], "is_highlight": false, "updated_at": "2026-03-27 00:08:06.608000"}, {"id": 171078, "accession_number": "2013.51", "share_license_status": "CC0", "tombstone": "Bacchus and Ariadne, 1808\u201311. Henry Bone (British, 1755\u20131834), after Titian (Italian, c. 1488\u20131576). Enamel, in original gilt-wood and gesso carved frame; unframed: 40.5 x 46 cm (15 15/16 x 18 1/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2013.51", "current_location": null, "title": "Bacchus and Ariadne", "creation_date": "1808\u201311", "creation_date_earliest": 1808, "creation_date_latest": 1811, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "enamel, in original gilt-wood and gesso carved frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Miniature", "measurements": "Unframed: 40.5 x 46 cm (15 15/16 x 18 1/8 in.)", "dimensions": {"unframed": {"height": 0.405, "width": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated H Bone, 1811 on the recto (on the urn, lower left), inscribed on frame mat at bottom right: ENAMEL HBONE, and signed, dated and inscribed in full on the counter-enamel \"painted by Henry Bone R.A. Enamel painter in Ordinary to His Majesty and Enamel painter to His Royal Highness the Prince of Wales, after the Original by Titian in the Collection of the Rt: Honble: Lord Kinnaird &c &c &c.____ This Picture the most celebrated amongst the Bacchanalian Subjects of Titian (when patronis'd by Alphonso Duke of Ferrara) was ultimately brought to this Country from the Villa Aldobrandini in Rome in 1806, from whence it was imported by Willm. Buchanan Esq.____ Size of the Original 6 feet 2 inches, by 5 ---- 10 ---- This Enamel picture w[as] began July 30th 1808 and finish'd March 1811. ___ (HB. Elected a Royal Academician Feby. 11th 1811)\" ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 306699, "title": "British Gallery Reinstallation  (June 2020)", "description": "<i>British Gallery Reinstallation  (June 2020)</i>. The Cleveland Museum of Art (organizer).", "opening_date": "2020-06-30T04:00:00"}, {"id": 675826, "title": "Renaissance to Runway: The Enduring Italian Houses", "description": "<i>Renaissance to Runway: The Enduring Italian Houses</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 9, 2025-February 1, 2026).", "opening_date": "2025-11-09T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Henry Bone was known for his enamel paintings created through a laborious process of fusing painted glass to copper and firing at controlled temperatures.", "description": "Henry Bone devoted three years to creating this work, a tremendous technical achievement and the largest enamel on copper that had ever been made. The painstaking process required each application of color to be fired at a different temperature in the kiln. The enamel exactly reproduces Titian\u2019s <em>Bacchus and Ariadne</em> (now in the National Gallery, London), an early sixteenth-century Italian masterpiece that had recently come into an English collection. The elaborate carved and gilded wood frame was specially designed for the work, an indication of the cultural value placed on great enamel reproductions of famous paintings.<br><br>Bone was unable to show his masterwork at the annual Royal Academy exhibition in 1811 because the Prince of Wales had asked to see it. When the prince decided not to purchase it, Bone issued more than 4,000 tickets for visitors to view the work in his studio.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60750532"], "internet_archive": ["https://archive.org/details/clevelandart-2013.51-bacchus-and-ariadne"]}, "citations": [{"citation": "Neale, John Preston. <em>Jones' Views of the Seats, Mansions, Castles, &amp;C. of Noblemen and Gentlemen in England, Wales, Scotland and Ireland, and Other Picturesque Scenery: Accompanied with Historical Descriptions of the Mansions, Lists of Pictures, Statues, &amp;C. and Genealogical Sketches of the Families and Their Possessors : Forming Part of the General Series of Jones' Great Britain Illustrated</em>. London, United Kingdom: Jones &amp; Co, 1829.", "page_number": null, "url": null}, {"citation": "<em>The Annual Biography and Obituary for the Year 1934-1835</em> XX (1836): 40-49.", "page_number": "Mentioned: p. 45", "url": null}, {"citation": "Essex, Alfred. \"Some Account of the Art of Painting in Enamel.\" <em>The London and Edinburgh Philosophical Magazine and Journal of Science</em> X (1837): 442-453.", "page_number": "Mentioned: p. 453", "url": null}, {"citation": "Rogers, J. Jope. \"Notice of Henry Bone, RA, and His Works, Together with Those of His Son, Henry Pierce Bone, and Other Members of the Family.\" <em>Journal of the Royal Institution of Cornwall </em>VI, no. XXII (1880): 287-318.", "page_number": "Mentioned: p. 292", "url": null}, {"citation": "Propert, John Lumsden. <em>A History of Miniature Art. With Notes on Collectors and Collections</em>. London, United Kingdom: Macmillan and Co, 1887.", "page_number": "Reproduced: p. 121", "url": null}, {"citation": "Williamson, George Charles, and Howard Coppuck Levis. <em>Portrait Miniatures: From the Time of Holbein 1531 to That of Sir William Ross 1860 : a Handbook for Collectors</em>. London, United Kingdom: G. Bell, 1897.", "page_number": "Reproduced: p. 112", "url": null}, {"citation": "Foster, J. J., and Howard Coppuck Levis. <em>British Miniature Painters and Their Works.</em> London: S. Low, Marston &amp; Company, Limited, 1898.", "page_number": "Mentioned: p. 63", "url": null}, {"citation": "Heath, Dudley, and Howard Coppuck Levis. <em>Miniatures</em>. London: Methuen and Co, 1905.", "page_number": "Mentioned: p. 289", "url": null}, {"citation": "Clouzot, Henri. <em>Dictionnaire des miniaturistes sur e\u0301mail</em>. Paris, France: A. Morance\u0301, 1924.", "page_number": "Mentioned: p. 30", "url": null}, {"citation": "Hand, Sidney. <em>Signed Miniatures</em>. London, United Kingdom: S. Hand, 1924.", "page_number": "Mentioned: p. 13", "url": null}, {"citation": "Foster, J. J., and Ethel M. Foster. <em>A Dictionary of Painters of Miniatures (1525-1850) With Some Account of Exhibitions, Collections, Sales, Etc., Pertaining to Them</em>. London, United Kingdom: P. Allan, 1926.", "page_number": "Reproduced: p. 27-28", "url": null}, {"citation": "Long, Basil S. <em>British Miniaturists</em>. London, United Kingdom: Geoffrey Bles, 1929.", "page_number": "Reproduced: p. 37", "url": null}, {"citation": "Reynolds, Graham. <em>English Portrait Miniatures</em>. London, United Kingdom: A. &amp; C. Black, 1952.", "page_number": "Reproduced: p. 151", "url": null}, {"citation": "Schidlof, Leo R. <em>The Miniature in Europe in the 16th, 17th, 18th, and 19th Centuries</em>. Graz, Austria: Akademische Druck- u. Verlagsanstalt, 1964.", "page_number": "Reproduced: p. 93, vol. 1", "url": null}, {"citation": "Foskett, Daphne. <em>A Dictionary of British Miniature Painters</em>. London, United Kingdom: Faber and Faber, 1972.", "page_number": "Reproduced: p. 171, vol. 1", "url": null}, {"citation": "Farington, Joseph, Kenneth Garlick, Angus D. Macintyre, and Kathryn Cave. <em>The Diary of Joseph Farington</em>. New Haven, CT: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 1978.", "page_number": "Mentioned: vol. XI, 3854, 3922, 3932", "url": null}, {"citation": "Foskett, Daphne. <em>Miniatures: Dictionary and Guide</em>. Woodbridge, Suffolk, United Kingdom: Antique Collectors' Club, 1987.", "page_number": "Reproduced: p. 195", "url": null}, {"citation": "Speel, Erika. <em>Dictionary of Enamelling</em>. Aldershot, Hants, United Kingdom: Ashgate, 1998.", "page_number": "Reproduced: p. 13", "url": null}, {"citation": "Walker, Richard. \"Henry Bone's Pencil Drawings in the National Portrait Gallery.\" <em>The Volume of the Walpole Society</em> 61 (1999): 305-67.", "page_number": "Mentioned: p. 306, 359; reproduced: fig. 188", "url": "http://www.jstor.org/stable/41829634."}, {"citation": "Coffin, Sara, and Bodo Hofstetter. <em>Portrait Miniatures in Enamel</em>. London, United Kingdom: Philip Wilson Publishers in association with the Gilbert Collection, 2000.", "page_number": "Reproduced: p. 9", "url": null}, {"citation": "Mazzocca, Fernando, and Sergio Rebora. <em>Capolavori in smalto e avorio: Pietro Bagatti Valsecchi e la miniatura d'apre\u0300s</em>. Cinisello Balsamo, Milano, Italy: Silvana, 2004.", "page_number": "Reproduced: p. 33", "url": null}, {"citation": "Speel, Erika. <em>Painted Enamels: An Illustrated Survey 1500-1920</em>. Aldershot, Hampshire, United Kingdom: Lund Humphries, 2008.", "page_number": "Reproduced: p. 114, fig. 28", "url": null}, {"citation": "Williams, Haydn, and Julia Clarke. <em>Enamels of the World, 1700-2000: The Khalili Collections</em>. London, United Kingdom: Khalili Family Trust, 2009.", "page_number": "Reproduced: p. 272", "url": null}, {"citation": "Arturi Phillips, Carmela, and Roger Arturi Phillips. <em>The Arturi Phillips Collection: A Catalogue of Portrait Miniatures Dating from 1588 to 2004</em>. [Place of publication not identified]: Portrait Miniature Club, 2010.", "page_number": "Reproduced: p. 272", "url": null}, {"citation": "Duffy, Stephen, and Christoph Martin Vogtherr. <em>Miniatures in the Wallace Collection</em>. London, United Kingdom: Wallace Collection, 2010.", "page_number": "Reproduced: p. 158", "url": null}, {"citation": "Korkow, Cory. \u201c2013 Acquisitions: European Art.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 25.", "page_number": "Reproduced and Mentioned: p. 25", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Panes, Nicholas. <em>Henry Bone R.A. (1755-1834): The Kings\u2019 Enameller.</em> [Place of publication not identified]: Nicholas Panes, 2025.", "page_number": "Reproduced: p. 51, fig. 46-47", "url": ""}], "url": "https://clevelandart.org/art/2013.51", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.51/2013.51_web.jpg", "width": "900", "height": "801", "filesize": "213673", "filename": "2013.51_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.51/2013.51_print.jpg", "width": "3400", "height": "3025", "filesize": "2156795", "filename": "2013.51_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.51/2013.51_full.tif", "width": "11743", "height": "10448", "filesize": "368097088", "filename": "2013.51_full.tif"}}, "alternate_images": [{"date_created": "2013-10-28T10:35:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt0_web.jpg", "width": "900", "height": "797", "filesize": "308721"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt0_print.jpg", "width": "3400", "height": "3012", "filesize": "3312142"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt0_full.tif", "width": "6026", "height": "5338", "filesize": "96524256"}}, {"date_created": "2013-10-28T11:36:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt1_web.jpg", "width": "877", "height": "900", "filesize": "257454"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt1_print.jpg", "width": "3314", "height": "3400", "filesize": "2929930"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt1_full.tif", "width": "5848", "height": "6000", "filesize": "105290452"}}, {"date_created": "2013-10-28T11:40:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt2_web.jpg", "width": "900", "height": "675", "filesize": "177257"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt2_print.jpg", "width": "3400", "height": "2550", "filesize": "1914770"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt2_full.tif", "width": "8000", "height": "6000", "filesize": "144027836"}}, {"date_created": "2013-10-28T14:47:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt3_web.jpg", "width": "895", "height": "900", "filesize": "278483"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt3_print.jpg", "width": "3380", "height": "3400", "filesize": "3154753"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt3_full.tif", "width": "5965", "height": "6000", "filesize": "107393776"}}, {"date_created": "2013-10-28T14:27:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt4_web.jpg", "width": "863", "height": "900", "filesize": "293706"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt4_print.jpg", "width": "3262", "height": "3400", "filesize": "3290188"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.51/2013.51_alt4_full.tif", "width": "5607", "height": "5844", "filesize": "98326184"}}], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171078, "creators": [{"id": 4736, "description": "Henry Bone (British, 1755\u20131834)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1755", "death_year": "1834", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 2341, "description": "Titian (Italian, c. 1488\u20131576)", "extent": null, "qualifier": "after", "role": "artist", "biography": "Tiziano Vecellio, called Titian, was the greatest Italian painter of 16th-century Venice, known for his expressive brushwork, brilliant color, and hazy atmospheric effects. He was born in Pieve di Cadore, a small town on the Venetian side of the Alps around 1490. He moved to Venice when he was ten years old, and started his artistic training under the mosaicist Sebastiano Zuccato. He later joined Gentile's and Giovanni's Bellini workshops, and started a collaboration with the painter Giorgione on the frescoes of the Fondaco dei tedeschi in 1508. Titian's \"Assumption of the Virgin\" (1516-1518) for the church's high altar became the masterwork that helped establish him as one of the leading painters in the Venetian area. Over his career, Titian created paintings for prestigious commissioners, such as Pope Paul III, king Philip II of Spain, and Charles V. In his later years, Titian mainly focused on religious and mythological subjects. he died of plague on August 27, 1576 in Venice. Titian's artistic oeuvre had a great impact on later generations of painters, such as Rembrandt, Diego Vel\u00e0zquez, Anton van Dyck and Peter Paul Rubens.", "name_in_original_language": null, "birth_year": "1488", "death_year": "1576", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2013-09-03T00:00:00", "sortable_date": 1808, "date_added_to_oa": null, "date_text": "1808\u201311", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:42.477000"}, {"id": 162888, "accession_number": "2003.37", "share_license_status": "CC0", "tombstone": "Study of Hands, 1842. Jean-Auguste-Dominique Ingres (French, 1780\u20131867). Graphite with traces of white heightening on ivory laid paper; sheet: 31.2 x 23.6 cm (12 5/16 x 9 5/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2003.37", "current_location": null, "title": "Study of Hands", "creation_date": "1842", "creation_date_earliest": 1842, "creation_date_latest": 1842, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite with traces of white heightening on ivory laid paper", "support_materials": [{"description": "ivory laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 31.2 x 23.6 cm (12 5/16 x 9 5/16 in.)", "dimensions": {"sheet": {"height": 0.312, "width": 0.236}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, at bottom left, in pencil: Ste [illegible]; middle right (beneath knuckles), in graphite: Ste Marguerite / d\u2019Ecosse; upper left (beneath foot), in graphite: Clotild; upper left (between toes and wrist), in graphite: Clotild; stamped, at lower right, in black ink: Marc Bernheim [Lugt 3528]; in blue ink: the artist\u2019s studio stamp [Lugt 1477]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Exposition Ingres</em>. H\u00f4tel de la chambre syndicale de la curiosit\u00e9 et des beaux-arts, Paris (May 8\u2013June 5, 1921).", "opening_date": "1921-06-05T00:00:00"}]}, "provenance": [{"description": "Estate of the artist [1780\u20131867]", "citations": [], "footnotes": [], "date": "1842-1867", "sortorder": 1}, {"description": "P.-A. Ch\u00e9ramy [1840\u20131912], Paris", "citations": [], "footnotes": [], "date": "after 1867-1908", "sortorder": 2}, {"description": "(his sale, Galerie Georges Petit, Paris, May 5\u20137, 1908, no. 379, presumably sold to Henri Haro)", "citations": [], "footnotes": [], "date": "1908", "sortorder": 3}, {"description": "Henri Haro [1855\u20131911], Paris", "citations": [], "footnotes": [], "date": "1908-1912", "sortorder": 4}, {"description": "(his sale, H\u00f4tel Drouot, Paris, February 3, 1912, no. 149, sold to Paul Jamot)", "citations": [], "footnotes": ["<div><!--block-->Sold for 720 FF</div>"], "date": "1912", "sortorder": 5}, {"description": "Paul Jamot [1863\u20131939], Paris", "citations": [], "footnotes": [], "date": "1912-1943", "sortorder": 6}, {"description": "(his sale H\u00f4tel Drouot, Paris, February 10, 1943, no. 30)", "citations": [], "footnotes": [], "date": "1943", "sortorder": 7}, {"description": "Marc Bernheim, Paris", "citations": [], "footnotes": [], "date": "after 1943-before 1967", "sortorder": 8}, {"description": "(Charles E. Slatkin Galleries, New York)", "citations": [], "footnotes": [], "date": "1967-1968", "sortorder": 9}, {"description": "(sale, Christie\u2019s, New York, January 22, 2003, no. 106, sold to Artemis Fine Arts, New York)", "citations": [], "footnotes": null, "date": "2003", "sortorder": 10}, {"description": "(Artemis Fine Arts, New York, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2003", "sortorder": 11}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2003-", "sortorder": 12}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ingres executed many studies for each of his stained glass designs, from preliminary sketches such as this one to full-scale cartoons.", "description": "This sheet of studies was made as a preparatory design for a series of stained glass windows for the Chapel of Saint Ferdinand in Paris. Here, Jean- Auguste-Dominique Ingres sketched four sets of hands that seem to cascade down the page in one rhythmic motion, masterfully illustrating the beauty of <em>mise en page</em>. In his use of graphite, Ingres alluded to the metalpoint drawings of Raphael, intentionally channeling the Renaissance master.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988082"], "internet_archive": ["https://archive.org/details/clevelandart-2003.37-study-of-hands"]}, "citations": [{"citation": "<em>Catalogue des tableaux anciens &amp; modernes </em>[. . .] <em>composant la collection P.-A. Ch\u00e9ramy</em>. Paris: Galerie Georges Petit, 1908.", "page_number": "Mentioned: p. 128, no. 379", "url": null}, {"citation": "<em>Catalogue de dessins, aquarelles, pastels anciens et modernes </em>[. . .} <em>composant la collection de M. Henri Haro</em>. Paris: H\u00f4tel Drouot, 1912.", "page_number": "Mentioned: p. 55, no. 149", "url": null}, {"citation": "<em>Exposition Ingres</em>. Exh. cat. Paris: Georges Petit, 1921.", "page_number": "Mentioned: p. 52, no. 215", "url": null}, {"citation": "<em>Catalogue des tableaux et objets d\u2019ameublement provenant des collections de Monsieur Paul Jamot</em>. Paris: H\u00f4tel Drouot, 1943.", "page_number": "Mentioned: p. 16, no. 30", "url": null}, {"citation": "<em>Drawings, Pastels, Watercolors</em>. New York: Charles E. Slatkin Galleries, 1967.", "page_number": "Mentioned: p. 7, no. 73; Reproduced: pl. 68", "url": null}, {"citation": "Foucart, Jacques. <em>Ingres: Les Cartons de vitraux des collections du Louvre</em>. Exh. cat. Paris: R\u00e9union des mus\u00e9es nationaux, 2002.", "page_number": "Mentioned and reproduced: pp. 89-90, 97", "url": null}, {"citation": "<em>Old Master and 19th Century Drawings.</em> New York: Christie\u2019s, 2003.", "page_number": "Mentioned and erproduced: p. 142-43, no. 106", "url": ""}, {"citation": "\u201cBernheim, Marc.\u201d In Frits Lugt, <em>Les Marques de collections de dessins et d\u2019estampes</em>, online edition. Paris: Fondation Custodia, 2010.", "page_number": "Mentioned: L.3528", "url": "http://www.marquesdecollections.fr/detail.cfm/marque/11036/total/1"}, {"citation": "Mayhew, Timothy David. \"Traditional 19th-Century French Graphite Drawing Materials and Techniques.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>43-51. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 45-46, fig. 25", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 88-91, no. 7b", "url": ""}], "url": "https://clevelandart.org/art/2003.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.37/2003.37_web.jpg", "width": "678", "height": "893", "filesize": "467284", "filename": "2003.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.37/2003.37_print.jpg", "width": "2583", "height": "3400", "filesize": "7789051", "filename": "2003.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.37/2003.37_full.tif", "width": "4574", "height": "6020", "filesize": "82633792", "filename": "2003.37_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.37/2003.37_alt0_web.jpg", "width": "681", "height": "893", "filesize": "456556"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.37/2003.37_alt0_print.jpg", "width": "2591", "height": "3400", "filesize": "6726016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.37/2003.37_alt0_full.tif", "width": "3768", "height": "4944", "filesize": "55902288"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.37/2003.37_alt1_web.jpg", "width": "681", "height": "893", "filesize": "440065"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.37/2003.37_alt1_print.jpg", "width": "2592", "height": "3400", "filesize": "6526799"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2003.37/2003.37_alt1_full.tif", "width": "3812", "height": "5000", "filesize": "57194696"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162888, "creators": [{"id": 1685, "description": "Jean-Auguste-Dominique Ingres (French, 1780\u20131867)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leading exponent of French neoclassicism and the academic tradition, Jean-Auguste-Dominique Ingres was born in Montauban in 1780. At the age of ten he began studying art and music in Toulouse. In 1797 he entered the Paris studio of David (q.v.), where he became a favorite pupil and assistant. Barely a year later a dispute prompted Ingres to leave the studio and enroll in the \u00c9cole des Beaux-Arts. In 1801 he won the Prix de Rome, but lack of funds prevented him from departing for Italy until 1806. During fourteen years in Rome and four in Florence, Ingres painted romantic troubadour themes and became an admirer of Raphael. In 1824 he returned to Paris and exhibited at the Salon, where a fierce debate erupted between his supporters and those of Delacroix (q.v.). The controversial Salon of 1824 signaled Ingres's emergence as the leader of the neoclassical movement in France. At that point he effectively assumed the role of his former teacher David, now in exile. In 1833 the French government appointed Ingres vice president of the \u00c9cole des Beaux-Arts and president the following year. In 1834 he accepted the directorship of the French Academy in Rome and spent the next seven years painting and studying antique art in Italy. In 1841 he returned to Paris, where his paintings were greeted with thunderous critical acclaim. A major retrospective at the Exposition Universelle of 1855 confirmed his reputation but also aroused the hostility of young artists opposed to academic rules and conventions. During his later years Ingres continued his bitter rivalry with Delacroix, successfully blocking the latter's admission to the academy until 1857. Ingres died in 1867, leaving behind a circle of followers and a remarkable drawing style that was to inspire later artists, including Degas (q.v.) and Pablo Picasso (1881-1973).", "name_in_original_language": null, "birth_year": "1780", "death_year": "1867", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-06-02T00:00:00", "sortable_date": 1842, "date_added_to_oa": null, "date_text": "1842", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Studies of Hands and Study of a Foot (Studies for Windows in the Chapel of Saint Ferdinand, Paris)"], "is_highlight": false, "updated_at": "2026-03-27 00:09:40.132000"}, {"id": 121082, "accession_number": "1941.73", "share_license_status": "Copyrighted", "tombstone": "The Lamp, 1890\u201391. Mary Cassatt (American, 1844\u20131926). Drypoint, softground etching, and aquatint; platemark: 32.1 x 25 cm (12 5/8 x 9 13/16 in.); sheet: 44 x 27.8 cm (17 5/16 x 10 15/16 in.). The Cleveland Museum of Art, Bequest of Charles T. Brooks, 1941.73", "current_location": null, "title": "The Lamp", "creation_date": "1890\u201391", "creation_date_earliest": 1890, "creation_date_latest": 1891, "artists_tags": ["female"], "culture": ["America"], "technique": "drypoint, softground etching, and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Platemark: 32.1 x 25 cm (12 5/8 x 9 13/16 in.); Sheet: 44 x 27.8 cm (17 5/16 x 10 15/16 in.)", "dimensions": {"sheet": {"height": 0.44, "width": 0.278}, "platemark": {"height": 0.321, "width": 0.25}}, "state_of_the_work": "M & S: II/IV, B: between II & III/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"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": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 673479, "title": "Mary Cassatt / Berthe Morisot: Allies in Impressionism", "description": "<i>Mary Cassatt / Berthe Morisot: Allies in Impressionism</i>. Fenimore Art Museum, Cooperstown, NY (organizer) (May 24-September 1, 2025).", "opening_date": "2025-05-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of Charles T. Brooks, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1941", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 10, 1941", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mary Cassatt was inspired to create this print after visiting an expansive exhibition of Japanese woodblocks at Paris's \u00c9cole des Beaux-Arts.", "description": "The theme of a bourgeois woman \"at home,\" coiffed and dressed to greet visitors, was a familiar one in Cassatt\u2019s work, utilized in compositions such as Mimi as a Brunette. The position of the model as seen from behind may reflect the consideration of the nape of a woman\u2019s neck as the ultimate symbol of beauty and eroticism in Japan.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755307"], "internet_archive": ["https://archive.org/details/clevelandart-1941.73-the-lamp"]}, "citations": [{"citation": "Mathews, Nancy Mowll, and Ann Cannon. <em>Mary Cassatt / Berthe Morisot: Allies in Impressionism.</em> Cooperstown, NY: Fenimore Art Museum, 2025.", "page_number": "Reproduced: p. 6", "url": ""}], "catalogue_raisonne": "Mathews & Shapiro 6, Breeskin 144", "url": "https://clevelandart.org/art/1941.73", "images": {}, "alternate_images": [], "creditline": "Bequest of Charles T. Brooks", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121082, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-06-10T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "1890\u201391", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:54.013000"}, {"id": 155420, "accession_number": "1990.15", "share_license_status": "CC0", "tombstone": "Scroll Box with Dragon and Phoenix Design (\ub098\uc804 \uc6a9\u00b7\ubd09\ud669\ubb34\ub2ac \uc11c\ub958\ud568 (\uf911\u923f\uf9c4\u9cf3\u6587\u66f8\u985e\u51fd)), 1800s. Korea, Joseon dynasty (1392\u20131910). Lacquered wood inlaid with mother-of-pearl and twisted brass and copper wire; overall: 11.5 x 11.6 x 87 cm (4 1/2 x 4 9/16 x 34 1/4 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection, 1990.15", "current_location": null, "title": "Scroll Box with Dragon and Phoenix Design", "title_in_original_language": "\ub098\uc804 \uc6a9\u00b7\ubd09\ud669\ubb34\ub2ac \uc11c\ub958\ud568 (\uf911\u923f\uf9c4\u9cf3\u6587\u66f8\u985e\u51fd)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "lacquered wood inlaid with mother-of-pearl and twisted brass and copper wire", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Lacquer", "measurements": "Overall: 11.5 x 11.6 x 87 cm (4 1/2 x 4 9/16 x 34 1/4 in.)", "dimensions": {"overall": {"height": 0.115, "width": 0.116, "depth": 0.87}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 184496, "title": "Object in Focus: Scroll Box with Dragon and Phoenix Design, 1800s; Korea; (inlaid mother-of-pearl; 1990.15)", "description": "<i>Object in Focus: Scroll Box with Dragon and Phoenix Design, 1800s; Korea; (inlaid mother-of-pearl; 1990.15)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-September 15, 2002).", "opening_date": "2002-07-16T00:00:00"}, {"id": 368005, "title": "Conversation about Diversity in Korean Embroidery Arts", "description": "<i>Conversation about Diversity in Korean Embroidery Arts</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-October 25, 2020).", "opening_date": "2020-01-30T05:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art, Cleveland, OH (April 26, 2013-January 12, 2015).", "opening_date": "2013-04-26T00:00:00"}]}, "provenance": [{"description": "(Yoshiyuki Hosomi, Osaka, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1990", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1990-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This technique of using the inlays of iridescent mother-of-pearl and abalone shells has been practiced in Korea for over a thousand years,", "description": "This large rectangular box was designed for keeping a scroll or an important document. The mother-of-pearl inlaid lacquer rendering of a dragon and phoenix combines texture, color, and shape to produce a dazzling effect. The large and prominent designs of the Joseon-period inlaid lacquer, like on this box, replaced the fine detail and mosaic-like patterns popular in the Goryeo period (918-1392).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79943460"], "internet_archive": ["https://archive.org/details/clevelandart-1990.15-scroll-box-with-drag"]}, "citations": [{"citation": "Cunningham, Michael R. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 135", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Cunningham, Michael R., Stanislaw J. Czuma, Anne E. Wardwell, and J. Keith Wilson. <em>Masterworks of Asian Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1998.", "page_number": "Reproduced: p. 248", "url": null}, {"citation": "Cunningham Michael R., \"A Korean Lacquerware Box\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 06, Summer 2002", "page_number": "Mentioned & reproduced: p. 8-9", "url": "https://archive.org/details/CMAMM2002-06/page/n7"}, {"citation": "Hwang, Jii-hyeon, and Sadamu Kawada. <em>Korean Lacquerware Inlaid with Mother-of-Pearl: The Everlasting Beauty</em>. Seoul: National Museum of Korea, 2010.", "page_number": null, "url": null}, {"citation": "<em>Korean Lacquer Art: Aesthetic Perfection, </em>Munich: Hirmer Publishers, 2012.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 230-231, no. 127", "url": ""}], "url": "https://clevelandart.org/art/1990.15", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.15/1990.15_web.jpg", "width": "900", "height": "239", "filesize": "180943", "filename": "1990.15_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.15/1990.15_print.jpg", "width": "3400", "height": "903", "filesize": "1149196", "filename": "1990.15_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.15/1990.15_full.tif", "width": "12628", "height": "3355", "filesize": "127128336", "filename": "1990.15_full.tif"}}, "alternate_images": [{"date_created": "2012-05-03T18:27:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.15/1990.15_alt0_web.jpg", "width": "1263", "height": "719", "filesize": "118988"}, 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"accession_date": "1990-04-16T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-10 07:01:17.433000"}, {"id": 95263, "accession_number": "1916.1036", "share_license_status": "CC0", "tombstone": "Queen Mab's Cave, after 1846. Imitator of Joseph Mallord William Turner (British, 1775\u20131851). Oil on fabric; unframed: 73 x 89.5 cm (28 3/4 x 35 1/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1036", "current_location": null, "title": "Queen Mab's Cave", "creation_date": "after 1846", "creation_date_earliest": 1846, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 73 x 89.5 cm (28 3/4 x 35 1/4 in.)", "dimensions": {"unframed": {"height": 0.73, "width": 0.895}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}], "legacy": [{"description": "Cleveland, Kinney and Levan Building. Illustrated Catalogue of the Cleveland Art Loan Exposition under the Auspices of the Cleveland School of Art (1913), no. 170b, Turner, lent by J. H. Wade.", "opening_date": "1913-01-01T00:00:00"}, {"description": "cma. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 250, Turner, pl. lx.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Kansas City, William Rockhill Nelson Gallery of Art. Exhibition of English Eighteenth Century Paintings (1937), Turner, no cat.", "opening_date": "1937-01-01T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute. A Survey of British Paintings (1938), no. 50, Turner.", "opening_date": "1938-01-01T00:00:00"}, {"description": "New York, Brooklyn Museum. Landscape; An Exhibition of Paintings (1945-46), no. 41, Turner.", "opening_date": "1945-01-01T00:00:00"}, {"description": "Art Gallery of Toronto; Ottawa, National Gallery of Canada. An Exhibition of Paintings by J. M. W. Turner (1775-1851), no. 14.", "opening_date": null}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Queen Mab is a miniature fairy from English folklore who inspires dreams and plays pranks on people during the night. Shakespeare refers to her in both <em>Romeo and Juliet </em>and <em>A Midsummer Night\u2019s Dream</em>,", "description": "This work is a reduced copy of a painting first exhibited by Turner at the British Institution in 1846 that passed, with the rest of his immense bequest to the nation, into the collections of the National Gallery and finally, in 1954, the Tate Gallery. Several lines from Shakespeare's <em>A Midsummer Night's Dream</em> and Turner's manuscript poem \"Fallacies of Hope\" were appended to the title in the British Institution catalogue, but they did little to explicate the nearly unintelligible concoction of fairies and Welsh ruins that make up this composition. Copies of <em>Queen</em> <em>Mab's Cave</em> by anonymous artists are abundant.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502345"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1036-queen-mab-s-cave"]}, "citations": [{"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 612-613, Vol. II, no. 214", "url": ""}, {"citation": "\"The Wade Collection.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 1 (1917): 3-12.", "page_number": "Mentioned: p. 3", "url": "http://www.jstor.org/stable/25136053"}], "url": "https://clevelandart.org/art/1916.1036", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1036/1916.1036_web.jpg", "width": "1087", "height": "893", "filesize": "214905", "filename": "1916.1036_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1036/1916.1036_print.jpg", "width": "3400", "height": "2792", "filesize": "2248823", "filename": "1916.1036_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1036/1916.1036_full.tif", "width": "6957", "height": "5714", "filesize": "119278780", "filename": "1916.1036_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1036/1916.1036_alt0_web.jpg", "width": "1089", "height": "893", "filesize": "859904"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1036/1916.1036_alt0_print.jpg", "width": "1536", "height": "1259", "filesize": "1740888"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1036/1916.1036_alt0_full.tif", "width": "1536", "height": "1259", "filesize": "5803668"}}, {"date_created": "2013-03-18T16:32:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1036/1916.1036_alt1_web.jpg", "width": "1100", "height": "893", "filesize": "150100"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1036/1916.1036_alt1_print.jpg", "width": "3400", "height": "2761", "filesize": "2094713"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1036/1916.1036_alt1_full.tif", "width": "7280", "height": "5912", "filesize": "129139928"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95263, "creators": [{"id": 1280, "description": "Joseph Mallord William Turner (British, 1775\u20131851)", "extent": null, "qualifier": "imitator of", "role": "artist", "biography": "Joseph Mallord William Turner, the supreme landscape painter of the romantic era, had the exceptional good fortune to be the son of a Covent Garden barber and wigmaker who thoroughly supported his aspirations to paint pictures. As an adolescent, Turner colored engravings for the print sellers and apprenticed with architectural draftsman Thomas Malton (1726-1801). Although he entered the Royal Academy Schools in 1789, Turner's substantive artistic training came from his numerous self-conducted topographical drawing tours of the British Isles in the early 1790s and from his camaraderie with Thomas Girtin (1775-1802), with whom he copied the masterworks of landscape watercolorist John Robert Cozens (1752-1799) in the collection of Dr. Thomas Monro (1759-1833). Turner submitted his first oil painting, a seascape, for exhibition at the Royal Academy in 1796 and was elected an associate member three years later, at the earliest permissible age. Devoted to the academy's lofty mission, as it had been articulated by the recently deceased Sir Joshua Reynolds (1723-1792) in his annual lectures to the students of the academy, Turner would relish his election as a full academician in 1802 and would serve as professor of perspective from 1807 until 1837. His masterpieces of the early decades (and there seems an endless succession of works with title to that distinction) were either homages to past masters of landscape painting or entirely personal interpretations of the most extraordinary range of naturalistic effects and subjects. Whether it was The Fifth Plague of Egypt (1800, Indianapolis Museum of Art) and its amalgam of allusions to Nicolas Poussin (1594-1665) and Richard Wilson (1714-1782), The Dort Packet-Boat from Rotterdam Becalmed (1818, Yale Center for British Art, New Haven), with its overt tribute to Aelbert Cuyp (1620-1691), or The Fall of an Avalanche in the Grisons (1810, Tate Gallery, London), with its unprecedented invention of horrific naturalistic detail that challenged conventional notions of the sublime in art, the net effect of Turner's achievement was to elevate landscape painting to a status within the traditional hierarchy of genres that it had rarely enjoyed since the seventeenth century. Unlike Constable (q.v.), Turner was an indefatigable traveler abroad. His first visit to Switzerland in 1802 resulted in a spectacular series of exhibition watercolors that boldly established watercolor painting as a vital medium of original expression. A tour of Belgium, the Netherlands, and the Rhine in 1817 was followed by his first protracted stay in Italy in 1819. After 1820 summer excursions to France, Germany, Switzerland, Italy, and especially Venice were almost annual occurrences. Gradually, and primarily after the 1819 Italian sojourn, Turner's palette lightened. Traditional notions of chiaroscuro, of alternating bands of light and dark earth colors, yielded to compositions orchestrated in brighter hues, in which the various colors move across the painted surface almost at will, little respecting the forms they describe but in perfect balance.\r\nDuring the 1820s and early 1830s Turner committed vast amounts of his creative capital to the production of literary and travel illustrations. These kept an entire generation of engravers employed for several decades. Despite the tendency of his era to stigmatize reproductive engraving as an inferior instrument of artistic presentation, Turner was preoccupied with its processes and potential, acutely aware that, long after his pigments had faded, his reputation would be secure in the more durable brilliance of the engraver's deftly crafted reproductions. A second trip to Italy in 1828 may partially account for the heightened coloring of Ulysses Deriding Polyphemus (1828, National Gallery, London), which John Ruskin described as a pivotal picture in Turner's career. But there was very little falling off in either technical or thematic invention during the last decades of Turner's life. In major oils like Snow Storm-Steam Boat Off a Harbor's Mouth (1842, Tate Gallery, London) and Rain, Steam and Speed (1844, National Gallery, London) and no less measure in the series of elaborately finished Swiss watercolors executed on commission at the end of his life, natural forms occupy an uncertain place between concrete reality and total dissolution by light into the colors and images of what Monet (q.v.) admiringly called the \"exuberant romanticism of Turner's fancy.\" Perspective can be intentionally distorted and the color schemes can approach the brazenly artificial, yet somehow the fundamental truth of Turner's vision, his faith in the supreme forces of nature and in the artist's preeminence as the mediator of that experience, continues to persuade.", "name_in_original_language": null, "birth_year": "1775", "death_year": "1851", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-10-02T00:00:00", "sortable_date": 1846, "date_added_to_oa": null, "date_text": "after 1846", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Queen Mab's Grotto"], "is_highlight": false, "updated_at": "2026-03-26 23:59:41.627000"}, {"id": 150020, "accession_number": "1980.236", "share_license_status": "CC0", "tombstone": "Study of a Plant, Possibly Thistle, 1862. L\u00e9on Bonvin (French, 1834\u20131866). Watercolor and pen and brown ink with white heightening; sheet: 25.3 x 29.5 cm (9 15/16 x 11 5/8 in.); secondary support: 25.3 x 29.5 cm (9 15/16 x 11 5/8 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.236", "current_location": null, "title": "Study of a Plant, Possibly Thistle", "creation_date": "1862", "creation_date_earliest": 1862, "creation_date_latest": 1862, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "Watercolor and pen and brown ink with white heightening", "support_materials": [{"description": "wove? paper, laid down on blue wove? paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 25.3 x 29.5 cm (9 15/16 x 11 5/8 in.); Secondary Support: 25.3 x 29.5 cm (9 15/16 x 11 5/8 in.)", "dimensions": {"sheet": {"height": 0.253, "width": 0.295}, "secondary support": {"height": 0.253, "width": 0.295}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in brown ink: L\u00e9on Bonvin 1862", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).", "opening_date": "1994-12-13T00:00:00"}, {"description": "CMA, Year in Review for 1980 (June 24-July 19, 1981), cma Bulletin 68 (1981), p. 215 no. 179, illus. p. 181.", "opening_date": "1981-06-24T00:00:00"}, {"description": "CMA; Baltimore, Walters Art Gallery, The Drawings and Watercolors of L\u00e9on Bonvin (Nov. 12, 1980-Jan. 18, 1981; Feb. 15-Mar. 27, 1981), no. 9, illus. p. 32.", "opening_date": "1981-02-15T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\".  No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This watercolor was made after the year of L\u00e9on Bonvin's marriage, a time when he was increasingly trying to make a living from his art.", "description": "Neglected within his own time, the watercolors of Bonvin have only come to be fully appreciated in the late 20th century. An artist with little formal training, Bonvin earned a living working in his family\u2019s inn in Vaugirard, on the outskirts of Paris. The landscape near his home and studies of the inn\u2019s garden became his themes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79931999"], "internet_archive": ["https://archive.org/details/clevelandart-1980.236-study-of-a-plant-pos"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 181; Mentioned: p. 215, no. 179", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Guichane\u0301, Maud, Gabriel P. Weisberg, Le\u0301on Bonvin, Jo Briggs, Ger Luijten, and Miche\u0300le Quentin. <em>Drawn to the Everyday: Le\u0301on Bonvin 1834-1866 : Catalogue Raisonne\u0301.</em> Paris : Fondation Custodia, 2022.", "page_number": "Reproduced: p. 138, no. 36; mentioned: p. 230, no. 36", "url": ""}], "url": "https://clevelandart.org/art/1980.236", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.236/1980.236_web.jpg", "width": "1036", "height": "893", "filesize": "158997", "filename": "1980.236_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.236/1980.236_print.jpg", "width": "3400", "height": "2931", "filesize": "2320359", "filename": "1980.236_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.236/1980.236_full.tif", "width": "6795", "height": "5858", "filesize": "119437388", "filename": "1980.236_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.236/1980.236_alt0_web.jpg", "width": "1043", "height": "893", "filesize": "706239"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.236/1980.236_alt0_print.jpg", "width": "3400", "height": "2912", "filesize": "6451530"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.236/1980.236_alt0_full.tif", "width": "4393", "height": "3762", "filesize": "49608752"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150020, "creators": [{"id": 11654, "description": "L\u00e9on Bonvin (French, 1834\u20131866)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1866", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1862, "date_added_to_oa": null, "date_text": "1862", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:19.310000"}, {"id": 149648, "accession_number": "1979.43", "share_license_status": "CC0", "tombstone": "Sophie Guillemette, Grand Duchess of Baden (1801-1865), 1831. Franz Xaver Winterhalter (German, 1805\u20131873). Oil on fabric; framed: 57.5 x 46.5 x 10 cm (22 5/8 x 18 5/16 x 3 15/16 in.); unframed: 39.1 x 28.5 cm (15 3/8 x 11 1/4 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1979.43", "current_location": "219 19th Century European", "title": "Sophie Guillemette, Grand Duchess of Baden (1801-1865)", "creation_date": "1831", "creation_date_earliest": 1831, "creation_date_latest": 1831, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 57.5 x 46.5 x 10 cm (22 5/8 x 18 5/16 x 3 15/16 in.); Unframed: 39.1 x 28.5 cm (15 3/8 x 11 1/4 in.)", "dimensions": {"framed": {"height": 0.575, "width": 0.465, "depth": 0.1}, "unframed": {"height": 0.391, "width": 0.285}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Fr. Winterhalter f 1831\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 442031, "title": "Franz Xaver Winterhalter and the Courts of Europe, 1830-70", "description": "<i>Franz Xaver Winterhalter and the Courts of Europe, 1830-70</i>. National Portrait Gallery, London, United Kingdom of Great Britain and Northern Ireland (organizer) (October 30, 1987-January 10, 1988); Petit Palais, Mus\u00e9e des Beaux-Arts de la Ville de Paris, Paris, France (February 11-May 7, 1988).", "opening_date": "1987-10-30T05:00:00"}, {"id": 221206, "title": "High Society: The Portraits of Franz X. Winterhalter", "description": "<i>High Society: The Portraits of Franz X. Winterhalter</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (April 17-August 14, 2016).", "opening_date": "2016-04-01T00:00:00"}], "legacy": [{"description": "Possibly Baden, Staatliche Kunsthalle (according to \"Verzeichnis der Gem\u00e4lde f\u00fcr die Winterhalter-Ausstellung in der Kunsthalle zu Baden [October 1873],\" published in Wild 1894, 57, no. 42, Portr\u00e4t I. K. H. der Grossherzogin Sophie).", "opening_date": null}, {"description": "Franz Xaver Winterhalter 1987. 13, 25, 212, 219, 225, no. 4, 74 (repr.), 176 (exhibited in London only). This catalogue gives an annotated version of the list of Winterhalter's oeuvre originally compiled by Franz Wild in 1894.", "opening_date": "1987-01-01T00:00:00"}, {"description": "Museum of Fine Arts.Houston, TX (4/17/2016 - 8/14/2016):  \"High Society: The Portraits of Franz X. Winterhalter\"", "opening_date": "2016-04-17T00:00:00"}]}, "provenance": [{"description": "Grand Dukes of Baden. London sale, Christie's, 24 November 1978 (lot 74, repr.), Property of a Lady: Portrait of Sophie Guillemette, Grand Duchess of Baden, \u00a35.500, to Hazlitt, Gooden & Fox, Ltd., London. Purchased by the CMA in 1979.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Sophie Guillemette (1801-1865), daughter of Gustavus IV Adolphus of Sweden, was the wife of Grand Duke Leopold of Baden. Winterhalter was her drawing instructor and made several portraits of both the duke and the duchess before leaving for London to become the most celebrated portrait painter of his time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473886"], "internet_archive": ["https://archive.org/details/clevelandart-1979.43-sophie-guillemette-g"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThomas L. Fawick Memorial Collection is on View in Year in Review Exhibition,\u201d February 7, 1980, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2737"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 40, p. 71; Mentioned: p. 59", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Lurie, Ann Tzeutschler. \u201cFerdinand Georg Waldm\u00fcller in the Cleveland Museum of Art: Portrait of Crescentia, Countess Zichy (later Countess Sz\u00e9chenyi) with a Parrot and a Camellia in a Mountainous Landscape.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 1 (1994): 3-17.", "page_number": "Mentioned: p. 16", "url": "https://www.jstor.org/stable/25161437"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 642-644, Vol. II, no. 225", "url": ""}], "url": "https://clevelandart.org/art/1979.43", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.43/1979.43_web.jpg", "width": "652", "height": "900", "filesize": "173687", "filename": "1979.43_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.43/1979.43_print.jpg", "width": "2462", "height": "3400", "filesize": "1880999", "filename": "1979.43_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.43/1979.43_full.tif", "width": "3967", "height": "5479", "filesize": "65232140", "filename": "1979.43_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.43/1979.43_alt0_web.jpg", "width": "654", "height": "900", "filesize": "231222"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.43/1979.43_alt0_print.jpg", "width": "1116", "height": "1536", "filesize": "1386435"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.43/1979.43_alt0_full.tif", "width": "1116", "height": "1536", "filesize": "5144468"}}, {"date_created": "2008-10-27T19:19:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.43/1979.43_alt1_web.jpg", "width": "647", "height": "893", "filesize": "410724"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.43/1979.43_alt1_print.jpg", "width": "2462", "height": "3400", "filesize": "5538727"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.43/1979.43_alt1_full.tif", "width": "3967", "height": "5479", "filesize": "65236500"}}], "creditline": "The Thomas L. Fawick Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 149648, "creators": [{"id": 2965, "description": "Franz Xaver Winterhalter (German, 1805\u20131873)", "extent": null, "qualifier": null, "role": "artist", "biography": "Franz Xaver Winterhalter was born in the Black Forest village of Menzenschwand. In 1818 he left for Freiburg/Breisgau to study and practice graphics for some five years with Karl Ludwig Schuler (1785-1852); he worked at Herder, the famous publishing house. In 1823 he moved to Munich, where he earned his living as a lithographer and portraitist until he was admitted to the Munich Academy. In addition to his academic training, he worked in the studio of Joseph Stieler (1781-1858), the miniaturist and portrait painter of the court of King Ludwig I of Bavaria. Stieler had once been a student of neoclassical portraitist Fran\u00e7ois G\u00e9rard (1778-1837) in Paris. In Stieler's studio Winterhalter found the stimulus for his future career as a leading court portraitist in Europe. He began in Karlsruhe, the seat of the Margraves of Baden who had ruled parts of southwest Germany since the Middle Ages. Prior to his official appointment in 1834 as court painter of Grand Duke Leopold and his wife, Sophie Guillemette, Winterhalter spent two years in Italy where he joined the circle of French painters around Vernet (q.v.). After 1834 Winterhalter moved to Paris and soon became the most sought-after portraitist of royals and nobles throughout Europe. Winterhalter's brother, Hermann (1808-1891), a painter in his own right, followed him to Paris in 1840 and became his assistant. Winterhalter consistently served the French court from Louis-Philippe to Napoleon III, even becoming a favorite portraitist of Queen Victoria. In 1868 Winterhalter left Paris, traveling to various cities. At the outbreak of the Franco-Prussian War in 1870, he happened to be in Switzerland and returned to Karlsruhe that same year. He died in Frankfurt of typhus in 1873.", "name_in_original_language": null, "birth_year": "1805", "death_year": "1873", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1831, "date_added_to_oa": null, "date_text": "1831", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:56.823000"}, {"id": 148196, "accession_number": "1975.188", "share_license_status": "CC0", "tombstone": "Hand Coil, 1800s. Nigeria, Benin Kingdom, \u1eb8do peoples, members of the Igun Eronmwon (royal brasscasters) guild. Copper alloy; diameter: 11.5 cm (4 1/2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.188", "current_location": "108A African", "title": "Hand Coil", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Nigeria, Benin Kingdom, \u1eb8do peoples, members of the Igun Eronmwon (royal brasscasters) guild"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Diameter: 11.5 cm (4 1/2 in.)", "dimensions": {"diameter": {"width": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Commissioned from the Igun Eronmwon, Benin Kingdom", "citations": [], "footnotes": [], "date": "1800s", "sortorder": 1}, {"description": "(Reportedly, Lehmann Bernheimer, Munich, Germany)", "citations": [], "footnotes": [], "date": "1961", "sortorder": 2}, {"description": "Mrs. Wilbur (Katherine) W. Merkel, Gates Mills, OH", "citations": [], "footnotes": [], "date": "before 1968, date unclear", "sortorder": 3}, {"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "by at least 1968\u20131975", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["941.68", "138.62"], "did_you_know": "This is a unique object; it was made using the lost-wax casting technique, which destroys the wax mold in the creation process.", "description": "While this looks like a bracelet, it wasn\u2019t worn around a wrist. A chief or titleholder grasped this \u201chand coil\u201d vertically during the annual Igu\u1eb9 festival, during which such men reaffirm their relationship to the \u1eccba, whose mystical powers are strengthened. An image of a man\u2019s head caps each end of the thick, twisted metal. Repeated human touch rubbed the undecorated lengths bright and shiny. Though small, the coil\u2019s detail is enormous: to capture it, the artist incised the designs in wax during the casting process. They show these men are elites, with necklaces, caps, and whisker-like facial markings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928313"], "internet_archive": []}, "citations": [{"citation": "Fagg, William Buller. <em>African Tribal Images;the Katherine White Reswick Collection</em>. Cleveland, OH: The Cleveland Museum of Art, 1968, no. 147.", "page_number": "no. 147", "url": null}, {"citation": "<em>Digital Benin, </em>Markk Museum Am Rothenbaum Kulturen und Kunste der Welt<em>, (</em>Last Updated: 2021-02-13)", "page_number": "ID 148196", "url": "https://digitalbenin.org/catalogue/8_148196"}], "url": "https://clevelandart.org/art/1975.188", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.188/1975.188_web.jpg", "width": "599", "height": "900", "filesize": "164431", "filename": "1975.188_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.188/1975.188_print.jpg", "width": "2263", "height": "3400", "filesize": "1184401", "filename": "1975.188_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.188/1975.188_full.tif", "width": "5420", "height": "8142", "filesize": "132413976", "filename": "1975.188_full.tif"}}, "alternate_images": [{"date_created": "2009-07-22T18:32:52", 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White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148196, "creators": [], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:44.366000"}, {"id": 160751, "accession_number": "1998.85", "share_license_status": "CC0", "tombstone": "Rattle Staff (ukhuhre), 1900s. Nigeria, Benin Kingdom, \u1eb8do peoples, member(s) of the Igbesanmwan (wood and ivory carvers) guild. Wood, paint, cowrie shells, and plant fiber; overall: 149.5 x 7.5 x 8 cm (58 7/8 x 2 15/16 x 3 1/8 in.). 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Exotic Arts [Sam Hilu]", "citations": [], "footnotes": ["<div><!--block-->As per Ginna Sloane 5-31-2022, P. Sloane slide depicting object with captions \"Benin Staff\" 53\" (front) and Odyssey 2/22/69 (back)</div>"], "date": "?-1969", "sortorder": 2}, {"description": "By purchase (?) Ms. Phyllis Lester Sloane [1921-2009], Shaker Heights, OH", "citations": [], "footnotes": ["<div><!--block-->As per Ginna Sloane 5-31-2022, P. Sloane slide depicting object with captions \"Benin Staff\" 53\" (front) and Odyssey 2/22/69 (back)</div>"], "date": "1969\u20131998", "sortorder": 3}, {"description": "By gift to the The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1998\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rattle staffs (<em>ukhuhr\u1eb9</em>) like this are still used in the Benin Kingdom today.", "description": "Rattle staffs (<em>ukhuhr\u1eb9</em>) are instruments of memory and sound. Though this staff represented a single elite man, it evokes the individuals in his lineage. Inspired by bamboo, it is divided into segments that link three carved men dressed in coral-beaded finery. Benin courtiers still carry these staffs during celebrations and rituals. By banging the staff on the ground, a rattling sound emanates from its open center, where a wooden cylinder rolls freely. The noise alerts ancestral spirits to prayers offered on their behalf. When not in use, they are stored on ancestral altars.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79982461"], "internet_archive": ["https://archive.org/details/clevelandart-1998.85-rattle-staff-ukhuhre"]}, "citations": [{"citation": "Windmuller-Luna, Kristen. \u201cArt from the Benin Kingdom.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 34-35.", "page_number": "Reproduced and Mentioned: P. 34.", "url": ""}, {"citation": "<em>Digital Benin, </em>Markk Museum Am Rothenbaum Kulturen und Kunste der Welt<em>, (</em>Last Updated: 2021-02-13)", "page_number": "ID 160751", "url": "https://digitalbenin.org/catalogue/8_160751"}], "url": "https://clevelandart.org/art/1998.85", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.85/1998.85_web.jpg", "width": "452", "height": "900", "filesize": "113536", "filename": "1998.85_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.85/1998.85_print.jpg", "width": "1709", "height": "3400", "filesize": "439145", "filename": "1998.85_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.85/1998.85_full.tif", "width": "3256", "height": "6477", "filesize": "63289888", "filename": "1998.85_full.tif"}}, "alternate_images": [{"date_created": "2009-07-24T15:03:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt0_web.jpg", "width": "449", "height": "893", "filesize": "101825"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt0_print.jpg", "width": "1709", "height": "3400", "filesize": "1785740"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt0_full.tif", "width": "3256", "height": "6477", "filesize": "63297920"}}, {"date_created": "2009-07-24T15:37:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt1_web.jpg", "width": "461", "height": "893", "filesize": "111810"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt1_print.jpg", "width": "1754", "height": "3400", "filesize": "1929651"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt1_full.tif", "width": "3222", "height": "6247", "filesize": "60414420"}}, {"date_created": "2009-07-24T15:37:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt2_web.jpg", "width": "464", "height": "900", "filesize": "116798"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt2_print.jpg", "width": "1754", "height": "3400", "filesize": "486634"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.85/1998.85_alt2_full.tif", "width": "3222", "height": "6247", "filesize": "60406348"}}], "creditline": "Gift of Phyllis Sloane in memory of Rose White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160751, "creators": [], "legal_status": "accessioned", "accession_date": "1998-06-01T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:31.357000"}, {"id": 163040, "accession_number": "2003.6.1", "share_license_status": "CC0", "tombstone": "Polyhymnia, Muse of Eloquence, 1800. Charles Meynier (French, 1768\u20131832). Oil on canvas; overall: 275 x 177 cm (108 1/4 x 69 11/16 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2003.6.1", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Polyhymnia, Muse of Eloquence", "creation_date": "1800", "creation_date_earliest": 1800, "creation_date_latest": 1800, "artists_tags": ["male"], "culture": ["France, late 18th-early 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Overall: 275 x 177 cm (108 1/4 x 69 11/16 in.)", "dimensions": {"overall": {"height": 2.75, "width": 1.77}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "In 1819, Nicolas-Antoine de Castella, general of the Swiss regiments in France, purchased the paintings and placed them in his Castle of Wallenreid, Switzerland; direct descendants; Pierre de Castella, Mannaz, Switzerland.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Meynier was trained in a studio known by the students of Jacques-Louis David as the atelier of the \"perruques\" (wigs), a name given to royalists or conservatives of the period.", "description": "Polymnia is one of the nine muses in Greek mythology and a patron of dancing or geometry. 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Vol. 48 no. 5, May/June 2008", "page_number": "Mentioned & reproduced: p. 10", "url": "https://archive.org/details/CMAMM2008-05/page/10"}], "url": "https://clevelandart.org/art/2003.6.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.6.1/2003.6.1_web.jpg", "width": "582", "height": "893", "filesize": "318704", "filename": "2003.6.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.6.1/2003.6.1_print.jpg", "width": "2216", "height": "3400", "filesize": "4069372", "filename": "2003.6.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.6.1/2003.6.1_full.tif", "width": "3259", "height": "5000", "filesize": "48915152", "filename": "2003.6.1_full.tif"}}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 163040, "creators": [{"id": 44231, "description": "Charles Meynier (French, 1768\u20131832)", "extent": null, "qualifier": null, "role": "artist", "biography": "Charles Meynier was a recipient of the Grand Prix de Rome in 1789 and became a member of the Acad\u00e9mie des Beaux-Arts in 1815. A history painter, he created the grand decoration for ceilings of the Louvre (1819 and 1822), and produced numerous pictures glorifying the Napoleonic legend, which for the most part remain in the ch\u00e2teau de Versailles. Through the assistance of his brother Meynier Saint-Phal, a famous actor of the Com\u00e9die Fran\u00e7aise who paid for his studies, the artist entered the atelier of the painter Fran\u00e7ois Andr\u00e9 Vincent (1746-1816), a principal rival of the master Jacques-Louis David. The studio in which Meynier received his training was known by the students of David as the atelier of the\"perruques,\" (the wigs) the name given to royalists or conservatives during that period.", "name_in_original_language": null, "birth_year": "1768", "death_year": "1832", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2003-03-03T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": "Before entering the collection, this entire suite of five monumental paintings by Charles Meynier had numerous conservation issues, including pronounced discolored varnish, years of accumulated grime, and canvases that were detaching from their stretchers, creating large buckles along the edges. The CMA designed a four-year-long comprehensive conservation campaign to address these concerns, which involved removing the grime, reducing the discolored varnish, flattening buckles and undulations in the canvas, followed by inpainting mainly to compensate for pronounced traction cracking in the original paint layers. Traction cracking occurs when the top layers of paint dry faster than the underlayers, creating breaks in the top layers, revealing the underlying preparatory layers that were not intended to be seen. Horizontal cracking at regular intervals is present in each painting and is likely caused by rolling the canvases to transport them to the Castella chateau in Wallenreid, Switzerland, where the paintings remained until the CMA purchased them in 2003. After removal of the discolored, nearly brown varnish layers, nuanced, dynamic, and balanced color relationships were uncovered, as Meynier skillfully juxtaposed colors within the draperies of the muses. For example, in <em>Polyhymnia, the Muse of Eloquence</em>, Meynier places her soft gray-violet drapery next to a yellow orange drapery, using a darker violet tone at the edges of the folds to create volume. These two complimentary colors are beautifully balanced against each other. The exquisitely carved gold leaf frames are original to the paintings.", "has_conservation_images": true, "cover_accession_number": "2003.6", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Polymnia, Muse of Eloquence"], "is_highlight": false, "updated_at": "2026-03-26 23:59:41.120000"}, {"id": 171268, "accession_number": "2014.1", "share_license_status": "CC0", "tombstone": "Mask (wan-balinga), early 1900s. Africa, West Africa, Burkina Faso, Mossi-style blacksmith-carver. Wood and paint; overall: 34 x 14 x 14 cm (13 3/8 x 5 1/2 x 5 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. 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This mask\u2019s proper name, <em>wan-balinga</em>, evokes a mythical figure who was the mother of the first Mossi ruler. Such masks are most typically worn and danced with on the occasion of the funeral of a male or female elder as escorts of the corpse to the grave. They also appear during annual memorial services that occur months after the actual burial, when all the deceased clan members are commemorated and honored.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2014.1-mask-wan-balinga"]}, "citations": [{"citation": "Germain, Jacques, Ce\u0301line Marti, and Hughes Dubois. 2006. <em>Art Ancien De L\u2019afrique Noire</em>. 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H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171268, "creators": [], "legal_status": "accessioned", "accession_date": "2014-03-03T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Face Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:04:37.364000"}, {"id": 103244, "accession_number": "1921.318", "share_license_status": "CC0", "tombstone": "Sudden Shower over Shin-\u014chashi Bridge and Atake, from One Hundred Famous Views of Edo, 1857. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; 35.3 x 23.2 cm (13 7/8 x 9 1/8 in.). The Cleveland Museum of Art, Gift from J. H. Wade, 1921.318", "current_location": null, "title": "Sudden Shower over Shin-\u014chashi Bridge and Atake, from One Hundred Famous Views of Edo", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "35.3 x 23.2 cm (13 7/8 x 9 1/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.353, "width": 0.232}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga\r\nPublisher: Uoya Eikichi (Uoei, Shitaya)\r\nCensorship Seal: aratame", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 357023, "title": "Japanese Prints from the Museum Collection", "description": "<i>Japanese Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 5-October 28, 1934).", "opening_date": "1934-09-05T04:00:00"}, {"id": 301675, "title": "The Art of Printmaking", "description": "<i>The Art of Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 17, 1959-January 2, 1960).", "opening_date": "1959-11-17T05:00:00"}, {"id": 304431, "title": "Japanese Woodblock Prints: Themes and Techniques", "description": "<i>Japanese Woodblock Prints: Themes and Techniques</i>. The Cleveland Museum of Art (organizer) (September 3-October 19, 1980).", "opening_date": "1980-09-03T04:00:00"}, {"id": 304542, "title": "Promenades, Pageants, Processions, and Pilgrimages", "description": "<i>Promenades, Pageants, Processions, and Pilgrimages</i>. The Cleveland Museum of Art (organizer) (August 25, 1981-January 3, 1982).", "opening_date": "1981-08-25T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309857, "title": "Transformations in Japanese Printmaking", "description": "<i>Transformations in Japanese Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25-December 30, 1984).", "opening_date": "1984-09-25T04:00:00"}, {"id": 310122, "title": "The View from Afar: Whistler and the Japanese Print", "description": "<i>The View from Afar: Whistler and the Japanese Print</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 9-October 16, 1988).", "opening_date": "1988-08-09T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Carl William Schraubstadter [1862\u20131947], New York, NY", "citations": [], "footnotes": null, "date": "?\u20131921", "sortorder": 1}, {"description": "(American Art Association, February 11, 1921 sale, lot 664)", "citations": [], "footnotes": null, "date": "February 11, 1921", "sortorder": 2}, {"description": "(Yamanaka and Company, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1921", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1921\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Ohashi Bridge was one of 300 bridges that crossed the Sumida River.", "description": "Published two years after the great earthquake and fire of 1855, this print design illustrates the newly rebuilt Great Bridge over the Sumida River in Edo (now Tokyo). The design shows Utagawa Hiroshige\u2019s skill in capturing atmospheric conditions. People try to protect themselves from sudden sheets of rain as they cross the bridge in opposite directions. The Atake neighborhood is seen in the distance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780869"], "internet_archive": ["https://archive.org/details/clevelandart-1921.318-sudden-shower-over-s"]}, "citations": [], "url": "https://clevelandart.org/art/1921.318", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.318/1921.318_web.jpg", "width": "605", "height": "900", "filesize": "263389", "filename": "1921.318_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.318/1921.318_print.jpg", "width": "2285", "height": "3400", "filesize": "3633906", "filename": "1921.318_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.318/1921.318_full.tif", "width": "7726", "height": "11497", "filesize": "266508340", "filename": "1921.318_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.318/1921.318_alt0_web.jpg", "width": "592", "height": "893", "filesize": "451647"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.318/1921.318_alt0_print.jpg", "width": "2255", "height": "3400", "filesize": "5916594"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.318/1921.318_alt0_full.tif", "width": "3316", "height": "5000", "filesize": "49769460"}}, {"date_created": "2014-07-07T15:05:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.318/1921.318_alt1_web.jpg", "width": "591", "height": "900", "filesize": "212256"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.318/1921.318_alt1_print.jpg", "width": "2233", "height": "3400", "filesize": "2286615"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.318/1921.318_alt1_full.tif", "width": "4771", "height": "7264", "filesize": "103999088"}}], "creditline": "Gift from J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103244, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1921-03-17T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Sudden Rain at Atake and Ohashi (from the series 100 Views of Famous Places in Edo)", "\u540d\u6240\u6c5f\u6238\u767e\u666f\u3000\u5927\u306f\u3057\u3042\u305f\u3051\u306e\u3086\u3046\u3060\u3061", "Sudden Shower over Shin-\u014chashi Bridge and Atake, from the series One Hundred Famous Views of Edo"], "is_highlight": false, "updated_at": "2026-03-27 00:03:52.494000"}, {"id": 136589, "accession_number": "1961.151", "share_license_status": "CC0", "tombstone": "The Dead Christ with Angels, 1866\u201367. \u00c9douard Manet (French, 1832\u20131883). Etching and aquatint; image: 32.9 x 38 cm (12 15/16 x 14 15/16 in.); plate: 39.4 x 32.9 cm (15 1/2 x 12 15/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1961.151", "current_location": null, "title": "The Dead Christ with Angels", "creation_date": "1866\u201367", "creation_date_earliest": 1866, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 32.9 x 38 cm (12 15/16 x 14 15/16 in.); Plate: 39.4 x 32.9 cm (15 1/2 x 12 15/16 in.)", "dimensions": {"image": {"height": 0.329, "width": 0.38}, "plate": {"height": 0.394, "width": 0.329}}, "state_of_the_work": "III/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302039, "title": "Year in Review (1961)", "description": "<i>Year in Review (1961)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-26, 1961).", "opening_date": "1961-11-01T05:00:00"}, {"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": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309855, "title": "I and Thou", "description": "<i>I and Thou</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 21-May 27, 1984).", "opening_date": "1984-02-21T05:00:00"}, {"id": 310008, "title": "Real Prints: Reproduction or Invention", "description": "<i>Real Prints: Reproduction or Invention</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 7-May 17, 1987).", "opening_date": "1987-04-07T04:00:00"}, {"id": 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": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [{"description": "(R.M. Light & Co., Inc., Santa Barbara, CA)", "citations": [], "footnotes": null, "date": "?-1961", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "August 19, 1961", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This etching was the largest that \u00c9douard Manet made.", "description": "Edouard Manet often reinterpreted his own paintings as prints, using various techniques to bring his work to a broader audience. Here, he relied on a combination of aquatint and repeating marks to realistically suggest Christ\u2019s lifeless body in the tomb where he was placed following his crucifixion. The figure\u2019s vacant gaze and the deep shadows behind him led critics to deride the work as grotesque in its realism. The etching was the largest Manet made and, perhaps as a result, only a few impressions\u2014including the one seen here\u2014were made from the plate.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80030614"], "internet_archive": ["https://archive.org/details/clevelandart-1961.151-the-dead-christ-with"]}, "citations": [], "catalogue_raisonne": "Harris 51", "url": "https://clevelandart.org/art/1961.151", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.151/1961.151_web.jpg", "width": "761", "height": "893", "filesize": "626144", "filename": "1961.151_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.151/1961.151_print.jpg", "width": "2896", "height": "3400", "filesize": "9080843", "filename": "1961.151_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.151/1961.151_full.tif", "width": "4335", "height": "5090", "filesize": "66232324", "filename": "1961.151_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136589, "creators": [{"id": 1796, "description": "\u00c9douard Manet (French, 1832\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1961-08-19T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866\u201367", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:49.210000"}, {"id": 164314, "accession_number": "2005.4", "share_license_status": "CC0", "tombstone": "Evening Mood-Liding\u00f6, 1900. Eug\u00e8ne Jansson (Swedish, 1862\u20131915). Oil on canvas; framed: 94 x 172.4 x 5.1 cm (37 x 67 7/8 x 2 in.); unframed: 90.1 x 168.6 cm (35 1/2 x 66 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2005.4", "current_location": null, "title": "Evening Mood-Liding\u00f6", "creation_date": "1900", "creation_date_earliest": 1900, "creation_date_latest": 1900, "artists_tags": ["male", "LGBTQ+ (after 1900)"], "culture": ["Sweden, 20th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 94 x 172.4 x 5.1 cm (37 x 67 7/8 x 2 in.); Unframed: 90.1 x 168.6 cm (35 1/2 x 66 3/8 in.)", "dimensions": {"framed": {"height": 0.94, "width": 1.724, "depth": 0.051}, "unframed": {"height": 0.901, "width": 1.686}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Unsigned; inscribed on the stretcher in blue ink, \"A. Jansson' (the artist's brother) and \"HERR R. BERGH, 40 BAS 4 TR OG JANSSON'.  Inscribed on the stretcher in red ink \"G.J.'", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 220507, "title": "Mystical Landscapes: Masterpieces from Monet, Van Gogh and more", "description": "<i>Mystical Landscapes: Masterpieces from Monet, Van Gogh and more</i>. Art Gallery of Ontario, Ontario M5T 1G4, Canada (organizer) (October 22, 2016-February 12, 2017).", "opening_date": "2016-10-22T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "League of Artists' Annual Exhibition. Stockholm, Sweden (1900).", "opening_date": "1900-01-01T00:00:00"}, {"description": "League of Artists' Annual Exhibition. Stockholm, Sweden (1901).", "opening_date": "1901-01-01T00:00:00"}, {"description": "The Swedish Vision: Landscape and Figurative Painting 1885-1920. Shepherd Gallery, New York, NY (Fall 1985).", "opening_date": "1920-01-01T00:00:00"}, {"description": "Eugene Jansson. Liljevalchs Art Gallery, Stockholm, Sweden (1998).", "opening_date": "1998-01-01T00:00:00"}]}, "provenance": [{"description": "Richard Bergh [1858-1919], Stockholm, Sweden friend of the artist", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Adrian Bergh, son of Richard Bergh, Stockhom, Sweden", "citations": [], "footnotes": null, "date": "-1980s", "sortorder": 2}, {"description": "The Bergh Family Collection, Stockholm, Sweden until the 1980s", "citations": [], "footnotes": null, "date": "-1980s", "sortorder": 3}, {"description": "(Claes Moser, Stockholm, Sweden, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "-2005", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2005-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jansson, known as the \"Blue Painter,\" was called \"Paraffin Jansson\" by other artists because the light in his paintings reminded them of the light from the paraffin (kerosene) lamps widely used in houses at the time.", "description": "The swirling brushstrokes and telescopic perspective in this view of a field near Stockholm, Sweden, converge on the dark mass of trees and dying sunset in the center. Feelings of melancholy and loneliness are relieved only by the appearance of the first evening star. Although little known in the United States, Eug\u00e8ne Janssen was one of the most important artists of Scandinavian modernism. He became aware of the works of the Norwegian Symbolist Edvard Munch as early as 1884 and shared Munch\u2019s ambition of exploring psychological states of mind rather than adhering to external appearances.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480301"], "internet_archive": ["https://archive.org/details/clevelandart-2005.4-evening-mood-lidingo"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Shepherd Gallery. The Swedish Vision: Landscape and Figurative Painting 1885-1920 : Shepherd Gallery, New York, October 16th to December 7th, 1985, an Exhibition. Stockholm: Moser &amp; Klang, 1985.", "page_number": "cat. no. 36", "url": null}, {"citation": "Lochnan, Katharine Jordan, ed. Mystical Landscapes: From Vincent Van Gogh to Emily Carr. Munich: DelMonico Books Prestel, 2016.", "page_number": "169, 177", "url": null}], "url": "https://clevelandart.org/art/2005.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2005.4/2005.4_web.jpg", "width": "900", "height": "477", "filesize": "139450", "filename": "2005.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2005.4/2005.4_print.jpg", "width": "3400", "height": "1803", "filesize": "1915951", "filename": "2005.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2005.4/2005.4_full.tif", "width": "15606", "height": "8277", "filesize": "387539968", "filename": "2005.4_full.tif"}}, "alternate_images": [{"date_created": "2005-02-15T15:08:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.4/2005.4_alt0_web.jpg", "width": "1263", "height": "664", "filesize": "594626"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.4/2005.4_alt0_print.jpg", "width": "3400", "height": "1788", "filesize": "4507063"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.4/2005.4_alt0_full.tif", "width": "5000", "height": "2629", "filesize": "39456904"}}, {"date_created": "2010-07-20T12:48:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.4/2005.4_alt1_web.jpg", "width": "1263", "height": "782", "filesize": "538375"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.4/2005.4_alt1_print.jpg", "width": "3400", "height": "2105", "filesize": "4285572"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.4/2005.4_alt1_full.tif", "width": "6491", "height": "4019", "filesize": "78292360"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 164314, "creators": [{"id": 51019, "description": "Eug\u00e8ne Jansson (Swedish, 1862\u20131915)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1862", "death_year": "1915", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-02-28T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:52.547000"}, {"id": 109142, "accession_number": "1927.301", "share_license_status": "CC0", "tombstone": "The Jockey, c. 1885\u20131900. Edgar Degas (French, 1834\u20131917). Charcoal; sheet: 48.5 x 31.2 cm (19 1/8 x 12 5/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.301", "current_location": null, "title": "The Jockey", "creation_date": "c. 1885\u20131900", "creation_date_earliest": 1885, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "charcoal", "support_materials": [{"description": "beige(2) modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 48.5 x 31.2 cm (19 1/8 x 12 5/16 in.)", "dimensions": {"sheet": {"height": 0.485, "width": 0.312}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VERSO, upper left, in graphite: 1 [underlined] ; upper left, in red crayon: ch  20 ; center, in graphite: 29 1/2  46 / 17  17 / 11453 ; lower right, in blue crayon: Ph1421 / 2412", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 361204, "title": "Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections", "description": "<i>Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-September 15, 1935).", "opening_date": "1935-07-12T04:00:00"}, {"id": 348134, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-April 28, 1937).", "opening_date": "1937-02-10T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312095, "title": "Works of Edgar Degas", "description": "<i>Works of Edgar Degas</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 5-March 9, 1947).", "opening_date": "1947-02-05T05:00:00"}, {"id": 301501, "title": "40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 224558, "title": "Time Stands Still: Muybridge and the Instantaneous Photography Movement", "description": "<i>Time Stands Still: Muybridge and the Instantaneous Photography Movement</i>. The Cleveland Museum of Art, Cleveland, OH (February 15-May 16, 2004).", "opening_date": "2004-02-15T00:00:00"}], "legacy": [{"description": "Dayton (Ohio) Art Institute, Edgar Degas: Exploring Dimensions (cat. title: Edgar Degas: The Many Dimensions of a Master French Impressionist) (Aug. 12-Oct. 9, 1994), no. 38, illus. p. 76.", "opening_date": "1994-08-12T00:00:00"}, {"description": "CMA, Treasures on Paper (May 10-July 24, 1988).", "opening_date": "1988-05-10T00:00:00"}, {"description": "CMA, The Impressionist Aesthetic (Aug. 10-Oct. 31, 1982).", "opening_date": "1982-08-10T00:00:00"}, {"description": "CMA, Gifts of the Print Club of Cleveland during Its First Twenty Years to the Cleveland Museum of Art: 40th Anniversary of the Print Club of Cleveland, 1919-1959 (Dec. 3, 1959-Jan. 20, 1960).", "opening_date": "1959-12-03T00:00:00"}, {"description": "CMA, \"Drawings from the Collection, Gallery VIII\" (June 15-Aug. 10, 1954).", "opening_date": "1954-06-15T00:00:00"}, {"description": "CMA, \"Museum Drawings, Gallery VIII\" (June 12-Nov. 7, 1951).", "opening_date": "1951-06-12T00:00:00"}, {"description": "CMA, \"Drawings from the Collection, Gallery VIII\" (June 15, 1949-Apr. 24, 1950).", "opening_date": "1949-06-15T00:00:00"}, {"description": "CMA, \"Drawings in Gallery VIII\" (June 10-Oct. 20, 1947).", "opening_date": "1947-06-10T00:00:00"}, {"description": "Washington, D.C., Phillips Memorial Gallery, Loan Exhibition of Drawings and Pastels by Edgar Degas (Mar. 30-Apr. 30, 1947), no. 34, illus.", "opening_date": "1947-03-30T00:00:00"}, {"description": "CMA, Works by Edgar Degas (Feb. 5-Mar. 9, 1947), no. 72, pl. LI.", "opening_date": "1947-02-05T00:00:00"}, {"description": "CMA, Work by Hilaire Germain Edgar Degas (June 15-Oct. 6, 1946).", "opening_date": "1946-06-15T00:00:00"}, {"description": "CMA, French Drawings and Watercolors from French Public and Private Collections (among CMA drawings supplementing this show) (Jan. 6-Feb. 15, 1942).", "opening_date": "1942-01-06T00:00:00"}, {"description": "CMA, \"exhibited as part of the Museum of Modern Art travelling show, Picasso: His Forty Years of Art\"(?) (Nov. 6-Dec. 8, 1940).", "opening_date": "1940-11-06T00:00:00"}, {"description": "CMA, \"Drawings from the Collection\" (July 11-Oct. 3, 1940).", "opening_date": "1940-07-11T00:00:00"}, {"description": "CMA, \"75 Drawings from the Collection\" (Feb. 10-Apr. 28, 1937).", "opening_date": "1937-02-10T00:00:00"}, {"description": "CMA, Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections (July 12-Sep. 15, 1935).Cleveland, Ohio:  The Cleveland Museum of Art; May 13 - July 13, 2003.  \" Object in Focus:  Degas' Jockeys \"", "opening_date": "1935-07-12T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; February 15 - May 16, 2004. \"Time Stands Still: Muybridge and the Instantaneous Photography Movement\". Not in exh. cat.", "opening_date": "2004-02-15T00:00:00"}]}, "provenance": [{"description": "estate of the artist (Lugt 658, lower left, in red ink and Lugt 657, verso, lower right, in red ink).  [C.W. Kraushaar Gallery]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A study made for a larger racetrack composition rendered in pastel, Degas\u2019s Jockey shows the attention that the artist lavished on perfecting the positions of the horse\u2019s legs, hoofs, jaw straining against the bit, and the swish of the tail.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001275"], "internet_archive": ["https://archive.org/details/clevelandart-1927.301-the-jockey"]}, "citations": [{"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 167", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "Francis, Henry S. \"Drawings by Degas.\" <em>Bulletin of the Cleveland Museum of Art </em>44, no. 10 (December 1957): 212-17.", "page_number": "Mentioned: p. 216", "url": "https://www.jstor.org/stable/25142248"}, {"citation": "DeGrazia, Diane and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: P. 5", "url": null}], "url": "https://clevelandart.org/art/1927.301", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.301/1927.301_web.jpg", "width": "582", "height": "893", "filesize": "93075", "filename": "1927.301_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.301/1927.301_print.jpg", "width": "2217", "height": "3400", "filesize": "1503409", "filename": "1927.301_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.301/1927.301_full.tif", "width": "3985", "height": "6110", "filesize": "73069888", "filename": "1927.301_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.301/1927.301_alt0_web.jpg", "width": "551", "height": "893", "filesize": "396139"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.301/1927.301_alt0_print.jpg", "width": "1264", "height": "2048", "filesize": "2164418"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.301/1927.301_alt0_full.tif", "width": "1264", "height": "2048", "filesize": "7768932"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109142, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1885\u20131900", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:46.705000"}, {"id": 110790, "accession_number": "1929.320", "share_license_status": "CC0", "tombstone": "Stool, by 1928. Africa, Central Africa, Democratic Republic of the Congo, Mangbetu-style maker. Wood; diameter: 39.1 cm (15 3/8 in.); overall: 28.6 cm (11 1/4 in.). The Cleveland Museum of Art, Gift of the Gilpin Players of Karamu House, 1929.320", "current_location": null, "title": "Stool", "creation_date": "by 1928", "creation_date_earliest": 1900, "creation_date_latest": 1928, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo, Mangbetu-style maker"], "technique": "wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Furniture and woodwork", "measurements": "Diameter: 39.1 cm (15 3/8 in.); Overall: 28.6 cm (11 1/4 in.)", "dimensions": {"diameter": {"width": 0.391}, "overall": {"height": 0.286}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 518209, "title": "African Art", "description": "<i>African Art</i>. Karamu House, Cleveland, OH (organizer) (March 1-May 30, 1960).", "opening_date": "1960-03-01T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "Cleveland, OH, Karamu House: Arfican Art, March 1-May 30, 1960.", "opening_date": "1960-03-01T00:00:00"}, {"description": "CMA 1987:  Comfortably Seated, November 11-February 15, 1987, no cat.", "opening_date": "1987-11-11T00:00:00"}, {"description": "CMA 1991:  Object Lessons:  Cleveland Creates an Art Museum, June 7-September 8, 1991.", "opening_date": "1991-06-07T00:00:00"}]}, "provenance": [{"description": "Queen (name unrecorded)", "citations": [], "footnotes": ["<ul><li><!--block-->Boger, Ann C. et al. <em>Paul B. Travis Africa 1927-1928</em>. Cleveland Museum of Art, 1982. PP. 32\u201335, 47.&nbsp;</li><li><!--block-->Illustrated in 1928 Travis photograph p. 34</li></ul>"], "date": "until 1928", "sortorder": 1}, {"description": "Acquired by Paul Travis on behalf of the African Art Sponsors and the Gilpin Players in Ekibondo, Democratic Republic of the Congo (then-Belgian Congo)", "citations": [], "footnotes": ["<ul><li><!--block-->Boger, Ann C. et al. <em>Paul B. Travis Africa 1927-1928</em>. Cleveland Museum of Art, 1982. PP. 32\u201335, 47.&nbsp;</li><li><!--block-->It appears on a checklist of \"African Material\" circa 1928 as one of \"3 carved stools used by Ekibondis wives. Mangbettu, Ekibondis Village\" Archives of the Cleveland Museum of Natural History.</li></ul><div><!--block--><br></div>"], "date": "1928", "sortorder": 2}, {"description": "The African Art Sponsors and the Gilpin Players", "citations": [], "footnotes": ["<div><!--block-->12/3/1928 letter to the Cleveland Museum of Art and the Cleveland Museum of Natural History from Hazel Mountain Walker (Gilpin Players, president) and Harry E. Davis (African Art Sponsors, president) reproduced on p. 54 of Adams, Henry et al. <em>Paul Travis 1891-1975</em>. Cleveland Artists Foundation, 2001.</div>"], "date": "1928", "sortorder": 3}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1929\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1928, Paul Travis photographed the Mangbetu queen who once owned this stool as she sat on it.", "description": "Such stools were highly prized by their female owners. Sculpted by master artists with widespread reputations, they were often \"signed\" with a deeply cut mark on the base. This groove was then filled with red camwood as an expression of blessings and good wishes for the stool's owner.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002883"], "internet_archive": ["https://archive.org/details/clevelandart-1929.320-stool"]}, "citations": [{"citation": "Berzock, Kathleen Bickford, and Christa Clarke. 2011. <em>Representing Africa in American Art Museums : A Century of Collecting and Display</em>. Seattle: University of Washington Press, p. 107, fig. 5.3.", "page_number": "", "url": ""}, {"citation": "Boger, Ann C. et al. Paul B. Travis Africa 1927-1928. Cleveland Museum of Art, 1982. p. 35.", "page_number": "", "url": ""}, {"citation": "Wixom, WIlliam D. \"African Art at the Cleveland Museum of Art.\" <em>African Arts</em>. 10, no. 3. (April 1977) 16-25.", "page_number": "Mentioned: p. 16; p. 18, fig. 3", "url": "https://www.jstor.org/stable/3335296"}, {"citation": "Petridis, Constantijn, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, Ohio : Cleveland Museum of art ; Milan : 5 Continents Editions, 2013.", "page_number": "Mentioned: p. 107", "url": null}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display</em>. Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 106; reproduced: p. 107, figs. 5.2, 5.3", "url": null}], "url": "https://clevelandart.org/art/1929.320", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.320/1929.320_web.jpg", "width": "1105", "height": "893", "filesize": "526065", "filename": "1929.320_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.320/1929.320_print.jpg", "width": "3400", "height": "2748", "filesize": "4816123", "filename": "1929.320_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.320/1929.320_full.tif", "width": "5889", "height": "4759", "filesize": "84110332", "filename": "1929.320_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt0_web.jpg", "width": "1142", "height": "893", "filesize": "472509"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt0_print.jpg", "width": "3400", "height": "2658", "filesize": "4155940"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt0_full.tif", "width": "5239", "height": "4096", "filesize": "64391368"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt1_web.jpg", "width": "1101", "height": "893", "filesize": "457720"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt1_print.jpg", "width": "3400", "height": "2758", "filesize": "4262362"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt1_full.tif", "width": "4992", "height": "4049", "filesize": "60652544"}}, {"date_created": "2009-07-16T15:56:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt2_web.jpg", "width": "1115", "height": "893", "filesize": "526549"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt2_print.jpg", "width": "3400", "height": "2724", "filesize": "4832248"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt2_full.tif", "width": "5985", "height": "4795", "filesize": "86127204"}}, {"date_created": "2009-07-16T17:08:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt3_web.jpg", "width": "1082", "height": "893", "filesize": "505963"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt3_print.jpg", "width": "3400", "height": "2807", "filesize": "4856933"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt3_full.tif", "width": "5903", "height": "4873", "filesize": "86329000"}}, {"date_created": "2009-07-16T17:16:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt4_web.jpg", "width": "1069", "height": "893", "filesize": "510944"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt4_print.jpg", "width": "3400", "height": "2840", "filesize": "5036063"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.320/1929.320_alt4_full.tif", "width": "5829", "height": "4869", "filesize": "85177396"}}], "creditline": "Gift of the Gilpin Players of Karamu House", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110790, "creators": [], "legal_status": "accessioned", "accession_date": "1929-04-23T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "by 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": ["Stool (nobarra)"], "is_highlight": false, "updated_at": "2026-03-27 00:10:37.439000"}, {"id": 135614, "accession_number": "1959.15", "share_license_status": "CC0", "tombstone": "Pasture Rose (Rosa Carolina Corymbosa), 1817\u201324. Pierre-Joseph Redout\u00e9 (French, 1759\u20131840). Watercolor. The Cleveland Museum of Art, Gift in the name of Warren H. Corning from his wife and children, 1959.15", "current_location": null, "title": "Pasture Rose (Rosa Carolina Corymbosa)", "creation_date": "1817\u201324", "creation_date_earliest": 1817, "creation_date_latest": 1824, "artists_tags": [], "culture": ["France, 19th century"], "technique": "watercolor", "support_materials": [{"description": "vellum", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301685, "title": "Flower and Fruit Prints and Drawings", "description": "<i>Flower and Fruit Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 25-October 10, 1960).", "opening_date": "1960-05-25T04:00:00"}, {"id": 302279, "title": "Water Color", "description": "<i>Water Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-August 27, 1962).", "opening_date": "1962-06-06T04:00:00"}, {"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 309648, "title": "The Perennial Garden: 18th and 19th Century Botanical Prints", "description": "<i>The Perennial Garden: 18th and 19th Century Botanical Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 3-July 31, 1983).", "opening_date": "1983-05-03T04:00:00"}, {"id": 203083, "title": "The Flowering of the Botanical Print", "description": "<i>The Flowering of the Botanical Print</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 3, 2016).", "opening_date": "2016-03-26T00:00:00"}], "legacy": []}, "provenance": [{"description": "M. C. F. L. de Bourbon-Sicile, duchesse de Berry", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pierre-Joseph Redout\u00e9's life ended at age 81, when he had a stroke while examining a lily.", "description": "Born in Belgium, Pierre-Joseph Redout\u00e9 was trained by his father and began a ten-year career as an itinerant artist at age 13. He joined his brother in Paris working on theater sets and decorations, but his true love was flower painting, such as this drawing. Redout\u00e9 achieved an international reputation for his botanical illustrations and enjoyed a long, successful career.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80029065"], "internet_archive": ["https://archive.org/details/clevelandart-1959.15-pasture-rose-rosa-ca"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d June 13, 1959, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0401"}, {"citation": "S. E. L. \u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 46, no. 10 (December 1959): 210\u2013231.", "page_number": "Reproduced: p. 227; Mentioned: p. 231", "url": "http://www.jstor.org/stable/25142366"}, {"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. 164", "url": "https://archive.org/details/CMAHandbook1966/page/n188"}, {"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. 164", "url": "https://archive.org/details/CMAHandbook1969/page/n188"}, {"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. 204", "url": "https://archive.org/details/CMAHandbook1978/page/n224"}], "url": "https://clevelandart.org/art/1959.15", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1959.15/1959.15_web.jpg", "width": "616", "height": "893", "filesize": "80445", "filename": "1959.15_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1959.15/1959.15_print.jpg", "width": "2346", "height": "3400", "filesize": "1262027", "filename": "1959.15_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1959.15/1959.15_full.tif", "width": "3975", "height": "5759", "filesize": "68702488", "filename": "1959.15_full.tif"}}, "alternate_images": [], "creditline": "Gift in the name of Warren H. Corning from his wife and children", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135614, "creators": [{"id": 68798, "description": "Pierre-Joseph Redout\u00e9 (French, 1759\u20131840)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1959-02-21T00:00:00", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817\u201324", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:46.165000"}, {"id": 151064, "accession_number": "1982.9", "share_license_status": "CC0", "tombstone": "Gathering of Otsu-e Subjects (\u5927\u6d25\u7d75\u56f3\u5c4f\u98a8), late 1800s. Shibata Zeshin (Japanese, 1807\u20131891). Eight-panel folding screen; ink and color on hemp; image: 101 x 396 cm (39 3/4 x 155 7/8 in.); overall: 170 x 336 cm (66 15/16 x 132 5/16 in.); closed: 170 x 11.7 x 61.6 cm (66 15/16 x 4 5/8 x 24 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1982.9", "current_location": null, "title": "Gathering of Otsu-e Subjects", "title_in_original_language": "\u5927\u6d25\u7d75\u56f3\u5c4f\u98a8", "creation_date": "late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1891, "artists_tags": ["male"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Eight-panel folding screen; ink and color on hemp", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 101 x 396 cm (39 3/4 x 155 7/8 in.); Overall: 170 x 336 cm (66 15/16 x 132 5/16 in.); Closed: 170 x 11.7 x 61.6 cm (66 15/16 x 4 5/8 x 24 1/4 in.)", "dimensions": {"image": {"height": 1.01, "width": 3.96}, "overall": {"height": 1.7, "width": 3.36}, "closed": {"height": 1.7, "width": 0.117, "depth": 0.616}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 309844, "title": "Byobu: The Art of the Japanese Screen", "description": "<i>Byobu: The Art of the Japanese Screen</i>. The Cleveland Museum of Art (organizer) (August 1-October 14, 1984).", "opening_date": "1984-08-01T04:00:00"}, {"id": 211775, "title": "Highlights of Asian Paintings from The Cleveland Museum of Art", "description": "<i>Highlights of Asian Paintings from The Cleveland Museum of Art</i>. Nara National Museum (organizer) (February 21-March 29, 1998); Suntory Museum of Art (April 28-June 21, 1998).", "opening_date": "1998-02-21T00:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}], "legacy": [{"description": "<em>Japanese Art Rotation (Gallery 236 and 237)</em>. The Cleveland Museum of Art, Cleveland, OH (July 21, 2014-January 13, 2015).", "opening_date": "2014-07-21T00:00:00"}]}, "provenance": [{"description": "(Marion Hammer, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131982", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1982\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Shibata Zeshin was not only famous in the realm of painting but also in the world of lacquer design.", "description": "This lively scene captures a gathering of stock figures from Otsu-e, or \"Otsu paintings.\" Otsu-e were folk paintings made as souvenirs for travelers passing through the station of Otsu along the Tokaido, the route stretching from Edo (modern-day Tokyo) to Kyoto. Parodies of standard ukiyo-e compositions featuring Otsu-e subjects were popular in woodblock prints of the 19th century. Shibata Zeshin, an artist whose career spanned the transition from the Edo period (1615\u20131868) to the Meiji period (1868\u20131912), was fond of depicting urban culture and the pastimes of commoners, aware that they were slipping away in the face of Japan\u2019s modernization. This composition would have appealed to the witty sensibilities of city denizens.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475124"], "internet_archive": ["https://archive.org/details/clevelandart-1982.9-gathering-of-otsu-e"]}, "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: pp. 46-47, no. 92; Mentioned: p. 53, no. 92", "url": "http://www.jstor.org/stable/25159799"}, {"citation": "Cunningham, Michael R. \u201cBy\u014dbu: The Art of the Japanese Screen.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 7 (September 1984): 223\u2013232.", "page_number": "Reproduced: p. 231, fig. 9; Mentioned: pp. 230\u2013231", "url": "http://www.jstor.org/stable/25159871"}, {"citation": "<em>T\u014dy\u014d kaiga no seika: tokubetsuten: Kur\u012bvurando Bijutsukan no korekushon kara</em> [\u6771\u6d0b\u7d75\u753b\u306e\u7cbe\u83ef: \u7279\u522b\u5c55: \u30af\u30ea\u30fc\u30f4\u30e9\u30f3\u30c8\u7f8e\u8853\u9928\u306e\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u304b\u3089= Highlights of Asian painting from the Cleveland Museum of Art]. Nara, Japan: Nara National Museum, 1998.", "page_number": "Reproduced: p. 148, cat. no. 100", "url": null}, {"citation": "Cunningham, Michael R. <em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Reproduced: pp. 74\u201375, cat. no. 34", "url": null}, {"citation": "Grossman, Nancy, James T. Ulak, Marjorie Williams, and Laurence Channing. <em>Art of Japan: Masterpieces from the Cleveland Museum of Art.</em> Cleveland, OH: The Cleveland Museum of Art, 2005.", "page_number": "Mentioned and Reproduced: p. 112", "url": ""}], "url": "https://clevelandart.org/art/1982.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.9/1982.9_web.jpg", "width": "900", "height": "263", "filesize": "126709", "filename": "1982.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.9/1982.9_print.jpg", "width": "3400", "height": "992", "filesize": "1046324", "filename": "1982.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.9/1982.9_full.tif", "width": "22220", "height": "6485", "filesize": "432322692", "filename": "1982.9_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt0_web.jpg", "width": "1263", "height": "319", "filesize": "356857"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt0_print.jpg", "width": "2048", "height": "518", "filesize": "519226"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt0_full.tif", "width": "2048", "height": "518", "filesize": "3183812"}}, {"date_created": "2014-07-17T11:38:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt1_web.jpg", "width": "785", "height": "900", "filesize": "259750"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt1_print.jpg", "width": "2964", "height": "3400", "filesize": "2825514"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt1_full.tif", "width": "5615", "height": "6441", "filesize": "108534184"}}, {"date_created": "2014-07-17T11:42:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt2_web.jpg", "width": "775", "height": "900", "filesize": "249357"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt2_print.jpg", "width": "2927", "height": "3400", "filesize": "2671704"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt2_full.tif", "width": "5570", "height": "6470", "filesize": "108149060"}}, {"date_created": "2014-07-17T11:46:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt3_web.jpg", "width": "771", "height": "900", "filesize": "222296"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt3_print.jpg", "width": "2912", "height": "3400", "filesize": "2444515"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt3_full.tif", "width": "5584", "height": "6519", "filesize": "109240508"}}, {"date_created": "2014-07-17T11:50:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt4_web.jpg", "width": "786", "height": "900", "filesize": "258678"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt4_print.jpg", "width": "2969", "height": "3400", "filesize": "2831537"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.9/1982.9_alt4_full.tif", "width": "5633", "height": "6450", "filesize": "109033984"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 151064, "creators": [{"id": 6172, "description": "Shibata Zeshin (Japanese, 1807\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u67f4\u7530 \u662f\u771f", "birth_year": "1807", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Otsu-e Subjects"], "is_highlight": false, "updated_at": "2026-03-27 00:06:11.930000"}, {"id": 152317, "accession_number": "1985.18", "share_license_status": "CC0", "tombstone": "Lotuses, Insects, and Birds (\uc5f0\ud654\ubc31\ub85c\ub3c4 (\uf999\u82b1\u767d\uf93a\u5716)), 1800s. Korea, Joseon dynasty (1392\u20131910). Hanging scroll; ink and color on silk; image: 112.6 x 57.5 cm (44 5/16 x 22 5/8 in.); overall: 174.5 x 77.5 cm (68 11/16 x 30 1/2 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1985.18", "current_location": null, "title": "Lotuses, Insects, and Birds", "title_in_original_language": "\uc5f0\ud654\ubc31\ub85c\ub3c4 (\uf999\u82b1\u767d\uf93a\u5716)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "hanging scroll; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Image: 112.6 x 57.5 cm (44 5/16 x 22 5/8 in.); Overall: 174.5 x 77.5 cm (68 11/16 x 30 1/2 in.)", "dimensions": {"image": {"height": 1.126, "width": 0.575}, "overall": {"height": 1.745, "width": 0.775}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 373312, "title": "Gold Needles: Embroidery Arts from Korea", "description": "<i>Gold Needles: Embroidery Arts from Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 7-October 25, 2020).", "opening_date": "2020-03-07T05:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art, Cleveland, OH (July 21, 2014-January 12, 2015).", "opening_date": "2014-07-21T00:00:00"}]}, "provenance": [{"description": "(Katsuhiro Kobayashi, Tokyo, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131985", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Given its subject matter of lotus flowers, herons, kingfisher, and dragonflies, this hanging scroll may have been hung for display during the summer.", "description": "Pairs of herons, kingfishers, and dragonflies punctuate a profusion of lotus in this composition that, given the orientation of the herons and the clustering of motifs in the left-hand side of the work, may have once been the left painting of a pair. 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Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "cat. no. 47", "url": null}, {"citation": "Cha, Mi-ae. \"The Volume Three of the <em>Mustard</em> Seed <em>Garden</em> <em>Manual of Painting</em> and Late Joseon-Period Bird and Flower Paintings [\u82a5\u5b50\u5712\u7575\u50b3 3\uc9d1\uacfc \uc870\uc120 \ud6c4\uae30 \ud654\uc870\ud654].\"<em> Misulsa yeongu</em> (2012): 53\u201386.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE02080795"}, {"citation": "Yi, Eun-ha. \"Naturalism in Late Joseon-Period Bird and Flower Paintings [\uc870\uc120\ud6c4\uae30 \ud654\uc870\ud654\uc758 \u5f62\u5beb\u6027].\"<em> Hangukhak yeogu </em>(2013): 65\u201391.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE02200350"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: p. 219, no. 122", "url": ""}], "url": "https://clevelandart.org/art/1985.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.18/1985.18_web.jpg", "width": "450", "height": "893", "filesize": "287460", "filename": "1985.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.18/1985.18_print.jpg", "width": "1712", "height": "3400", "filesize": "3974657", "filename": "1985.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.18/1985.18_full.tif", "width": "2518", "height": "5000", "filesize": "37793316", "filename": "1985.18_full.tif"}}, "alternate_images": [{"date_created": "2012-05-08T12:59:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt0_web.jpg", "width": "465", "height": "893", "filesize": "66318"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt0_print.jpg", "width": "1771", "height": "3400", "filesize": "1051297"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt0_full.tif", "width": "3474", "height": "6668", "filesize": "69517216"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt1_web.jpg", "width": "412", "height": "893", "filesize": "226624"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt1_print.jpg", "width": "1570", "height": "3400", "filesize": "2927652"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt1_full.tif", "width": "2309", "height": "5000", "filesize": "34658340"}}, {"date_created": "2012-05-08T12:24:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt2_web.jpg", "width": "429", "height": "893", "filesize": "44790"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt2_print.jpg", "width": "1632", "height": "3400", "filesize": "651993"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.18/1985.18_alt2_full.tif", "width": "3140", "height": "6541", "filesize": "61639640"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152317, "creators": [], "legal_status": "accessioned", "accession_date": "1985-01-21T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:09.263000"}, {"id": 152444, "accession_number": "1985.271", "share_license_status": "CC0", "tombstone": "A Beauty (\u7f8e\u4eba\u56f3), early 1800s. Gion Seitoku (Japanese, active late 1700s\u2013early 1800s). Hanging scroll; ink and color on paper; overall: 139.7 x 55.8 cm (55 x 21 15/16 in.); painting only: 56.3 x 43.1 cm (22 3/16 x 16 15/16 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.271", "current_location": null, "title": "A Beauty", "title_in_original_language": "\u7f8e\u4eba\u56f3", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1830, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll; ink and color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 139.7 x 55.8 cm (55 x 21 15/16 in.); Painting only: 56.3 x 43.1 cm (22 3/16 x 16 15/16 in.)", "dimensions": {"overall": {"height": 1.397, "width": 0.558}, "painting only": {"height": 0.563, "width": 0.431}, "overall with knobs and cord": {"height": 1.415, "width": 0.62}, "knob diam": {"height": 0.03}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6771\u5c71\u753b\u5974\u4e95\u7279\u5beb \u300c\u5b57\u65e5\u4f2f\u7acb\u300d\u767d\u6587\u65b9\u5370\u30fb\u300c\u305b\u3044\u3068\u304f\u300d\u6731\u6587\u5343\u9ce5\u5370", "inscription_translation": "Artist's signature and two seals at right side: \n\nPainted by Seitoku, painter of Higashiyama. [seals] styled Hakuritsu and Seitoku.", "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301790, "title": "Ukiyo-e: Floating World", "description": "<i>Ukiyo-e: Floating World</i>. The Cleveland Museum of Art, Cleveland, OH (June 11-September 2, 1973).", "opening_date": "1973-06-11T04:00:00"}, {"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 440861, "title": "Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16", "description": "<i>Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16</i>. The Cleveland Museum of Art (organizer) (April 8-October 9, 2022).", "opening_date": "2022-04-08T04:00:00"}], "legacy": [{"description": "<em>Ukiyo-e Shuei</em> [Collection of Ukiyo-e Painting]. Kyoto National Museum, Kyoto, Japan (1923).", "opening_date": "1923-01-01T05:00:00Z"}]}, "provenance": [{"description": "(Kozo Yabumoto, Hyogo, Japan, sold to Kelvin Smith)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["570.73"], "did_you_know": "The person's lipstick is made from safflower.", "description": "A Kyoto-based ukiyo-e painter, Gion Seitoku specialized in portraying women from Gion and Shimabara, licensed brothel districts in that city. He was known for detailing faces with subtle modeling to heighten a sense of realism. During the 1700s and 1800s, wearing iridescent, greenish lip gloss made from safflower was in vogue. In addition, Japanese women almost universally practiced the custom of artificially blackening their teeth with a stain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475593"], "internet_archive": ["https://archive.org/details/clevelandart-1985.271-a-beauty"]}, "citations": [{"citation": "Kyo\u0304to Teishitsu Hakubutsukan \u4eac\u90fd\u5e1d\u5ba4\u535a\u7269\u9928. <em>Ukiyo-E Shu\u0304ei: Tokubetsu Tenran </em>\u6d6e\u4e16\u7e6a\u805a\u82f1. Kyoto: Benrido\u0304, 1923.", "page_number": "no. 59", "url": ""}, {"citation": "Jenkins, Donald. \u201cPaintings of the Floating World.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 75, no.7 (September 1988): 244\u2013260, 262\u2013278, 238.", "page_number": "Reproduced p. 273, figure 14, and color plate VIII, p. 269", "url": "www.jstor.org/stable/25160038"}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "www.jstor.org/stable/25160040"}, {"citation": "Laing, Mary, ed. <em>Masterpieces of Ukiyo-E : Paintings from the Manno Art Museum</em>. New York, NY: Sebastian Izzard LLC, 2003.", "page_number": "Reproduced: no. 19", "url": ""}, {"citation": "Grossman, Nancy, James T. Ulak, Marjorie Williams, and Laurence Channing. <em>Art of Japan: Masterpieces from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2005.", "page_number": "Reproduced: p. 108", "url": null}], "url": "https://clevelandart.org/art/1985.271", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.271/1985.271_web.jpg", "width": "705", "height": "900", "filesize": "233170", "filename": "1985.271_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.271/1985.271_print.jpg", "width": "2664", "height": "3400", "filesize": "2289219", "filename": "1985.271_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.271/1985.271_full.tif", "width": "9662", "height": "12332", "filesize": "357482436", "filename": "1985.271_full.tif"}}, "alternate_images": [{"date_created": "2015-02-26T09:30:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt0_web.jpg", "width": "689", "height": "900", "filesize": "159350"}, "print": {"url": 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{"date_created": "2021-08-03T14:09:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt6_web.jpg", "width": "900", "height": "633", "filesize": "194818"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt6_print.jpg", "width": "3400", "height": "2390", "filesize": "1585576"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt6_full.tif", "width": "6785", "height": "4769", "filesize": "39465024"}}, {"date_created": "2021-08-04T10:22:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt7_web.jpg", "width": "900", "height": "694", "filesize": "195116"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt7_print.jpg", "width": "3400", "height": "2622", "filesize": "1376665"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.271/1985.271_alt7_full.tif", "width": "7419", "height": "5721", "filesize": "45938424"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152444, "creators": [{"id": 34749, "description": "Gion Seitoku (Japanese, active late 1700s\u2013early 1800s)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u7947\u5712 \u4e95\u7279", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of a Woman"], "is_highlight": false, "updated_at": "2026-03-27 00:01:33.381000"}, {"id": 154264, "accession_number": "1988.74", "share_license_status": "CC0", "tombstone": "Brush Holder with Bamboo and Landscape Design (\ub300\ub098\ubb34 \uc0b0\uc218\ubb34\ub2ac \ud314\uac01\ud544\ud1b5 (\u7af9\u5c71\u6c34\u6587\u516b\u5404\u7b46\u7b52)), 1800s. Korea, Joseon dynasty (1392\u20131910). Carved bamboo; overall: 10.1 x 9 cm (4 x 3 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1988.74", "current_location": null, "title": "Brush Holder with Bamboo and Landscape Design", "title_in_original_language": "\ub300\ub098\ubb34 \uc0b0\uc218\ubb34\ub2ac \ud314\uac01\ud544\ud1b5 (\u7af9\u5c71\u6c34\u6587\u516b\u5404\u7b46\u7b52)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "carved bamboo", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Wood", "measurements": "Overall: 10.1 x 9 cm (4 x 3 9/16 in.)", "dimensions": {"overall": {"height": 0.101, "width": 0.09}, "diameter of foot": {"width": 0.098}, "diameter of cylinder": {"width": 0.08}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 287904, "title": "Chaekgeori: Pleasure of Possessions in Korean Painted Screens", "description": "<i>Chaekgeori: Pleasure of Possessions in Korean Painted Screens</i>. The Cleveland Museum of Art, Cleveland, OH (August 5-November 5, 2017).", "opening_date": "2017-08-05T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 120)</em>. The Cleveland Museum of Art, Cleveland, OH (July 22\u2013October 26, 2003).", "opening_date": "2003-07-22T04:00:00Z"}]}, "provenance": [{"description": "(Masaaki Yoshida, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131988", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1988\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Stationery objects such as this brush holder were highly appreciated among scholars, not only for their function, but for their aesthetic.", "description": "An 18th-century Korean collector Yu Man-joo (1755\u20131788) wrote that \u201cspending money on luxury clothing, dishes, and decorations for the home is a waste, but acquiring fancy writing tools helps to develop elegant taste and high-mindedness.\u201d <br><br>Inspired by aesthetic discourses on elegance versus vulgarity in late Ming Chinese literature, Korean collectors in the late 1700s and 1800s strove to assemble objects that would display their intellect and sophisticated taste. Stationery objects in particular\u2014printed books, finely crafted brushes, brush holders, ink stones, water droppers, stone wares with grayish-white crackled glazes as well as bronze vessels, and incense burners\u2014were all objects that reflected pure and elegant taste.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941090"], "internet_archive": ["https://archive.org/details/clevelandart-1988.74-brush-holder-with-ba"]}, "citations": [{"citation": "\u201cThe Year in Review for 1988.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 2 (February 1989): 30\u201375.", "page_number": "p. 74, no. 212", "url": "https://www.jstor.org/stable/25160061"}, {"citation": "<em>Joseon-Period Stationary Objects</em> [\u671d\u9bae \u6642\u4ee3 \u6587\u623f \u8af8\u5177]. Seoul: National Museum of Korea, 1992.", "page_number": null, "url": null}, {"citation": "Yang Uisuk. <em>Joseon ui mokgongye: bueoksegan gwa sarangbangui gimul </em>[\uc870\uc120\uc758 \ubaa9\uacf5\uc608: \ubd80\uc5cc\uc138\uac04\uacfc \uc0ac\ub791\ubc29\uc758 \uae30\ubb3c]. Seoul: Yenareu, 1994.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Wood Craft</em> [\ubaa9\u6728\u00b7\uacf5\u5de5]. Seoul: Ehwa Woman\u2019s University Museum, 2015.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1988.74", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.74/1988.74_web.jpg", "width": "967", "height": "893", "filesize": "95093", "filename": "1988.74_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.74/1988.74_print.jpg", "width": "3400", "height": "3141", "filesize": "997900", "filename": "1988.74_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.74/1988.74_full.tif", "width": "3982", "height": "3679", "filesize": "43975880", "filename": "1988.74_full.tif"}}, "alternate_images": [{"date_created": "2012-04-17T14:58:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt0_web.jpg", "width": "842", "height": "893", "filesize": "103725"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt0_print.jpg", "width": "3206", "height": "3400", "filesize": "1202518"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt0_full.tif", "width": "3243", "height": "3439", "filesize": "33484092"}}, {"date_created": "2012-04-17T15:03:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt1_web.jpg", "width": "786", "height": "893", "filesize": "111441"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt1_print.jpg", "width": "2993", "height": "3400", "filesize": "1312074"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt1_full.tif", "width": "2903", "height": "3297", "filesize": "28739908"}}, {"date_created": "2012-04-17T15:08:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt2_web.jpg", "width": "964", "height": "893", "filesize": "106220"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt2_print.jpg", "width": "3400", "height": "3151", "filesize": "1098757"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt2_full.tif", "width": "3733", "height": "3460", "filesize": "38774028"}}, {"date_created": "2012-04-17T15:15:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt3_web.jpg", "width": "994", "height": "893", "filesize": "54786"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt3_print.jpg", "width": "3400", "height": "3054", "filesize": "612639"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt3_full.tif", "width": "3524", "height": "3166", "filesize": "33495968"}}, {"date_created": "2012-04-17T15:21:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt4_web.jpg", "width": "1033", "height": "893", "filesize": "104256"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt4_print.jpg", "width": "3400", "height": "2938", "filesize": "1212953"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.74/1988.74_alt4_full.tif", "width": "3602", "height": "3113", "filesize": "33665364"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154264, "creators": [], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:49.790000"}, {"id": 101636, "accession_number": "1920.37", "share_license_status": "CC0", "tombstone": "Box with Painted Oxhorn (\ud654\uac01\ud568 (\u83ef\u89d2\u51fd)), 1800s. Korea, Joseon dynasty (1392\u20131910). Painted wood with flattened ox-horn inlay; overall: 16.5 x 28.6 cm (6 1/2 x 11 1/4 in.). The Cleveland Museum of Art, Sundry Purchase Fund, 1920.37", "current_location": null, "title": "Box with Painted Oxhorn", "title_in_original_language": "\ud654\uac01\ud568 (\u83ef\u89d2\u51fd)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "painted wood with flattened ox-horn inlay", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Miscellaneous", "measurements": "Overall: 16.5 x 28.6 cm (6 1/2 x 11 1/4 in.)", "dimensions": {"overall": {"height": 0.165, "width": 0.286, "length": 0.162}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 295535, "title": "Korean Gallery 236 Rotation", "description": "<i>Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (July 10, 2017-January 8, 2018).", "opening_date": "2017-07-10T04:00:00"}, {"id": 373312, "title": "Gold Needles: Embroidery Arts from Korea", "description": "<i>Gold Needles: Embroidery Arts from Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 7-October 25, 2020).", "opening_date": "2020-03-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(John Soo Ahrn, Columbus, OH, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131920", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1920\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This box is made of small flattened pieces of oxhorn. Since oxhorn is usually rather small, possibly dozens of them were used to fully decorate even a small wooden object like this box.", "description": "This box is colorfully decorated with the technique of oxhorn plating. The oxhorn was cut, soaked in water, boiled, and then pressed into thin translucent sheets. Since oxhorns are usually rather small, dozens of them were required to fully decorate even a small wooden object. This box is colorfully painted with the imagery of auspicious plants and animals such as dragons amid clouds, a white tiger under the pine tree, a grazing deer, and more. This kind of luxurious box was probably produced as a wedding gift.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79497274"], "internet_archive": ["https://archive.org/details/clevelandart-1920.37-box-with-painted-oxh"]}, "citations": [{"citation": "Ye, Yong-hae. \"Hwagakjang.\" <em>Ye Yong-hae j</em>eonjip<em>. </em>Seoul: Daewonsa, 1997.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/2852677"}, {"citation": "Jeong, Myeong-ho. \"Hangukgongye gwahakgisulbaldalsa: hwagakgongyee daehan yeongureul jungsimeuro [\u97d3\u570b\u5de5\u85dd \u79d1\u5b78\u6280\u8853\u767c\u9054\u53f2: \u83ef\u89d2\u5de5\u85dd\uc5d0 \ub300\ud55c \uc5f0\uad6c\ub97c \uc911\uc2ec\uc73c\ub85c].\" <em>Silhaksasang yeongu </em>15\u201316 (January 2000): 543\u2013612.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE01150354"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and Reproduced: p. 254", "url": ""}, {"citation": "\u201cA Walking Tour: The entire new museum wing by wing, with curators calling out a few favorite works in the collection.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 8-33.", "page_number": "Reproduced and Mentioned: p. 29", "url": "https://archive.org/details/CMAMM2014-01/page/n27/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: p. 31", "url": ""}, {"citation": "Hong, Sun-ah. \"A Study on Phoenix Pattern of Hwagak Craft from Late Chosun Period to Early 20th Century [\ud654\uac01\uacf5\uc608(\u83ef\u89d2\u5de5\u85dd)\uc758 \ud2b9\uc131\uc5d0 \uad00\ud55c \uc5f0\uad6c : \ud654\uac01\ud568 \uc911\uc2ec\uc73c\ub85c].\" <em>Yeoksaminsokhak </em>50 (June 2016): 277\u2013309.", "page_number": null, "url": "http://www.riss.kr/link?id=A101995759"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 227\u2013229, no. 126", "url": ""}], "url": "https://clevelandart.org/art/1920.37", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1920.37/1920.37_web.jpg", "width": "1263", "height": "892", "filesize": "188488", "filename": "1920.37_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1920.37/1920.37_print.jpg", "width": "3400", "height": "2402", "filesize": "1070093", "filename": "1920.37_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1920.37/1920.37_full.tif", "width": "5945", "height": "4200", "filesize": "74931920", "filename": "1920.37_full.tif"}}, "alternate_images": [{"date_created": "2012-04-17T19:23:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt0_web.jpg", "width": "1242", "height": "893", "filesize": "206063"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt0_print.jpg", "width": "3400", "height": "2445", "filesize": "1252815"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt0_full.tif", "width": "5612", "height": "4037", "filesize": "67993456"}}, {"date_created": "2012-04-17T19:37:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt1_web.jpg", "width": "975", "height": "893", "filesize": "129946"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt1_print.jpg", "width": "3400", "height": "3114", "filesize": "1175603"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt1_full.tif", "width": "4714", "height": "4318", "filesize": "61089760"}}, {"date_created": "2012-04-17T19:39:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt2_web.jpg", "width": "1263", "height": "888", "filesize": "205902"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt2_print.jpg", "width": "3400", "height": "2391", "filesize": "1246717"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt2_full.tif", "width": "5746", "height": "4041", "filesize": "69684752"}}, {"date_created": "2012-04-17T19:41:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt3_web.jpg", "width": "975", "height": "893", "filesize": "137144"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt3_print.jpg", "width": "3400", "height": "3114", "filesize": "1259902"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt3_full.tif", "width": "4456", "height": "4082", "filesize": "54593440"}}, {"date_created": "2012-04-17T19:44:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt4_web.jpg", "width": "1241", "height": "893", "filesize": "221138"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt4_print.jpg", "width": "3400", "height": "2447", "filesize": "1389731"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt4_full.tif", "width": "5370", "height": "3865", "filesize": "62290644"}}, {"date_created": "2012-04-17T19:46:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt5_web.jpg", "width": "1196", "height": "893", "filesize": "164253"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt5_print.jpg", "width": "3400", "height": "2538", "filesize": "1454751"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1920.37/1920.37_alt5_full.tif", "width": "5672", "height": "4234", "filesize": "72070524"}}], "creditline": "Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 101636, "creators": [], "legal_status": "accessioned", "accession_date": "1919-12-11T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:12.675000"}, {"id": 150054, "accession_number": "1980.265", "share_license_status": "CC0", "tombstone": "Landscape at Saint-Andr\u00e9, Near Marseilles, c. 1865. Paul Guigou (French, 1834\u20131871). Oil on wood panel; unframed: 38.6 x 58.4 cm (15 3/16 x 23 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.265", "current_location": null, "title": "Landscape at Saint-Andr\u00e9, Near Marseilles", "creation_date": "c. 1865", "creation_date_earliest": 1860, "creation_date_latest": 1870, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 38.6 x 58.4 cm (15 3/16 x 23 in.)", "dimensions": {"unframed": {"height": 0.386, "width": 0.584}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Paul Guigou\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "According to label on reverse, Provence en Suisse (date and place of exhibition unknown).", "opening_date": null}, {"description": "Paris, Galerie Alfred Daber. Guigou 1834-1871, deuxi\u00e8me exposition (1939), no. 3, Paysage \u00e0 Saint-Andr\u00e9 pr\u00e8s Marseille. \"Bois 39 x 58.5 cm, sign\u00e9 b. d. [incorrect] peint en 1865. Il existe un tableau identique \u00e0 Marseille de dimensions plus r\u00e9duites.\"", "opening_date": "1939-01-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Alfred Daber, Paris)", "citations": [], "footnotes": ["<div><!--block-->The Cleveland painting is No. 3 in a Guigou exhibition held at Galerie Daber in 1939.&nbsp; The lender/consignor of the painting to Galerie Daber is not specified, and thus far, the painting has not been situated in the collections of any of the lenders listed at the end of the exhibition catalogue.</div>"], "date": "1939", "sortorder": 1}, {"description": "(Arthur Tooth & Sons, London)", "citations": [], "footnotes": [], "date": "?", "sortorder": 2}, {"description": "Private collection, New York, consigned to Sotheby\u2019s", "citations": [], "footnotes": [], "date": "Until 1979", "sortorder": 3}, {"description": "(Sale, Sotheby's, New York, May 4, 1979, lot 207", "citations": [], "footnotes": ["<div><!--block-->he sale catalogue lists the Guigou painting under \"property of a New York private collector.\"&nbsp; The Butkins or an agent buying on their behalf may have been the buyers of the painting, as they were actively purchasing artworks at auction in the late 1970s.</div>"], "date": "1979", "sortorder": 4}, {"description": "Noah L. [1918-1980] and Muriel S. Butkin [1915-2008], Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin", "citations": [], "footnotes": [], "date": "Probably 1979-1980", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Guigou was once the drawing master for the children of Baron Nathaniel de Rothschild.", "description": "This view of a rocky landscape along the Mediterranean coast of southern France reflects the naturalist ambition of capturing exact details and atmospheric effects observed directly from life. Clear, intense light floods over the stony cliffs and the sparse greenery baked in the heat of sun. The artist, l Guigou, studied art in Marseilles and devoted most of his career to painting views of his native Provence. In 1855 he began traveling back and forth between Marseilles and Paris, where he became familiar with the paintings of Gustave Courbet and died of a stroke at age 37.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474592"], "internet_archive": ["https://archive.org/details/clevelandart-1980.265-landscape-at-saint-a"]}, "citations": [{"citation": "Galerie Daber. <em>Guigou, 1834-1871: deuxie\u0300me exposition</em>. Paris: Galerie Alfred Daber, 1939.", "page_number": null, "url": null}, {"citation": "Sotheby Parke Bernet Inc. <em>19th Century European Paintings</em>. May 4, 1979.", "page_number": null, "url": null}, {"citation": "Sotheby Parke Bernet Inc. <em>19th Century European Paintings</em>. May 4, 1979.", "page_number": null, "url": null}, {"citation": "de Gail, Sylvie Lamort, and Bernard Dorival. <em>Paul Guigou: catalogue raisonne\u0301</em>. Paris: Arhis, 1989.", "page_number": null, "url": null}, {"citation": "Sotheby Parke Bernet Inc. <em>19th Century European Paintings</em>. May 4, 1979.", "page_number": null, "url": null}, {"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 179; Mentioned: p. 213, no. 94", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 336-337, Vol. II, no. 117", "url": ""}], "url": "https://clevelandart.org/art/1980.265", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.265/1980.265_web.jpg", "width": "1263", "height": "828", "filesize": "193312", "filename": "1980.265_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.265/1980.265_print.jpg", "width": "3400", "height": "2230", "filesize": "1420746", "filename": "1980.265_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.265/1980.265_full.tif", "width": "7754", "height": "5086", "filesize": "118334296", "filename": "1980.265_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.265/1980.265_alt0_web.jpg", "width": "1263", "height": "840", "filesize": "909820"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.265/1980.265_alt0_print.jpg", "width": "2048", "height": "1362", "filesize": "2436039"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.265/1980.265_alt0_full.tif", "width": "2048", "height": "1362", "filesize": "8371036"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150054, "creators": [{"id": 1782, "description": "Paul Guigou (French, 1834\u20131871)", "extent": null, "qualifier": null, "role": "artist", "biography": "Paul Guigou was born in the Vaucluse, where his family were beekeepers and small-property owners. In 1850 his family settled in Marseilles where he studied four years later with \u00c9mile Loubon (1809-1863), the director of the local \u00c9cole des Beaux-Arts. Guigou painted primarily Proven\u00e7al landscapes en plein air, in line with his teacher Loubon. In 1855 he first visited Paris and from then on would often travel between the capital and Marseilles. Guigou was influenced by the Barbizon painters who exhibited in Marseilles and later by Courbet (q.v.), whose work he saw on a visit to Paris in 1859. That same year he became friends with Monticelli (q.v.) with whom he often painted. Guigou exhibited regularly in the south, but his works met with mixed reviews. In 1862 he finally settled in Paris and, beginning in 1863, participated annually in the Salon. His paintings, however, went generally unnoticed. In order to earn some money, he gave drawing lessons and wrote exhibition reviews. In 1865 he could not afford to return to Marseilles, as he usually did, and made painting excursions along the Seine and Marne. It was not until his friend Th\u00e9odore Duret, the French writer and collector, wrote a review of the Salon of 1870 in L'\u00c9lecteur Libre, that Guigou's talents were acknowledged. He died from a stroke at the age of thirty-seven.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1871", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "c. 1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:05.585000"}, {"id": 160105, "accession_number": "1997.7", "share_license_status": "CC0", "tombstone": "The Coral Necklace, 1871. Frederick Sandys (British, 1829\u20131904). Black, brown, and red chalk; sheet: 55.9 x 39.2 cm (22 x 15 7/16 in.); secondary support: 57.1 x 40 cm (22 1/2 x 15 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.7", "current_location": null, "title": "The Coral Necklace", "creation_date": "1871", "creation_date_earliest": 1871, "creation_date_latest": 1871, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "black, brown, and red chalk", "support_materials": [{"description": "Whatman thick, rough-textured cream wove paper, laid down on beige wove paper", "watermarks": ["[WHATM?]AN 1869 (partial)"]}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 55.9 x 39.2 cm (22 x 15 7/16 in.); Secondary Support: 57.1 x 40 cm (22 1/2 x 15 3/4 in.)", "dimensions": {"sheet": {"height": 0.559, "width": 0.392}, "secondary support": {"height": 0.571, "width": 0.4}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, upper right, in black chalk: F Sandys 1871", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "<em>Frederick Sandys, 1829-1904. </em>Brighton Museum and Art Gallery, England (May 7 - July 14, 1974); Mappin Art Gallery, Sheffield, England (July 17-August 25 1974).", "opening_date": "1974-08-25T00:00:00"}, {"description": "<em>Heads and Portraits: Drawings from Piero di Cosimo to Jasper Johns.</em> Jason McCoy Inc., New York, NY (May 6 - June 12, 1993).", "opening_date": "1993-05-06T00:00:00"}]}, "provenance": [{"description": "J. Beecroft, Esq., Bradford, England", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": null}, {"description": "(his sale, Christie's, London, February 21, 1927, no. 68)", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "Dr. J. N. Nicoll", "citations": [], "footnotes": null, "date": "after 1927-1964", "sortorder": 3}, {"description": "(his sale, Sotheby's, London, October 29, 1964, no. 225)", "citations": [], "footnotes": null, "date": "1964", "sortorder": 4}, {"description": "C. Powney, Esq.", "citations": [], "footnotes": null, "date": "after 1964-before 1966", "sortorder": 5}, {"description": "(Sotheby's, London, December 21, 1966, no. 305)", "citations": [], "footnotes": null, "date": "1966", "sortorder": 6}, {"description": "Anthony C. W. Crane", "citations": [], "footnotes": null, "date": "after 1966-before 1992", "sortorder": 7}, {"description": "(his sale, Sotheby's, London, November 12, 1992, no. 157)", "citations": [], "footnotes": null, "date": "1992", "sortorder": 8}, {"description": "Hartnoll", "citations": [], "footnotes": null, "date": "after 1992-before 1997", "sortorder": 9}, {"description": "(Kate Ganz Ltd., New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "after 1992-1997", "sortorder": 10}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Frederick Sandys and his mistress, Mary Emma Jones, the sitter for this portrait, adopted the names \"Mr. and Mrs. Neville\" to mask the unconventional nature of their relationship.", "description": "Closely associated with the Pre-Raphaelite Brotherhood, Frederick Sandys was a friend of Dante Gabriel Rossetti and played an active role in the bohemian artistic, literary, and theatrical circles of the day in London. This is a portrait of Mary Emma Jones, the artist\u2019s favorite model, mistress, and mother of his nine children. An extraordinarily skilled draftsman, here he worked in tone rather than line, delicately drawing in chalk on a rough textured sheet and leaving the low points of the paper untouched to produce a stippled, hazy effect.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980783"], "internet_archive": ["https://archive.org/details/clevelandart-1997.7-the-coral-necklace"]}, "citations": [{"citation": "O'Looney, Betty. <em>Frederick Sandys, 1829-1904</em>. Exh. Cat. Brighton: Brighton Museum and Art Gallery, 1974.", "page_number": "Mentioned: p. 36, no. 146; Reproduced: pl. 106", "url": null}, {"citation": "Ganz, Kate. <em>Heads and Portraits: Drawings from Piero di Cosimo to Jasper Johns</em>. Exh. Cat. New York: Jason McCoy Inc., 1993.", "page_number": "Mentioned: no. 21", "url": null}, {"citation": "Wildman, Stephen. <em>Visions of Love and Life: Pre-Raphaelite Art from the Birmingham Collection, England</em>. Exh. Cat. Seattle: Seattle Art Museum, 1995.", "page_number": "Mentioned: p. 284, under no. 98", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Neoclassical Marble, Rare Korean Sculpture, Other Recent CMA Acquisitions Now on View,\u201d April 16, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4117"}, {"citation": "\"Principales acquisitions des mus\u00e9es en 1997.\" <em>Gazette des beaux-arts</em> 131 (March 1998).", "page_number": "Mentioned: p. 61, no. 243", "url": null}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 194-5, 295, no. 80; Reproduced: p. 195", "url": null}, {"citation": "Elzea, Betty. <em>Frederick Sandys 1829-1904: A Catalogue Raisonn\u00e9</em>. Woodbridge, UK: Antique Collectors' Club, 2001.", "page_number": "Mentioned: p. 241, no. 3.21; Reproduced: p. 242", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 118-21, 148, no. 40; Reproduced: pp. 119, 121 (detail)", "url": null}], "catalogue_raisonne": "Elzea 3.21", "url": "https://clevelandart.org/art/1997.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.7/1997.7_web.jpg", "width": "628", "height": "893", "filesize": "199927", "filename": "1997.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.7/1997.7_print.jpg", "width": "2392", "height": "3400", "filesize": "2683138", "filename": "1997.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.7/1997.7_full.tif", "width": "3753", "height": "5333", "filesize": "60074692", "filename": "1997.7_full.tif"}}, "alternate_images": [{"date_created": "2007-08-20T18:33:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.7/1997.7_alt0_web.jpg", "width": "637", "height": "893", "filesize": "542358"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.7/1997.7_alt0_print.jpg", "width": "2424", "height": "3400", "filesize": "7799699"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.7/1997.7_alt0_full.tif", "width": "3755", "height": "5267", "filesize": "59364944"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160105, "creators": [{"id": 2780, "description": "Frederick Sandys (British, 1829\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "Frederick Sandys received his initial training from his father, a minor Norwich artist. Encouraged by Rev. James Bulwer (1820-1899), a pupil and patron of John Sell Cotman (1782-1842), he attended the Norwich School of Design from 1846. When he arrived in London five years later, he was already a skilled illustrator. Through a family connection, Sandys was introduced to George Richmond (1809-1896), one of the century's most accomplished portraitists. From Richmond he acquired the skills and taste for life-size chalk portraits. Portraiture would remain his principal means of support for the rest of his career, although for a brief period in the 1860s he practiced oil painting and designed what were arguably many of the finest book illustrations of the Victorian era, including his celebrated illustration to Christina Rossetti's poem Amor Mundi (1865). In 1857 John Everett Millais (1829-1896) had exhibited at the Royal Academy a troubadour painting, Sir Isumbras at the Ford (Lady Lever Art Gallery, Port Sunlight), of which Sandys produced a brilliant engraved parody, substituting for the figures in the picture caricatures of the founding members of the Pre-Raphaelite Brotherhood-Millais, Dante Gabriel Rossetti (1828-1882), and Hunt (q.v.)-and a braying ass, identified as John Ruskin, for Sir Isumbras's charger. This had the unexpected result of solidifying Sandys's friendship with Rossetti, with whom he later resided in Chelsea in 1866-67. Under Rossetti's influence Sandys painted his most important subject picture, Medea (Birmingham Museum and Art Gallery), which was exhibited at the Royal Academy in 1869. During that year Rossetti accused Sandys of plagiarism, thus precipitating a permanent breach in their relationship. Sandys soon after abandoned oil painting to concentrate on chalk portraits and drawings of idealized female figures, the choicest of which were derived from the features of his common-law wife, Mary Jones. Rossetti is generally credited with directing Sandys toward such Aestheticism, but Leighton's (q.v.) resplendent series of pseudonymous portraits of his model Nanna Risi, exhibited at the Royal Academy in 1858-59, offered an equally inspiring precedent devoid of the symbolic mysticism of Rossetti's femmes fatales.1\r\n1. See, for example, the pictures titled Pavonia reproduced in Stephen Jones et al., Frederick Leighton, exh. cat., London, Royal Academy of Arts (1996), 112-13. In both pictures the exquisitely painted head and shoulders of the sitters are set against backdrops of decorative vegetation and peacock tail-feathers. Sandys resorted to this format repeatedly in his works of the late 1860s and 1870s.", "name_in_original_language": null, "birth_year": "1829", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1871, "date_added_to_oa": null, "date_text": "1871", "collapse_artists": false, "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": "2026-03-27 00:08:26.428000"}, {"id": 167712, "accession_number": "2009.380", "share_license_status": "CC0", "tombstone": "Seaweed Gatherers, Yport, c. 1889. Claude-Emile Schuffenecker (French, 1851\u20131934). Black chalk; sheet: 29.2 x 22.7 cm (11 1/2 x 8 15/16 in.); framed: 57.2 x 49.8 x 4.5 cm (22 1/2 x 19 5/8 x 1 3/4 in.). The Cleveland Museum of Art, Gift from Samuel and Paul Josefowitz in tribute to Jane Glaubinger and Heather Lemonedes, 2009.380", "current_location": null, "title": "Seaweed Gatherers, Yport", "creation_date": "c. 1889", "creation_date_earliest": 1885, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk", "support_materials": [{"description": "brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 29.2 x 22.7 cm (11 1/2 x 8 15/16 in.); Framed: 57.2 x 49.8 x 4.5 cm (22 1/2 x 19 5/8 x 1 3/4 in.)", "dimensions": {"sheet": {"height": 0.292, "width": 0.227}, "framed": {"height": 0.572, "width": 0.498, "depth": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in graphite: Schuffenecker [underlined]; on verso, lower right, in graphite: P", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}], "legacy": [{"description": "<em>Exposition de peintures et pastels par E. Schuffenecker</em>. Librairie de l'art ind\u00e9pendant, Paris (February 24\u2013March 16, 1896).", "opening_date": "1896-03-16T05:00:00Z"}, {"description": "<em>European Nineteenth-Century Watercolors, Drawings, Paintings, and Sculpture</em>. Shepherd Gallery, New York (Winter 1989\u20131990).", "opening_date": "1989-01-01T00:00:00"}, {"description": "<em>Emile Schuffenecker, 1851-1934</em>. Musee de Pont-Aven (June 29 - September 30, 1996); Mus\u00e9e Departmental Maurice Denis, Le Prieure (October 19, 1996\u2013January 12, 1997).", "opening_date": "1996-06-29T00:00:00"}]}, "provenance": [{"description": "Paul Schuffenecker, Paris", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "M. Bruy\u00e8re, Namur, France", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 2}, {"description": "M. Jean Willems, Brussels", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "(Shepherd Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "by 1989-1990", "sortorder": 4}, {"description": "(Paul Prout\u00e9, Paris)", "citations": [], "footnotes": null, "date": "1990-?", "sortorder": 5}, {"description": "Samuel Josefowitz, Lausanne, Switzerland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "after 1990-2009", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2000-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of numerous depictions of seaweed gatherers that Claude-Emile Schuffenecker created throughout his career in various media.", "description": "Claude-Emile Schuffenecker worked closely with Paul Gauguin to form Synthetism, a style of art that broke from Impressionism in favor of flat planes of bold color and invented subjects. This drawing, which exists in two versions, is one of Schuffenecker\u2019s most important works from the period. The other interpretation (owned by the Art Institute of Chicago) was featured in an influential 1889 exhibition organized by Gauguin and Schuffenecker at the Caf\u00e9 Volpini on the grounds of the Universal Exposition. Both artists saw imagery of seaweed gatherers\u2014a task undertaken by working-class people in rural French coastal towns\u2014as exemplifying the simplicity they sought in their art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80072569"], "internet_archive": ["https://archive.org/details/clevelandart-2009.380-seaweed-gatherers-yp"]}, "citations": [{"citation": "Rochefoucauld, Antoine de la. \"Emile Schufffenecker.\" <em>Le Coeur</em> (July 1894): 3-8.", "page_number": "Mentioned: p. 5", "url": null}, {"citation": "\"\u00c9mile Schuffenecker.\" <em>Revue Encyclop\u00e9dique</em> (1896): 236-37.", "page_number": "Mentioned: p. 237", "url": null}, {"citation": "<em>Exposition de peintures et pastels par E. Schuffenecker</em>. Exh. Cat. Paris: Librairie de l'art ind\u00e9pendant, 1896.", "page_number": "Mentioned: no. 41", "url": "https://archive.org/details/expositiondepein00schu/mode/2up"}, {"citation": "<em>Claude-Emile Schuffenecker: Margin and Image</em>. Exh. Cat. New York: University Art Gallery, State University of New York at Binghamton, 1980.", "page_number": "Mentioned: p. 29", "url": null}, {"citation": "<em>European Nineteenth-Century Watercolors, Drawings, Paintings, and Sculpture</em>. Exh. Cat. New York: Shepherd Gallery, 1989.", "page_number": "Mentioned and reproduced: no. 53", "url": null}, {"citation": "Grossvogel, Jill, and Catherine Puget. <em>Emile Schuffenecker, 1851-1934</em>. Exh. Cat. Pont-Aven: Mus\u00e9e de Pont-Aven, 1996.", "page_number": "Mentioned: p. 54, no. 29", "url": null}, {"citation": "Grossvogel, Jill-Elyse. <em>Claude-Emile Schuffenecker: Catalogue Raisonn\u00e9</em>. (San Francisco: Alan Wofsy, 2000).", "page_number": "Mentioned and reproduced: vol. I, p. 166, no. 4450", "url": null}, {"citation": "Lemonedes, Heather, Belinda Thomson, Agnieszka Juszczak, et al. <em>Paul Gauguin: Paris, 1889</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2009.", "page_number": "Mentioned and reproduced: p. 67, no. 49", "url": null}], "catalogue_raisonne": "Grossvogel 450", "url": "https://clevelandart.org/art/2009.380", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.380/2009.380_web.jpg", "width": "676", "height": "893", "filesize": "509314", "filename": "2009.380_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.380/2009.380_print.jpg", "width": "2572", "height": "3400", "filesize": "7600624", "filename": "2009.380_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.380/2009.380_full.tif", "width": "3978", "height": "5258", "filesize": "62778344", "filename": "2009.380_full.tif"}}, "alternate_images": [{"date_created": "2010-06-30T19:27:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.380/2009.380_alt0_web.jpg", "width": "679", "height": "893", "filesize": "522001"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.380/2009.380_alt0_print.jpg", "width": "2584", "height": "3400", "filesize": "7511841"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.380/2009.380_alt0_full.tif", "width": "3965", "height": "5217", "filesize": "62085944"}}], "creditline": "Gift from Samuel and Paul Josefowitz in tribute to Jane Glaubinger and Heather Lemonedes", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 167712, "creators": [{"id": 56133, "description": "Claude-Emile Schuffenecker (French, 1851\u20131934)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1851", "death_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-11-30T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:41.726000"}, {"id": 393049, "accession_number": "2020.223", "share_license_status": "CC0", "tombstone": "The Laundresses, 1879\u201380. Edgar Degas (French, 1834\u20131917). Etching and aquatint; image: 11.6 x 15.7 cm (4 9/16 x 6 3/16 in.); sheet: 21 x 23.8 cm (8 1/4 x 9 3/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2020.223", "current_location": null, "title": "The Laundresses", "creation_date": "1879\u201380", "creation_date_earliest": 1879, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching and aquatint", "support_materials": [{"description": "beige wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 11.6 x 15.7 cm (4 9/16 x 6 3/16 in.); Sheet: 21 x 23.8 cm (8 1/4 x 9 3/8 in.)", "dimensions": {"image": {"height": 0.116, "width": 0.157}, "sheet": {"height": 0.21, "width": 0.238}}, "state_of_the_work": "IV/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped, on verso, in red ink: ATELIER / ED DEGAS [Lugt 657]; lower right, in plate: Schneider / 9 Berlin", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": [{"description": "<em>Edgar Degas, 1834-1917</em>. David Carritt Limited, London (November 2 - December 9, 1983).", "opening_date": "1983-11-02T00:00:00"}, {"description": "<em>Degas: Images of Women</em>. Tate Liverpool (September 21, 1989 - December 31, 1989).", "opening_date": "1989-09-21T00:00:00"}, {"description": "<em>Degas &amp; Pissarro: Alchimie d'une rencontre</em>. Cabinet cantonal des estampes, Muse\u0301e Jenisch, Vevey, Switzerland (June 16 - August 22, 1999); Mus\u00e9e du Qu\u00e9bec (May 5 - June 27, 1999); Israel Museum, Jerusalem (September - October 1999).", "opening_date": "1999-05-05T00:00:00"}]}, "provenance": [{"description": "Studio of the artist, Paris", "citations": [], "footnotes": null, "date": "1880-1918", "sortorder": 1}, {"description": "(his sale, Galerie Manzi-Joyant, Paris, November 22-23, 1918, no. 95)", "citations": [], "footnotes": null, "date": "1918", "sortorder": 2}, {"description": "(sale, Kornfeld and Klipstein, Bern, Switzerland, June 20, 1973, no. 161)", "citations": [], "footnotes": [], "date": "1973", "sortorder": 3}, {"description": "(Artemis Group/David Carritt Limited, London)", "citations": [], "footnotes": [], "date": "by 1983-?", "sortorder": 4}, {"description": "Josefowitz Collection, Lausanne, Switzerland, sold to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "after 1983-2020", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to the needle traditionally used in etching, Edgar Degas employed unorthodox tools including a wire brush and a double-pointed steel accountant\u2019s pen to make marks on the plate used for this print.", "description": "The Impressionist artist Edgar Degas explored etching briefly, from about 1875 through 1880. Created during this period,<em> The Laundresses</em> depicts several young women working at a Parisian laundry shop, hanging washed clothing and ironing. It is Degas\u2019s only intaglio print that focused on laundresses, a popular subject in contemporary novels. Through the women\u2019s hunched postures and the scale of the laundry pile at lower right, the artist emphasized the difficulty of such work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q104217073"], "internet_archive": ["https://archive.org/details/clevelandart-2020.223-the-laundresses"]}, "citations": [{"citation": "<em>Catalogue des eaux-fortes, vernis-mous, aquatintes, lithographies et monotypes par Edgar Degas et provenant de son atelier</em>. Paris: Galerie Manzi-Joyant, 1918.", "page_number": "Mentioned: no. 95", "url": null}, {"citation": "Delteil, Loys. <em>Le Peintre-Graveur Illustre\u0301</em>. Vol. 9. Paris: Chez l\u2019auteur, 1919", "page_number": "Mentioned: no. 37", "url": null}, {"citation": "<em>Edgar Degas: 1834-1917</em>. Exh. Cat. London: David Carritt Ltd., 1983.", "page_number": "Mentioned and reproduced: no. 18", "url": null}, {"citation": "Reed, Sue Welsh, and Barbara Stern Shapiro. <em>Edgar Degas: The Painter As Printmaker</em>. Exh. Cat. Boston: Museum of Fine Arts, 1984.", "page_number": "Mentioned: no. 48", "url": null}, {"citation": "Richard Kendall, Anthea Callen, and Dillian Gordon. <em>Degas: Images of Women</em>. Exh. Cat. Liverpool: Tate, 1989.", "page_number": "Mentioned: p. 40, no. 15", "url": null}, {"citation": "Minder, Nicole, Eric Gillis, and Richard R. Brettell. <em>Degas &amp; Pissarro: alchimie d'une rencontre</em>. Exh. Cat. Vevey: Muse\u0301e Jenisch, 1998.", "page_number": "Mentioned: no. 51", "url": null}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 115, no. 12", "url": ""}, {"citation": "\u201cNotes.\" <em>Print Quarterly</em> 42, n. 4 (March 2025): 54-86.", "page_number": "Mentioned and reproduced: p. 81, fig. 73", "url": ""}], "catalogue_raisonne": "Delteil 37; Reed and Shapiro 48", "url": "https://clevelandart.org/art/2020.223", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.223/2020.223_web.jpg", "width": "900", "height": "687", "filesize": "342502", "filename": "2020.223_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.223/2020.223_print.jpg", "width": "3400", "height": "2595", "filesize": "4006878", "filename": "2020.223_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.223/2020.223_full.tif", "width": "9848", "height": "7516", "filesize": "222080022", "filename": "2020.223_full.tif"}}, "alternate_images": [{"date_created": "2020-08-13T13:16:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.223/2020.223_alt0_web.jpg", "width": "900", "height": "810", "filesize": "288084"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.223/2020.223_alt0_print.jpg", "width": "3400", "height": "3061", "filesize": "3707069"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.223/2020.223_alt0_full.tif", "width": "10283", "height": "9258", "filesize": "285625842"}}, {"date_created": "2020-08-13T13:18:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.223/2020.223_alt1_web.jpg", "width": "900", "height": "792", "filesize": "229219"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.223/2020.223_alt1_print.jpg", "width": "3400", "height": "2991", "filesize": "2927940"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.223/2020.223_alt1_full.tif", "width": "10552", "height": "9284", "filesize": "293918382"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 393049, "creators": [{"id": 286012, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, sculptor, 1834-1917", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-09-14T00:00:00-04:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:33.273000"}, {"id": 445581, "accession_number": "1966.413.8", "share_license_status": "CC0", "tombstone": "The Haunted House: Cover, 1896. Odilon Redon (French, 1840\u20131916), printed by Auguste Clot (French, 1858\u20131936). Lithograph on wove paper; image: 45.9 x 32.7 cm (18 1/16 x 12 7/8 in.); matted: 71 x 55.7 x 0.3 cm (27 15/16 x 21 15/16 x 1/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1966.413.8", "current_location": null, "title": "Cover", "series": "The Haunted House", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 45.9 x 32.7 cm (18 1/16 x 12 7/8 in.); Matted: 71 x 55.7 x 0.3 cm (27 15/16 x 21 15/16 x 1/8 in.)", "dimensions": {"image": {"height": 0.459, "width": 0.327}, "matted": {"height": 0.71, "width": 0.557, "depth": 0.003}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 60", "copyright": null, "inscriptions": [{"inscription": "printed, from top center: Texte de BULWER-LYTTON / LA MAISON HANT\u00c9E / Traduction REN\u00c9 PHILIPON / 6 Lithographies \u00e0 60 Exemplaires / ODILON REDON / 1896", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Allan Frumkin Gallery, Chicago, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1966", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1966-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. This series was inspired by <em>The Haunted and the Haunters,</em> an 1859 novel by British writer Edward Bulwer-Lytton. Redon\u2019s prints capture the book\u2019s mysterious tone and emphasis on the supernatural through vague but evocative imagery that sometimes borders on abstraction. By this time a seasoned expert in lithography, the artist collaborated with master printer Auguste Clot. Their combined technical skills allowed for the rich tonal variation seen here, made by turning Redon\u2019s lithographic crayon on its side, layering various marks, and even scratching directly into the surface of his stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246914"], "internet_archive": ["https://archive.org/details/clevelandart-1966.413.8-cover"]}, "citations": [{"citation": "\"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (1967): 302-46.", "page_number": "Mentioned: pp. 344-345", "url": "https://www.jstor.org/stable/25152183"}], "catalogue_raisonne": "Mellerio 160", "url": "https://clevelandart.org/art/1966.413.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.8/1966.413.8_web.jpg", "width": "666", "height": "900", "filesize": "191308", "filename": "1966.413.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.8/1966.413.8_print.jpg", "width": "2516", "height": "3400", "filesize": "2760285", "filename": "1966.413.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.413.8/1966.413.8_full.tif", "width": "9183", "height": "12411", "filesize": "341936272", "filename": "1966.413.8_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 445581, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.413", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:15.259000"}, {"id": 150016, "accession_number": "1980.232", "share_license_status": "CC0", "tombstone": "Portrait of Jean L\u00e9glise, Merchant, Mayor of Saint-Martin-de-Seignanx, 1868. L\u00e9on Bonnat (French, 1833\u20131922). Oil on fabric; unframed: 80.1 x 65.3 cm (31 9/16 x 25 11/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.232", "current_location": null, "title": "Portrait of Jean L\u00e9glise, Merchant, Mayor of Saint-Martin-de-Seignanx", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 80.1 x 65.3 cm (31 9/16 x 25 11/16 in.)", "dimensions": {"unframed": {"height": 0.801, "width": 0.653}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper left: Ln Bonnat. / 1868.\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}, {"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": [{"description": "<em>The Realist Tradition: French Painting and Drawing 1830-1900. </em>Cleveland Museum of Art, Cleveland, OH; Brooklyn Museum of Art, Brooklyn, NY; Saint Louis Art Museum, Saint Louis, MO; Glasgow Art Gallery and Museum, Glasgow, Scotland (1980-82).", "opening_date": "1900-01-01T00:00:00"}]}, "provenance": [{"description": "(H\u00f4tel Drouot, sale, March 14, 1973, no. 84, sold to Fran\u00e7ois-G\u00e9rard Seligmann)", "citations": [], "footnotes": ["<div><!--block-->The painting was sold to Seligmann along with its pendant, <em>Portrait de femme </em>(no. 83), which has the same dimensions and date of execution as the Cleveland portrait.&nbsp; Several days after the auction, Seligmann wrote to his half-brother Germain that he had purchased, \u201cune magnifique paire de portraits de BONNAT.\u201d</div>"], "date": "1973", "sortorder": 1}, {"description": "(Fran\u00e7ois-G\u00e9rard Seligmann, sold to Cyril Humphris)", "citations": [], "footnotes": [], "date": "1973-1976", "sortorder": 2}, {"description": "(Cyril Humphris, London, sold to Noah L. Butkin)", "citations": [], "footnotes": ["<div><!--block-->In a letter to CMA curator William Talbot, Humphris said that he acquired the painting from an agent - presumably Seligmann - in France who \"was directly in touch with the descendents of the sitter.\"&nbsp; Humphris continued,&nbsp; \"He [Seligmann] has so far refused to give me the name of the family, as I understand he is hoping to acquire other things from the same source and is not yet prepared to give me more details.\u201d&nbsp; At this time, the identities of the sitter and his family remain unknown.</div><div><!--block--><br></div><ul><li><!--block--><br></li></ul>"], "date": "1976-1977", "sortorder": 3}, {"description": "Noah L. Butkin, Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin", "citations": [], "footnotes": [], "date": "1977-1980", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bonnat was an academic painter as well as a teacher who encouraged freedom of expression and execution. He recommended traveling to Madrid to visit the Prado Museum, introduced Paris to Spanish painting technique, and influenced the evolution of French painting.", "description": "Jean L\u00e9glise (1813\u20131876) was the mayor of Saint-Martin-de-Seignanx, a small town near Bayonne in southwestern France. A trader in wood, he made a fortune from the construction of the railroad between Bayonne and Bordeaux. Bonnat painted a companion portrait of L\u00e9glise's wife, Maire-Augusta-Julie L\u00e9glise (1812\u20131894). The latter portrait, also signed and dated 1868, was donated to the Mus\u00e9e Carnavalet in Paris in 2001.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474422"], "internet_archive": ["https://archive.org/details/clevelandart-1980.232-portrait-of-a-man", "https://archive.org/details/clevelandart-1980.232-portrait-of-jean-leg"]}, "citations": [{"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes</em>. March 14, 1973.", "page_number": null, "url": null}, {"citation": "Louise d\u2019Argencourt, letter to Fran\u00e7ois-G\u00e9rard Seligmann, Aug. 3, 1995, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Fran\u00e7ois-G\u00e9rard Seligmann, letter to Louise d\u2019Argencourt, Aug. 9, 1995, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Fran\u00e7ois-G\u00e9rard Seligmann, letter to Germain Seligmann, March 19, 1973.   Jacques Seligmann &amp; Co. records, 1904-1978, bulk 1913-1974, Series 1.3: General Correspondence, 1913-1987. Archives of American Art, Smithsonian Institution. [Box 88, folder 3 \u2013 digitized: <a href=\"http://www.aaa.si.edu/collections/container/viewer/Seligmann-Fran%C3%A7ois-Gerard%E2%80%94289707\">http://www.aaa.si.edu/collections/container/viewer/Seligmann-Fran%C3%A7ois-Gerard\u2014289707</a>].", "page_number": null, "url": null}, {"citation": "Fran\u00e7ois-G\u00e9rard Seligmann, letter to Louise d\u2019Argencourt, Aug. 9, 1995, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sherman Lee, letter to Cyril Humphris, July 21, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>The European Realist Tradition</em>. Bloomington: Indiana University Press, 1982.", "page_number": null, "url": null}, {"citation": "Cyril Humphris, letter to William Talbot, July 17, 1978, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: p. 213, no. 86", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 53-56, Vol. I, no. 20", "url": ""}, {"citation": "Saigne, Guy. <em>Le\u0301on Bonnat: le portraitiste de la IIIe Re\u0301publique: catalogue raisonne\u0301 des portraits.</em> [Paris]: Mare &amp; Martin, 2017.", "page_number": "Reproduced: P. 461.", "url": null}], "url": "https://clevelandart.org/art/1980.232", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.232/1980.232_web.jpg", "width": "709", "height": "893", "filesize": "54230", "filename": "1980.232_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.232/1980.232_print.jpg", "width": "2700", "height": "3400", "filesize": "975625", "filename": "1980.232_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.232/1980.232_full.tif", "width": "5636", "height": "7096", "filesize": "120001048", "filename": "1980.232_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.232/1980.232_alt0_web.jpg", "width": "708", "height": "893", "filesize": "342437"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.232/1980.232_alt0_print.jpg", "width": "1536", "height": "1938", "filesize": "1693262"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.232/1980.232_alt0_full.tif", "width": "1536", "height": "1938", "filesize": "8933588"}}, {"date_created": "2013-03-12T14:12:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.232/1980.232_alt1_web.jpg", "width": "719", "height": "893", "filesize": "147358"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.232/1980.232_alt1_print.jpg", "width": "2738", "height": "3400", "filesize": "3227954"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.232/1980.232_alt1_full.tif", "width": "5957", "height": "7396", "filesize": "132195820"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150016, "creators": [{"id": 1736, "description": "L\u00e9on Bonnat (French, 1833\u20131922)", "extent": null, "qualifier": null, "role": "artist", "biography": "L\u00e9on Bonnat began his formal artistic training at the royal academy of art in Madrid, where his family moved around 1846. His primary master was the leading artist in the Spanish capital, Federico de Madrazo, and Bonnat was one of the few foreign artists of the nineteenth century to study Spanish art, largely through the Prado Museum, as part of an official curriculum. After the death of his father in 1853, Bonnat and his family moved to Paris, where he entered the \u00c9cole des Beaux-Arts in 1854 and the independent atelier run by Cogniet (q.v.). During these years, Bonnat received annual scholarships from the municipal council of his hometown of Bayonne, and when he won only a second prize in the Prix de Rome of 1857, Bayonne again provided the funding for him to go to Rome to complete his artistic education from 1858 to 1861.\r\nBonnat had already begun exhibiting at the Salons in 1857 and continued, with increasing success, during the 1860s. His painting style in this period gener-ally featured powerful, naturalistic forms, often illuminated in dramatic chiaroscuro and modeled in fairly broad, thick paints of a rather limited palette. Critics of the time frequently compared his mode to that of the Spanish Old Masters, especially Ribera, but given his background and the French interest in things Spanish at this time, they were predisposed to see these visual correspondences. Bonnat appealed to more aesthetically conservative critics because of both his evident skills in modeling, anatomy, and composition and his willingness to undertake history and religious painting. Yet he also found support among more liberal art writers who perceived an originality, strength, and virility in his subjects, naturalism, and palette. Both sides hoped that this promising talent would lead French art out of its perceived decline. \r\nDuring the 1860s the French govern-ment, the cities of Paris and Bayonne, the French emperor and empress, art dealers, and private individuals all purchased or commissioned works of art from Bonnat in a variety of genres: history, religious, mythological, allegorical, portrait, and genre painting. Large easel and mural paintings by Bonnat still exist in situ in Paris in the church of St. Nicolas-des-Champs, the Pantheon, H\u00f4tel-de-Ville, and the Palais de Justice, the latter lacking only the formidable Christ on the Cross (1874, Mus\u00e9e du Petit Palais, Paris).\r\nBy 1867 Bonnat was named to the Legion of Honor, and in 1869 he won the gold medal, the highest award, at the Salon. With the 1870s he became internationally esteemed as a portraitist and could demand extremely high prices for these works. He modified his mode into a more exaggerated, harsher realism with even stronger light-dark contrasts. His financial success enabled him to indulge his great passion for collecting art, and by the 1890s he had acquired objects of great value, particularly drawings. The Acad\u00e9mie and \u00c9cole des Beaux-Arts only brought him within their ranks in the 1880s, even though he had run a well-attended atelier since the late 1860s. With these duties came additional administrative positions that left him less and less time for his own painting. In 1890 Bonnat initiated a project to build a museum in Bayonne and bequeath his art collections to it, a plan that was finally realized with the opening of the Mus\u00e9e Bonnat in 1902. By the end of his long life, his reputation as a collector and administrator had eclipsed the esteem his painting had once enjoyed.", "name_in_original_language": null, "birth_year": "1833", "death_year": "1922", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:09.793000"}, {"id": 111371, "accession_number": "1929.876", "share_license_status": "CC0", "tombstone": "Mary Cassatt at the Louvre:  The Paintings Gallery, 1879\u201380. Edgar Degas (French, 1834\u20131917). Etching, softground etching, and aquatint; platemark: 30.2 x 12.6 cm (11 7/8 x 4 15/16 in.); sheet: 36.5 x 22.3 cm (14 3/8 x 8 3/4 in.). The Cleveland Museum of Art, The Charles W. Harkness Endowment Fund, 1929.876", "current_location": null, "title": "Mary Cassatt at the Louvre:  The Paintings Gallery", "creation_date": "1879\u201380", "creation_date_earliest": 1879, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching, softground etching, and aquatint", "support_materials": [{"description": "beige (1) wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 30.2 x 12.6 cm (11 7/8 x 4 15/16 in.); Sheet: 36.5 x 22.3 cm (14 3/8 x 8 3/4 in.)", "dimensions": {"sheet": {"height": 0.365, "width": 0.223}, "platemark": {"height": 0.302, "width": 0.126}}, "state_of_the_work": "XV/XX (only known impression of this state)", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Watermark: [BLAC]ONS", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520685, "title": "Etchings of Edgar Degas", "description": "<i>Etchings of Edgar Degas</i>. The Renaissance Society, Chicago, IL (organizer) (May 3-June 12, 1964).", "opening_date": "1964-05-03T04:00:00"}, {"id": 302106, "title": "Japonisme: Japanese Influence on French Art, 1854 - 1910", "description": "<i>Japonisme: Japanese Influence on French Art, 1854 - 1910</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 9-August 31, 1975); Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (October 4-November 16, 1975); Walters Art Gallery, Baltimore, MD (December 10, 1975-January 26, 1976).", "opening_date": "1975-07-09T04:00:00"}, {"id": 303292, "title": "The Artist and the Studio in the Eighteenth and Nineteenth Centuries", "description": "<i>The Artist and the Studio in the Eighteenth and Nineteenth Centuries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-August 13, 1978).", "opening_date": "1978-04-05T05:00:00"}, {"id": 442453, "title": "Degas 1879", "description": "<i>Degas 1879</i>. National Galleries of Scotland, Edinburgh, United Kingdom of Great Britain and Northern Ireland (organizer) (August 13-September 30, 1979).", "opening_date": "1979-08-13T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": [{"description": "<em>Degas 1879</em>. National Gallery of Scotland, Edinburgh (August 13 - September 30, 1979).", "opening_date": "1979-08-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Around the same time, Edgar Degas made a second etching showing Mary Cassatt in the Mus\u00e9e du Louvre, this time in the Etruscan Gallery.", "description": "Cassatt said that she posed for Degas \"only once in a while when he finds the movement difficult and the model cannot seem to get his idea.\" In fact, she modeled for her friend on numerous occasions beginning in 1879 for a pastel titled <em>At the Louvre</em>, upon which Degas based this etching. Here, Degas showed Cassatt and her sister Lydia in Paris's Mus\u00e9e du Louvre, both involved in studying the paintings on view. Created at a time when women were less frequently seen alone in pub spaces, the image suggests the young women's independence and confidence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003416"], "internet_archive": ["https://archive.org/details/clevelandart-1929.876-mary-cassatt-at-the"]}, "citations": [{"citation": "Pickvance, Ronald. <em>Degas 1879</em>. Exh. Cat. Edinburgh: National Gallery of Scotland, 1979.", "page_number": "Mentioned and reproduced: p. 82, no. 116", "url": null}], "catalogue_raisonne": "Reed and Shapiro 52", "url": "https://clevelandart.org/art/1929.876", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.876/1929.876_web.jpg", "width": "445", "height": "893", "filesize": "111582", "filename": "1929.876_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.876/1929.876_print.jpg", "width": "1365", "height": "3400", "filesize": "3747153", "filename": "1929.876_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.876/1929.876_full.tif", "width": "2224", "height": "5539", "filesize": "36985816", "filename": "1929.876_full.tif"}}, "alternate_images": [], "creditline": "The Charles W. Harkness Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111371, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1929-11-12T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "unique", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:08.312000"}, {"id": 119697, "accession_number": "1940.534", "share_license_status": "CC0", "tombstone": "Boats at Berck-sur-Mer, 1873. \u00c9douard Manet (French, 1832\u20131883). Oil on fabric; framed: 52.5 x 74 x 7 cm (20 11/16 x 29 1/8 x 2 3/4 in.); unframed: 34 x 55.8 cm (13 3/8 x 21 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1940.534", "current_location": null, "title": "Boats at Berck-sur-Mer", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 52.5 x 74 x 7 cm (20 11/16 x 29 1/8 x 2 3/4 in.); Unframed: 34 x 55.8 cm (13 3/8 x 21 15/16 in.)", "dimensions": {"framed": {"height": 0.525, "width": 0.74, "depth": 0.07}, "unframed": {"height": 0.34, "width": 0.558}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Manet\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 518777, "title": "Impressionists and their Forebears from Barbizon", "description": "<i>Impressionists and their Forebears from Barbizon</i>. Dallas Museum for Contemporary Arts, Dallas, TX (organizer) (March 8-April 2, 1961).", "opening_date": "1961-03-08T05:00:00"}, {"id": 343605, "title": "\u00c9douard Manet", "description": "<i>\u00c9douard Manet</i>. Philadelphia Museum of Art (organizer) (November 3-December 11, 1966); The Art Institute of Chicago (January 13-February 19, 1967).", "opening_date": "1966-11-03T05:00:00"}, {"id": 517571, "title": "Impressionism: French and American", "description": "<i>Impressionism: French and American</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (October 2-November 26, 1967).", "opening_date": "1967-10-02T04:00:00"}, {"id": 206147, "title": "Manet and the Civil War", "description": "<i>Manet and the Civil War</i>. The Metropolitan Museum of Art, New York, NY (organizer) (June 3-August 17, 2003).", "opening_date": "2003-06-03T00:00:00"}, {"id": 216746, "title": "Manet and the Sea", "description": "<i>Manet and the Sea</i>. The Art Institute of Chicago, Chicago, IL (organizer) (October 19, 2003-January 4, 2004); Philadelphia Museum of Art, Philadelphia, PA (February 8-May 9, 2004); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (June 18-October 10, 2004).", "opening_date": "2003-10-19T00:00:00"}, {"id": 295866, "title": "Edouard Manet", "description": "<i>Edouard Manet</i>. Von der Heydt-Museum, Wuppertal, Germany (organizer) (October 24, 2017-February 25, 2018).", "opening_date": "2017-10-24T04:00:00"}], "legacy": [{"description": "Paris, Bernheim-Jeune. Manet: Trente-cinq tableaux de la Collection Pellerin (1910), no. 3, Marine, p\u00e9riode 1873-1874, no. 164 du catalogue Duret.", "opening_date": "1910-01-01T00:00:00"}, {"description": "cma. French Paintings of the Later XIX th Century (1921), no cat., lent by Ralph M. Coe.", "opening_date": "1921-01-01T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute; cma, Exhibition of Paintings-\u00c9douard Manet, Pierre Renoir, Berthe Morisot (1924-25), no. 18, lent by Mr. and Mrs. Ralph M. Coe.", "opening_date": "1924-01-01T00:00:00"}, {"description": "cma. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), no. 287.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Art Institute of Zanesville (Ohio). French Paintings (1944), no cat.", "opening_date": "1944-01-01T00:00:00"}, {"description": "Coral Gables, Lowe Art Gallery of the University of Miami; Athens, University of Georgia. French Exhibition (1952), no cat.", "opening_date": "1952-01-01T00:00:00"}, {"description": "Dallas Museum for Contemporary Arts. Impressionists and Their Forebears from Barbizon (1961), no. 44, 16 (repr.).", "opening_date": "1961-01-01T00:00:00"}, {"description": "Philadelphia Museum of Art; Art Institute of Chicago. \u00c9douard Manet (1966-67), no. 119 (repr.).", "opening_date": "1966-01-01T00:00:00"}, {"description": "Tulsa, Oklahoma, Philbrook Art Center. French and American Impressionism (1967), no. 5.", "opening_date": "1967-01-01T00:00:00"}, {"description": "Metropolitan Musuem of Art (6/3/2003 - 8/17/2003): \"Manet and the Civil War\"", "opening_date": "2003-06-03T00:00:00"}, {"description": "Art Institute of Chicago (10/19/2003 - 1/4/2004); Philadelphia Museum of Art (2/8/2004 - 5/9/2004); Van Gogh Museum, Amsterdam (6/18/2004 - 9/26/2004): \"Manet and the Sea\" exh. cat. no. 38, p. 127.", "opening_date": "2003-10-19T00:00:00"}, {"description": "Von der Heydt Museum, Wuppertal, Germany (10/24/2017 - 2/25/2018): \"Edward Manet\"", "opening_date": "2017-10-24T00:00:00"}]}, "provenance": [{"description": "Portier, Paris. Eug\u00e8ne Blot, Paris. Bernheim Jeune, Paris. Auguste Pellerin, Paris by 1910. Baron Denys Cochin. His sale, Paris, Georges Petit, 26 March 1919 (lot 17), to L\u00e9on Payen, Paris, for ff 30,000. Ralph M. Coe, Cleveland. Purchased by the Cleveland Museum of Art in November 1940.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1875.24"], "did_you_know": null, "description": "Ever since his childhood, Manet spent almost every summer at the seashore. At age 16, after failing the entrance exam for the naval academy, he embarked as an apprentice on a training ship, traveling as far away as Rio de Janeiro. The sea would always capture his imagination, and in 1864 he painted several seascapes. This painting was made nearly ten years later, while the artist was staying in Berck-sur-Mer, near Boulogne. Exploring light and movement, he rapidly sketched the sails of the countless ships that dance in the wind on blue-green waves highlighted with white. Manet even added a slight curve to the horizon, thus conveying an impression of infinite space, despite the painting's small size.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514355"], "internet_archive": ["https://archive.org/details/clevelandart-1940.534-boats-at-berck-sur-m"]}, "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. 172", "url": "https://archive.org/details/CMAHandbook1966/page/n196"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 172", "url": "https://archive.org/details/CMAHandbook1969/page/n196"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 213", "url": "https://archive.org/details/CMAHandbook1978/page/n233"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 411-412, Vol. II, no. 142", "url": ""}, {"citation": "Finckh, Gerhard. <em>Edouard Manet</em>. Wuppertal, Germany : Von der Heydt-Museum, 2017.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1940.534", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.534/1940.534_web.jpg", "width": "1263", "height": "760", "filesize": "681084", "filename": "1940.534_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.534/1940.534_print.jpg", "width": "3400", "height": "2045", "filesize": "5414908", "filename": "1940.534_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.534/1940.534_full.tif", "width": "6000", "height": "3609", "filesize": "64993020", "filename": "1940.534_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119697, "creators": [{"id": 1796, "description": "\u00c9douard Manet (French, 1832\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Boats"], "is_highlight": false, "updated_at": "2026-03-26 23:59:24.871000"}, {"id": 121810, "accession_number": "1942.171", "share_license_status": "CC0", "tombstone": "Pendant: Face in Diamond, 1900s. Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith. Gold; overall: 9.2 x 8.9 cm (3 5/8 x 3 1/2 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1942.171", "current_location": "108C African Jewelry and Metalwork", "title": "Pendant: Face in Diamond", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1935, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 9.2 x 8.9 cm (3 5/8 x 3 1/2 in.)", "dimensions": {"overall": {"height": 0.092, "width": 0.089}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Adolphe Stoclet, Brussels, Belgium", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Pierre Matisse Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131942", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1942\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This pendant may be an idealized portrait that the person who wore it knew.", "description": "These pendants were cast in gold using the lost-wax method. Gold objects are the only Baule art forms associated with ancestor spirits. Usually hidden in pots or suitcases, gold adornments are displayed on important occasions such as funerals. They are laid out around the corpse before burial. A widow will wear them on a chain around her neck or attached to her hair at the ceremony signaling the end of mourning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756460"], "internet_archive": ["https://archive.org/details/clevelandart-1942.171-pendant-face-in-diam"]}, "citations": [{"citation": "Milliken, William. \"Exhibition of Gold.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 9 (November 1947): 211-212.", "page_number": "Mentioned: p. 211-212; Reproduced: p. 235", "url": "https://www.jstor.org/stable/25141408"}], "url": "https://clevelandart.org/art/1942.171", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.171/1942.171_web.jpg", "width": "731", "height": "893", "filesize": "404010", "filename": "1942.171_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.171/1942.171_print.jpg", "width": "2783", "height": "3400", "filesize": "1531590", "filename": "1942.171_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.171/1942.171_full.tif", "width": "4092", "height": "5000", "filesize": "61396928", "filename": "1942.171_full.tif"}}, "alternate_images": [], "creditline": "James Albert Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121810, "creators": [], "legal_status": "accessioned", "accession_date": "1942-02-13T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:54.999000"}, {"id": 128315, "accession_number": "1951.299", "share_license_status": "CC0", "tombstone": "Covered Vase (one of a pair), c. 1850. Josiah Wedgwood and Sons (British, Staffordshire, est. 1759). Jasper ware with relief decoration; overall: 29.9 cm (11 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. John Sherwin, 1951.299", "current_location": "221 19th Century Decorative Arts", "title": "Covered Vase (one of a pair)", "creation_date": "c. 1850", "creation_date_earliest": 1845, "creation_date_latest": 1855, "artists_tags": [], "culture": ["England, Staffordshire"], "technique": "jasper ware with relief decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 29.9 cm (11 3/4 in.)", "dimensions": {"overall": {"height": 0.299}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Signs of the zodiac form a decorative border around the upper portion of this vase.", "description": "Wedgwood's tricolor jasperware first became popular in the 1770s during a period of fascination with neoclassical decoration. This vase was probably made around 1850 during the period when this type of decoration was revived. The relief medallions depict two versions of the Greek god Apollo, the god of music, next to his harp or lyre.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60756079"], "internet_archive": []}, "citations": [{"citation": "Foote, Helen. \" A Gift of Wedgewood Ware.\" <em>The Bulletin of the Cleveland Museum of Art </em>39, no. 2 (February 1952): 26-28.", "page_number": "Mentioned: p. 27", "url": "https://www.jstor.org/stable/25141767"}], "url": "https://clevelandart.org/art/1951.299", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.299/1951.299_web.jpg", "width": "665", "height": "900", "filesize": "155335", "filename": "1951.299_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.299/1951.299_print.jpg", "width": "2514", "height": "3400", "filesize": "815552", "filename": "1951.299_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.299/1951.299_full.tif", "width": "6225", "height": "8418", "filesize": "157231336", "filename": "1951.299_full.tif"}}, "alternate_images": [{"date_created": "2006-09-14T17:41:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt0_web.jpg", "width": "673", "height": "893", "filesize": "268670"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt0_print.jpg", "width": "2561", "height": "3400", "filesize": "3397793"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt0_full.tif", "width": "3455", "height": "4586", "filesize": "47563708"}}, {"date_created": "2006-09-14T18:05:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt1_web.jpg", "width": "653", "height": "893", "filesize": "262354"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt1_print.jpg", "width": "2486", "height": "3400", "filesize": "3318450"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt1_full.tif", "width": "3387", "height": "4632", "filesize": "47095500"}}, {"date_created": "2021-11-01T21:08:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt2_web.jpg", "width": "662", "height": "900", "filesize": "152233"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt2_print.jpg", "width": "2502", "height": "3400", "filesize": "791304"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt2_full.tif", "width": "6225", "height": "8458", "filesize": "157978212"}}, {"date_created": "2006-09-14T18:10:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt3_web.jpg", "width": "637", "height": "893", "filesize": "254828"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt3_print.jpg", "width": "2427", "height": "3400", "filesize": "3231676"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt3_full.tif", "width": "3257", "height": "4563", "filesize": "44614752"}}, {"date_created": "2021-11-01T21:12:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt4_web.jpg", "width": "660", "height": "900", "filesize": "154244"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt4_print.jpg", "width": "2493", "height": "3400", "filesize": "813188"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt4_full.tif", "width": "6225", "height": "8490", "filesize": "158575964"}}, {"date_created": "2006-09-14T18:18:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt5_web.jpg", "width": "634", "height": "893", "filesize": "252369"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt5_print.jpg", "width": "2412", "height": "3400", "filesize": "3219137"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt5_full.tif", "width": "3290", "height": "4637", "filesize": "45796612"}}, {"date_created": "2021-11-01T21:16:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt6_web.jpg", "width": "663", "height": "900", "filesize": "152197"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt6_print.jpg", "width": "2506", "height": "3400", "filesize": "789695"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299/1951.299_alt6_full.tif", "width": "6225", "height": "8447", "filesize": "157772760"}}], "creditline": "Gift of Mrs. John Sherwin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128315, "creators": [{"id": 392759, "description": "Josiah Wedgwood and Sons (British, Staffordshire, est. 1759)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "c. 1850", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:18.492000"}, {"id": 166783, "accession_number": "2008.71", "share_license_status": "CC0", "tombstone": "The Death of Sophonisba, c. 1810. Attributed to Pierre Gu\u00e9rin (French, 1774\u20131833). Oil on canvas; framed: 52 x 80 x 7 cm (20 1/2 x 31 1/2 x 2 3/4 in.); unframed: 40 x 60 cm (15 3/4 x 23 5/8 in.). The Cleveland Museum of Art, Bequest of Jacques de Caso in memory of Alice Cagliostro and Domenick Cagliostro, 2008.71", "current_location": "202 French Neoclassical Decorative Arts", "title": "The Death of Sophonisba", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 52 x 80 x 7 cm (20 1/2 x 31 1/2 x 2 3/4 in.); Unframed: 40 x 60 cm (15 3/4 x 23 5/8 in.)", "dimensions": {"framed": {"height": 0.52, "width": 0.8, "depth": 0.07}, "unframed": {"height": 0.4, "width": 0.6}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Jacques de Caso (Berkeley, Califfornia), by gift to the Cleveland Museum of Art, 2008.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["5.2008"], "did_you_know": "The story of Sophonisba has been an inspiration to artists, writers, and even filmmakers since the 1300s.", "description": "When a Roman general seized Sophonisba as war booty, her husband encouraged her to die with dignity rather than become a captive. She chose suicide by poison. As depicted in the painting, the toxin has just begun to take effect, and she uneasily maintains composure while penning a suicide note.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480467"], "internet_archive": ["https://archive.org/details/clevelandart-2008.71-the-death-of-sophoni"]}, "citations": [{"citation": "Bottineau, Josette. \"De<em> Belisaire</em> a <em>Marcus Sextus</em>. Genese et Histoire d'un Tableau de Pierre Guerin (1774-1833). <em>Revue Du Louvre: La Revue Des Muse\u0301es de France</em> 43, no. 3 (June 1993): 41-53.", "page_number": "Mentioned and reproduced: p. 52-53, fig. 11", "url": ""}], "url": "https://clevelandart.org/art/2008.71", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.71/2008.71_web.jpg", "width": "768", "height": "893", "filesize": "415706", "filename": "2008.71_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.71/2008.71_print.jpg", "width": "2924", "height": "3400", "filesize": "6067722", "filename": "2008.71_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.71/2008.71_full.tif", "width": "4512", "height": "5246", "filesize": "142053052", "filename": "2008.71_full.tif"}}, "alternate_images": [{"date_created": "2012-01-18T20:53:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.71/2008.71_alt0_web.jpg", "width": "777", "height": "893", "filesize": "120699"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.71/2008.71_alt0_print.jpg", "width": "2957", "height": "3400", "filesize": "2342384"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.71/2008.71_alt0_full.tif", "width": "3830", "height": "4403", "filesize": "50621740"}}, {"date_created": "2012-01-18T20:11:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.71/2008.71_alt1_web.jpg", "width": "748", "height": "900", "filesize": "307658"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.71/2008.71_alt1_print.jpg", "width": "2827", "height": "3400", "filesize": "2913605"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.71/2008.71_alt1_full.tif", "width": "4818", "height": "5795", "filesize": "83798340"}}], "creditline": "Bequest of Jacques de Caso in memory of Alice Cagliostro and Domenick Cagliostro", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 166783, "creators": [{"id": 29716, "description": "Pierre Gu\u00e9rin (French, 1774\u20131833)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1774", "death_year": "1833", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-06-23T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:51.294000"}, {"id": 300130, "accession_number": "2018.28", "share_license_status": "CC0", "tombstone": "Cigar Box, c. 1896\u20131908. 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Faberg\u00e9 (in Cyrillic); double-headed eagle [imperial warrant]; 84, Kokoshnik, tester's initials [assay mark for Moscow, 1896-1908]; scratched 16358.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski, Ltd, London, 2018, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20132018", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Peacocks were considered a symbol of imperial royalty in Russia.", "description": "Faberg\u00e9\u2019s craftsmen in Moscow became known for their work in the pan-Slavic or neo-Russian taste, hearkening back to 17th-century styles of Russian folk decoration. In this whimsically oversized box for cigars or loose tobacco, Faberg\u00e9 used the technique to highlight a symbol of imperial royalty, the preening peacock, here rendered in brilliant hues of blue and green enamels.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746964"], "internet_archive": ["https://archive.org/details/clevelandart-2018.28-cigar-box"]}, "citations": [{"citation": "Harrison, Stephen. \u201cAcquisitions 2018: Decorative Art and Design.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 2 (March/April 2019): 10-12.", "page_number": "Reproduced and Mentioned: P. 12", "url": "https://archive.org/details/CMAMM2019-02/page/n5/mode/2up"}], "url": "https://clevelandart.org/art/2018.28", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.28/2018.28_web.jpg", "width": "840", "height": "900", "filesize": "250026", "filename": "2018.28_web.jpg"}, "print": {"url": 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1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "c. 1896\u20131908", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:15.882000"}, {"id": 375048, "accession_number": "2021.159", "share_license_status": "CC0", "tombstone": "Bowl, 1895. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver; overall: 10.2 cm (4 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2021.159", "current_location": "211 Faberg\u00e9", "title": "Bowl", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["gender unknown"], "culture": ["Russia"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 10.2 cm (4 in.)", "dimensions": {"overall": {"height": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to Randy Hiller)", "citations": [], "footnotes": null, "date": "2011", "sortorder": 1}, {"description": "Hiller-Borneman Collection, Pittsburgh, PA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2011\u20132021", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The size suggests that it was used either for sweets or simply displayed for its aesthetic value.", "description": "While Faberg\u00e9 mainly produced objects with historicist ornamentation drawing upon earlier periods, the firm was also attentive to the latest fashions in the European decorative arts. This silver bowl is executed in the Art Nouveau style popular at the time. Its indented body and the asymmetrical handle convey a sense of liquid movement, accentuated by the undulating reflections on the silver surface.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244157"], "internet_archive": ["https://archive.org/details/clevelandart-2021.159-bowl"]}, "citations": [{"citation": "None found", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2021.159", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.159/2021.159_web.jpg", "width": "900", "height": "778", "filesize": "157558", "filename": "2021.159_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.159/2021.159_print.jpg", "width": "3400", "height": "2939", "filesize": "1099225", "filename": "2021.159_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.159/2021.159_full.tif", "width": "5621", "height": "4859", "filesize": "81962344", "filename": "2021.159_full.tif"}}, "alternate_images": [{"date_created": "2019-12-09T20:17:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt0_web.jpg", "width": "900", "height": "772", "filesize": "162533"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt0_print.jpg", "width": "3400", "height": "2916", "filesize": "1179216"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt0_full.tif", "width": "5621", "height": "4821", "filesize": "81321820"}}, {"date_created": "2019-12-09T20:49:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt1_web.jpg", "width": "900", "height": "768", "filesize": "161335"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt1_print.jpg", "width": "3400", "height": "2902", "filesize": "1151533"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt1_full.tif", "width": "5621", "height": "4797", "filesize": "80917168"}}, {"date_created": "2019-12-09T20:47:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt2_web.jpg", "width": "900", "height": "770", "filesize": "161665"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt2_print.jpg", "width": "3400", "height": "2909", "filesize": "1174925"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt2_full.tif", "width": "5621", "height": "4810", "filesize": "81136260"}}, {"date_created": "2019-12-09T21:54:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt3_web.jpg", "width": "900", "height": "811", "filesize": "258220"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt3_print.jpg", "width": "2613", "height": "2355", "filesize": "1461157"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.159/2021.159_alt3_full.tif", "width": "2613", "height": "2355", "filesize": "18485280"}}], "creditline": "Gift of the Hiller-Borneman Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375048, "creators": [{"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:36.303000"}, {"id": 678264, "accession_number": "2024.140", "share_license_status": "CC0", "tombstone": "Ceremonial Chair or Throne (citwamo ca mangu), 1800s. Africa, Central Africa, Angola, Chokwe-style carver. Wood, upholstery studs, leather; overall: 107 x 55 x 55 cm (42 1/8 x 21 5/8 x 21 5/8 in.). 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"sketchfab_url": "https://sketchfab.com/models/d72f5cf4c8e24daca0de504f342b8cf1", "gallery_donor_text": null, "athena_id": 678264, "creators": [], "legal_status": "accessioned", "accession_date": "2024-12-09T05:00:00Z", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "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": "2026-04-10 07:03:28.365000"}, {"id": 693591, "accession_number": "2025.135", "share_license_status": "CC0", "tombstone": "Covered Cup, c. 1897\u201399. Armand Point (French, 1861\u20131932). Gilt copper alloy, enamel, amethysts, emeralds, ruby, pearls; overall: 32.2 x 16 cm (12 11/16 x 6 5/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2025.135", "current_location": "221 19th Century Decorative Arts", "title": "Covered Cup", "creation_date": "c. 1897\u201399", "creation_date_earliest": 1897, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France"], "technique": "gilt copper alloy, enamel, amethysts, emeralds, ruby, pearls", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Overall: 32.2 x 16 cm (12 11/16 x 6 5/16 in.)", "dimensions": {"overall": {"height": 0.322, "width": 0.16}, "cup": {"height": 0.184, "width": 0.159}, "lid": {"height": 0.139, "width": 0.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Emile Nail-D\u00e9mellette (1862\u20131947)", "citations": [], "footnotes": null, "date": "c. 1900", "sortorder": 1}, {"description": "Then by descent", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Sold at Rouillac Auctioneers, Cheverny, France on June 10, 2007. Lot 137.", "citations": [], "footnotes": null, "date": "2007", "sortorder": 5}, {"description": "French Private Collection", "citations": [], "footnotes": null, "date": "2007\u20132024", "sortorder": 6}, {"description": "Oscar Graf Gallery", "citations": [], "footnotes": null, "date": "2024\u20132025", "sortorder": 7}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2025\u2013", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The cup was originally acquired by \u00c9mile Nail-D\u00e9mellette, Point's old high-school friend and later his benefactor.", "description": "Armand Point started his career as a painter, but in the late 1800s, he became increasingly interested in decorative arts. In 1896, he established the Atelier de Haute-Claire in Marlotte, a colony of artists who handmade works of art to a very high standard. This cup was made there and is particularly ornate, showcasing different materials such as metal, enamels, gemstones, and pearls, as well as goldsmithing techniques.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Lafore, Alexandre. \"Two Cups for Cleveland.\" <em>La Tribune de l'Art </em>(February 28, 2026).", "page_number": "Mentioned and reproduced: Throughout.", "url": ""}], "url": "https://clevelandart.org/art/2025.135", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.135/2025.135_web.jpg", "width": "583", "height": "900", "filesize": "157953", "filename": "2025.135_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.135/2025.135_print.jpg", "width": "2201", "height": "3400", "filesize": "1374453", "filename": "2025.135_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.135/2025.135_full.tif", "width": "8349", "height": "12895", "filesize": "323026580", "filename": "2025.135_full.tif"}}, "alternate_images": [{"date_created": "2025-09-10T15:34:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt0_web.jpg", "width": "569", "height": "900", "filesize": "138898"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt0_print.jpg", "width": "2148", "height": "3400", "filesize": "1345472"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt0_full.tif", "width": "8141", "height": "12889", "filesize": "314815688"}}, {"date_created": "2025-09-10T15:29:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt1_web.jpg", "width": "583", "height": "900", "filesize": "159520"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt1_print.jpg", "width": "2201", "height": "3400", "filesize": "1396940"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt1_full.tif", "width": "8349", "height": "12895", "filesize": "323026596"}}, {"date_created": "2025-09-10T15:29:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt2_web.jpg", "width": "583", "height": "900", "filesize": "161527"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt2_print.jpg", "width": "2201", "height": "3400", "filesize": "1445790"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt2_full.tif", "width": "8349", "height": "12895", "filesize": "323026624"}}, {"date_created": "2025-09-10T15:29:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt3_web.jpg", "width": "583", "height": "900", "filesize": "160856"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt3_print.jpg", "width": "2201", "height": "3400", "filesize": "1414336"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.135/2025.135_alt3_full.tif", "width": "8349", "height": "12895", "filesize": "323026584"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 693591, "creators": [{"id": 66624, "description": "Armand Point (French, 1861\u20131932)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1861", "death_year": "1932", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "c. 1897\u201399", "collapse_artists": false, "on_loan": false, "recently_acquired": true, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:12.457000"}, {"id": 150026, "accession_number": "1980.240", "share_license_status": "CC0", "tombstone": "The Bath, c. 1900. 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Butkin, 1980.240", "current_location": null, "title": "The Bath", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "brush and black and brown wash with pen and black ink, black chalk, and charcoal, heightened with white chalk, on brown wove paper laid on yellow-beige wove paper", "support_materials": [{"description": "brown wove paper laid down on yellow-beige(2) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 59 x 44 cm (23 1/4 x 17 5/16 in.)", "dimensions": {"sheet": {"height": 0.59, "width": 0.44}, "secondary support": {"height": 0.591, "width": 0.44}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower right, in brown ink: Bracquemond; inscribed, at bottom, in black chalk: 1 2 3 4 5 6 7 8; at lower right, in black ink: mark of Alfred Beurdeley [Lugt 421]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>\u0152uvres de Bracquemond (Salon de 1907)</em>. Soci\u00e9t\u00e9 nationale des beaux-arts, Paris (1907).", "opening_date": "1907-01-01T00:00:00"}, {"description": "<em>Exposition de gravures ex\u00e9cut\u00e9es par M. F\u00e9lix Bracquemond et Sir F. Seymour Haden</em>. H\u00f4tel des modes, Paris (February 1909).", "opening_date": "1909-02-01T00:00:00"}]}, "provenance": [{"description": "Alfred Beurdeley [1847-1919, Lugt 421], Paris", "citations": [], "footnotes": [], "date": "by 1907-1919", "sortorder": 1}, {"description": "(his ninth sale, November 30 and December 2, 1920, no. 50, sold to Boutet)", "citations": [], "footnotes": [], "date": "1920", "sortorder": 2}, {"description": "Boutet", "citations": [], "footnotes": [], "date": "1920-?", "sortorder": 3}, {"description": "Noah Butkin [1918-1980], Shaker Heights, OH, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "by 1979-1980", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bracquemond drew extensively and promoted the medium as the source of all artistic practice.", "description": "This drawing relates to F\u00e9lix Bracquemond\u2019s interest in integrating various artistic techniques, a practice that became increasingly common around 1900. With a range of black and white media, the artist depicted a nude in a forest pool. Faint gridding was used to transfer the image either to or from a similar enamel and a print. An important part of this working process, the drawing was included in both of the major exhibitions of Bracquemond\u2019s oeuvre during his life. From one of these displays, in 1907, Bracquemond sold it to Parisian collector Alfred Beurdeley, who acquired hundreds of drawings with the aim of representing the art of his time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932012"], "internet_archive": ["https://archive.org/details/clevelandart-1980.240-the-bath"]}, "citations": [{"citation": "<em>\u0152uvres de Bracquemond</em>. Exh. cat. Paris: Soci\u00e9t\u00e9 nationale des beaux-arts, 1907.", "page_number": "Mentioned: p. 3, no. 33", "url": null}, {"citation": "<em>Catalogue de l\u2019exposition de gravures, exe\u0301cute\u0301es par M. Fe\u0301lix Bracquemond et Sir F. Seymour Haden</em>. Paris: H\u00f4tel des Modes, 1909.", "page_number": "Mentioned: p. 16, no. 274", "url": null}, {"citation": "<em>Catalogue des dessins, pastels, aquarelles modernes </em>[. . .]<em> composant la collection de M. A. Beurdeley (premi\u00e8re vente)</em>. Paris: Galerie Georges Petit, 1920.", "page_number": "Mentioned: p. 13, no. 50", "url": "https://bibliotheque-numerique.inha.fr/idurl/1/48875"}, {"citation": "Bouillon, Jean-Paul. \"An Artistic Collaboration: Bracquemond and Baron Vitta.\" <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 8 (Nov. 1979): 311-19.", "page_number": "Mentioned: p. 319n17; Reproduced: p. 315, fig. 7", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1980.\" <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163-219.", "page_number": "Mentioned: pp. 182, 215; Reproduced: p. 181", "url": null}, {"citation": "Bouillon, Jean-Paul. <em>F\u00e9lix Bracquemond et les arts d\u00e9coratifs, du japonisme \u00e0 l\u2019Art nouveau</em>. Exh. cat. Limoges: Mus\u00e9e National Adrien-Dubouch\u00e9, 2005.", "page_number": "Mentioned: p. 199", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 184-187, no. 39", "url": ""}], "url": "https://clevelandart.org/art/1980.240", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.240/1980.240_web.jpg", "width": "664", "height": "893", "filesize": "116659", "filename": "1980.240_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.240/1980.240_print.jpg", "width": "2529", "height": "3400", "filesize": "1647560", "filename": "1980.240_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.240/1980.240_full.tif", "width": "4335", "height": "5827", "filesize": "75804848", "filename": "1980.240_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150026, "creators": [{"id": 5538, "description": "F\u00e9lix Bracquemond (French, 1833\u20131914)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1833", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Bather"], "is_highlight": false, "updated_at": "2026-03-27 00:03:14.963000"}, {"id": 150464, "accession_number": "1981.3", "share_license_status": "CC0", "tombstone": "Jar with Four Auspicious Characters in Relief (\ubc31\uc790 \uc591\uac01 \uc8fc\ub984\u00b7\ubb38\uc790\ubb34\ub2ac \ud638 [\u767d\u78c1\u967d\u523b\u5e36\u6587\u5b57\u6587\u58fa]), 1800s. Korea, Joseon dynasty (1392\u20131910). Glazed porcelain; outer diameter: 22.1 cm (8 11/16 in.); height: 19.4 cm (7 5/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 1981.3", "current_location": null, "title": "Jar with Four Auspicious Characters in Relief", "title_in_original_language": "\ubc31\uc790 \uc591\uac01 \uc8fc\ub984\u00b7\ubb38\uc790\ubb34\ub2ac \ud638 [\u767d\u78c1\u967d\u523b\u5e36\u6587\u5b57\u6587\u58fa]", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "glazed porcelain", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "measurements": "Outer diameter: 22.1 cm (8 11/16 in.); height: 19.4 cm (7 5/8 in.)", "dimensions": {"diameter of mouth": {"width": 0.116}, "height": {"height": 0.194}, "outer diameter": {"width": 0.221}, "diameter of base": {"width": 0.117}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "longevity \u58fd, happiness \u798f, health \u5eb7, and peace \u5be7", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 230955, "title": "Korean Art from the United States", "description": "<i>Korean Art from the United States</i>. National Museum of Korea, Seoul, Korea (Republic of) (organizer) (June 4-August 5, 2012).", "opening_date": "2012-06-04T00:00:00"}, {"id": 337978, "title": "Ink, Paper, and Brush - Korean Gallery 236 Rotation", "description": "<i>Ink, Paper, and Brush - Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (July 24, 2019-January 26, 2020).", "opening_date": "2019-07-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Kochukyo Co., Inc., Tokyo, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131981", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1981\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This type of jar with auspicious characters was often used as a birthday or wedding gift.", "description": "This white porcelain vase is decorated with four Chinese characters symbolizing auspicious (hopeful) wishes\u2014longevity, good fortune, health, and peace\u2014each within a floral medallion. Such jars were often presented as birthday or wedding gifts, conveying the giver\u2019s blessings for a long and harmonious life. <br><br>This object was purchased in 1981 from Kochukyo (\u58fa\u4e2d\u5c45), an antique gallery founded in 1924 in Tokyo, Japan. Many important Korean works remain in Japanese private collections, after being taken there during the Japanese colonial period (1910\u201345). Consequently, Japanese antique galleries continue to handle Korean antiquities, serving as significant channels for their circulation today.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932937"], "internet_archive": ["https://archive.org/details/clevelandart-1981.3-jar-with-four-auspic"]}, "citations": [{"citation": "Neils, Jenifer. <em>The World of Ceramics: Masterpieces from the Cleveland Museum of Art</em>. Cleveland, OH: The Museum in cooperation with Indiana University Press, 1982.", "page_number": "Mentioned and Reproduced: p. 139, no. 143", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 76; Mentioned: p. 83, no. 137", "url": "http://www.jstor.org/stable/25159758"}, {"citation": "Bang, Byung-sun. \"The Technology of Porcelain Manufacturing in the late Chos\u014fn Dynasty [\u671d\u9bae \u5f8c\u671f \u767d\u78c1\uc758 \u88fd\u4f5c\u6280\u8853 \u784f\u7a76].\" <em>Misul sahak yeongu </em>(1997): 67\u2013104.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00995382"}, {"citation": "Kang, Kyeong-sook. <em>History of Korean Ceramics</em> [\u97d3\u570b\u9676\u78c1\u53f2]. Seoul: Yekyong, 2012.", "page_number": null, "url": null}, {"citation": "Lee, Soo-mi and Park Hyewon, eds. <em>Korean Art from the United States</em> [\ubbf8\uad6d, \ud55c\uad6d\ubbf8\uc220\uc744 \ub9cc\ub098\ub2e4]. Seoul: National Museum of Korea, 2012.", "page_number": "Reproduced: cat. no. 73, p. 169", "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: p. 90", "url": ""}], "url": "https://clevelandart.org/art/1981.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.3/1981.3_web.jpg", "width": "900", "height": "798", "filesize": "112436", "filename": "1981.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.3/1981.3_print.jpg", "width": "3400", "height": "3014", "filesize": "1078797", "filename": "1981.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.3/1981.3_full.tif", "width": "11729", "height": "10399", "filesize": "365936996", "filename": "1981.3_full.tif"}}, "alternate_images": [{"date_created": "2012-04-24T14:47:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt0_web.jpg", "width": "1006", "height": "893", "filesize": "70240"}, "print": {"url": 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"height": "10383", "filesize": "365373784"}}, {"date_created": "2024-07-15T19:49:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt8_web.jpg", "width": "900", "height": "797", "filesize": "111240"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt8_print.jpg", "width": "3400", "height": "3010", "filesize": "1097759"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt8_full.tif", "width": "11729", "height": "10383", "filesize": "365373880"}}, {"date_created": "2024-07-15T19:55:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt9_web.jpg", "width": "900", "height": "795", "filesize": "117227"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt9_print.jpg", "width": "3400", "height": "3003", "filesize": "1085167"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt9_full.tif", "width": "11729", "height": "10361", "filesize": "364600340"}}, {"date_created": "2024-07-15T19:58:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt10_web.jpg", "width": "900", "height": "797", "filesize": "134523"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt10_print.jpg", "width": "3400", "height": "3009", "filesize": "1326396"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.3/1981.3_alt10_full.tif", "width": "11729", "height": "10380", "filesize": "365269236"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150464, "creators": [], "legal_status": "accessioned", "accession_date": "1981-03-09T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "The porcelain vessel showed dark staining in areas around the lower half that partially obscured the characters on the four sides. The surface of the jar was first cleaned using cotton swabs and a chelating solution with a tailored pH level to safely remove grime along the edges and crevices. This solution was also used to treat the staining. First, conservators placed a poultice of cellulose fiber on the porcelain and saturated the material with the solution. The jar was then wrapped and left overnight so that the cleaning agent could reduce the stains between the cracks in the glaze. The surface was then thoroughly cleaned with deionized water. Finally, a tailored bleaching solution was applied in a similar poultice to reduce the remaining discoloration.", "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-09 19:34:42.798000"}, {"id": 152412, "accession_number": "1985.250", "share_license_status": "CC0", "tombstone": "Mountain View and Blue Water, early 1800s. Tanomura Chikuden (Japanese, 1777\u20131835). Hanging scroll; ink, color, and gold on paper; painting: 174.9 x 46.8 cm (68 7/8 x 18 7/16 in.); mounted: 217.5 x 61.5 cm (85 5/8 x 24 3/16 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.250", "current_location": null, "title": "Mountain View and Blue Water", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1835, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll; ink, color, and gold on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting: 174.9 x 46.8 cm (68 7/8 x 18 7/16 in.); Mounted: 217.5 x 61.5 cm (85 5/8 x 24 3/16 in.)", "dimensions": {"painting": {"height": 1.749, "width": 0.468}, "mounted": {"height": 2.175, "width": 0.615}, "mounted with knobs": {"height": 2.175, "width": 0.708}, "knob diam": {"depth": 0.031}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 311446, "title": "Asian Autumn: Masterpieces from the Collection", "description": "<i>Asian Autumn: Masterpieces from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992).", "opening_date": "1991-09-17T04:00:00"}, {"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": [{"description": "<em>Nihon no Bunjinga</em>. Kobe Sannomiya Department Store, Kobe, Japan (March 5\u201317, \u000f1971).", "opening_date": "1971-03-05T05:00:00Z"}]}, "provenance": [{"description": "(Shogoro Yabumoto, Amagasaki, Hy\u014dgo Prefecture, Japan, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": null, "date": "?\u20131975", "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1975\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["536.1979"], "did_you_know": "The mountain shapes are built up with multiple small wet strokes.", "description": "Tanomura Chikuden was an eminent painter whose adopted son, Tanomura Chokuny\u016b (1814\u20131907), was Seif\u016b Yohei III\u2019s painting teacher. This work was displayed at a gathering commemorating the 10th anniversary of Chokuny\u016b\u2019s death, something we know only because its custom-made box and archival documents have been carefully kept together. The box inscription also confirms that Chikuden was emulating the style of the Mi family of painters, active during China\u2019s Southern Song dynasty (1127\u20131279). The painting\u2019s Chinese-style silk wrapper is inscribed and sealed on its interior by members of Chokuny\u016b\u2019s community.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475508"], "internet_archive": ["https://archive.org/details/clevelandart-1985.250-landscape-with-boate", "https://archive.org/details/clevelandart-1985.250-mountain-view-and-bl"]}, "citations": [{"citation": "<em>Kokka </em>\u570b\u83ef plates, JPVII, (1918) vol. 28. pl. 7. no. 332.", "page_number": "Reproduced", "url": ""}, {"citation": "Okada Saburo\u0304suke \u5ca1\u7530\u4e09\u90ce\u52a9, Rinpu\u0304 Sasagawa \u7b39\u5ddd\u81e8\u98a8, and Yoneame Iizuka \u98ef\u585a\u7c73\u96e8,. <em>Nihonga taisei </em>\u65e5\u672c\u756b\u5927\u6210. To\u0304kyo\u0304: To\u0304ho\u0304 Shoin \u6771\u65b9\u66f8\u9662, 1931\u201334.", "page_number": "Reproduced: vol. 11, pt. 3, pl. 104", "url": ""}, {"citation": "<em>Nanga Meisaku-Ten: Nippon No Bunjinga </em>\u5357\u753b\u540d\u4f5c\u5c55\u65e5\u672c\u306e\u6587\u4eba\u753b. Tokyo: Nippon keizai shim-bun, 1971.", "page_number": "Reproduced: pl. 59", "url": ""}, {"citation": "<em>Nippon Bijutsu Kaiga Zenshu</em> [Complete Collection of Japanese Paintings]. vol. 21. Tokyo: Shueisha, 1980.", "page_number": "Reproduced: pl. 27", "url": ""}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}, {"citation": "Lee, Sherman E. \u201cA. 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John Martin (British, 1789\u20131854). Watercolor, gouache and gum arabic with graphite underdrawing, sanding, and scraping; sheet: 26.6 x 67.5 cm (10 1/2 x 26 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.138", "current_location": null, "title": "The Valley of the Tyne, My Native Country near Henshaw", "creation_date": "1842", "creation_date_earliest": 1842, "creation_date_latest": 1842, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor, gouache and gum arabic with graphite underdrawing, sanding, and scraping", "support_materials": [{"description": "cream(3) wove paper, lined with beige(1) wove paper, perimeter mounted to a tertiary support of modern matboard", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 26.6 x 67.5 cm (10 1/2 x 26 9/16 in.)", "dimensions": {"sheet": {"height": 0.266, "width": 0.675}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in watercolor: J. Martin / 1842", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "<em>J</em>o<em>hn Martin Loan Exhibition: Oil Paintings, Watercolours, Prints.</em> Hazlitt, Gooden &amp; Fox, London (October 30 - November 21, 1975).", "opening_date": "1975-10-30T00:00:00"}, {"description": "<em>British Paintings and Watercolours of the 17th, 18th and 19th Centuries.</em> Spink-Leger Pictures, London (May 20 - June 6, 1997).", "opening_date": "1997-05-20T00:00:00"}]}, "provenance": [{"description": "Henry [1854-1937] and Margaret [1854-1921] Hobhouse, Somerset", "citations": [], "footnotes": null, "date": "?-?", "sortorder": null}, {"description": "C. D. Hobhouse", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Spink-Leger Pictures, London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1997", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The setting of this watercolor is John Martin's native Northumberland, to which he was deeply attached and described having spent time there \"exulting in the sublime grandeur of the surrounding beauties of nature.\"", "description": "Panoramic landscapes in watercolor became an important source of income during John Martin\u2019s late career. This work demonstrates his ability to convey monumentality on a small scale and to combine broad washes of color with meticulous detail. The sweeping vista in this drawing describes the fertile valley of the River Tyne, known for its forests, flora, and fauna. Curving arcs of slopes and plains swirl around the composition. A tiny couple and dog rush through the vast landscape beneath ominous storm clouds.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79979914"], "internet_archive": ["https://archive.org/details/clevelandart-1997.138-the-valley-of-the-ty"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Feaver, William. <em>The Art of John Martin</em>. Oxford: Clarendon Press, 1975.", "page_number": "Mentioned: pp. 178-9, 232 n. 50, 233 n. 91; Reproduced: fig. 137", "url": null}, {"citation": "Feaver, William. <em>John Martin Loan Exhibition: Oil Paintings, Watercolours, Prints</em>. Exh. Cat. London: Hazlitt, Gooden &amp; Fox, 1975.", "page_number": "Mentioned: no. 43", "url": null}, {"citation": "<em>British Paintings and Watercolours of the 17th, 18th, and 19th Centuries</em>. Exh. Cat. London: Spink-Leger Pictures, 1997.", "page_number": "Mentioned: no. 15", "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor African Sculpture, Recent Mark Tansey Painting, and Other Works of Art Enter CMA Collection,\u201d September 16, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4152"}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 190-191, 294, no. 78; Reproduced: p. 191", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 60-3, 146-7, no. 19b; Reproduced: pp. 62-3", "url": null}], "url": "https://clevelandart.org/art/1997.138", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.138/1997.138_web.jpg", "width": "900", "height": "434", "filesize": "92159", "filename": "1997.138_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.138/1997.138_print.jpg", "width": "3400", "height": "1641", "filesize": "985414", "filename": "1997.138_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.138/1997.138_full.tif", "width": "7753", "height": "3742", "filesize": "87062764", "filename": "1997.138_full.tif"}}, "alternate_images": [{"date_created": "2012-06-18T20:27:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt0_web.jpg", "width": "1263", "height": "508", "filesize": "104651"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt0_print.jpg", "width": "3400", "height": "1368", "filesize": "822353"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt0_full.tif", "width": "6359", "height": "2559", "filesize": "48860920"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt1_web.jpg", "width": "1263", "height": "501", "filesize": "481244"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt1_print.jpg", "width": "2048", "height": "812", "filesize": "1276136"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt1_full.tif", "width": "2048", "height": "812", "filesize": "4990732"}}, {"date_created": "2014-12-04T08:58:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt2_web.jpg", "width": "900", "height": "438", "filesize": "62141"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt2_print.jpg", "width": "3400", "height": "1653", "filesize": "653386"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.138/1997.138_alt2_full.tif", "width": "7831", "height": "3807", "filesize": "89464328"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159770, "creators": [{"id": 2786, "description": "John Martin (British, 1789\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Northumberland, John Martin began his career as a coach and ceramics painter before exhibiting oil paintings at the Royal Academy, London. His first critical success, Sadak in Search of the Waters of Oblivion (1812, Saint Louis Art Museum), introduced his penchant for dramatic compositions with diminutive figures in vast and often threatening landscapes. Joshua Commanding the Sun to Stand Still upon Gideon (1816, United Grand Lodge of England) and Belshazzar's Feast (1821, private collection) combined meticulous biblical and archaeological research with imaginative pictorial narrative and sensational architectural perspective to create a unique genre of the apocalyptic sublime. Martin was an inveterate self-promoter, and in an effort to broaden his commercial support in the 1820s he designed and engraved nearly a hundred mezzotint illustrations to the Bible and to Milton's Paradise Lost (1667), thus becoming one of the principal exponents and arguably the most accomplished practitioner of that printmaking technique in the nineteenth century. A number of unrealized engineering schemes that were as grandiose as the subjects of many of his most imposing pictures preoccupied Martin in the 1830s and 1840s, diverting much of his energy from his art. These plans included a water system and sewage disposal plan for the city of London. In his final years he returned to the cataclysmic inspiration of his middle period and painted a magnificent trilogy of Last Judgment pictures now in the Tate Gallery, London.", "name_in_original_language": null, "birth_year": "1789", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1842, "date_added_to_oa": null, "date_text": "1842", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:59.539000"}, {"id": 166674, "accession_number": "2008.388", "share_license_status": "CC0", "tombstone": "Four Studies of the Head of a Young Italian Woman, 1856. Edgar Degas (French, 1834\u20131917). Graphite; sheet: 46 x 30.5 cm (18 1/8 x 12 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.388", "current_location": null, "title": "Four Studies of the Head of a Young Italian Woman", "creation_date": "1856", "creation_date_earliest": 1856, "creation_date_latest": 1856, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite", "support_materials": [{"description": "gray wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 46 x 30.5 cm (18 1/8 x 12 in.)", "dimensions": {"sheet": {"height": 0.46, "width": 0.305}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "by artist, upper right, in graphite: Rita / Cacciala; by artist, upper right, in graphite: Sora; by artist, lower right, in graphite: Roma; verso, lower left, in graphite: C [underlined]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "<em>French Nineteenth Century Drawings, Pastels, and Watercolors.</em> Shepherd Gallery, New York (November 1977-February 1978).", "opening_date": "1977-11-01T00:00:00"}, {"description": "<em>Degas e l'Italia</em>. Villa Medici, Accademia de Francia, Rome. (December 1, 1984-Feburary 10, 1985).", "opening_date": "1984-12-01T00:00:00"}, {"description": "<em>Degas</em>. Galeries Nationales du Grand Palais, Paris (February 9-May 16, 1988); National Gallery of Canada, Ottawa (June 16-August 28, 1988); The Metropolitan Museum of Art (September 27, 1988-January 8, 1989).", "opening_date": "1988-02-09T00:00:00"}]}, "provenance": [{"description": "Estate of Edgar Degas [1834-1917], Paris, by descent to his brother Ren\u00e9 de Gas", "citations": [], "footnotes": [], "date": "1856-1917", "sortorder": 2}, {"description": "Ren\u00e9 de Gas [1845-1921], Paris, by descent to his family", "citations": [], "footnotes": [], "date": "by 1918-1921", "sortorder": 3}, {"description": "Nepveu-Degas collection, Paris", "citations": [], "footnotes": ["<div><!--block-->Collection stamp, not in Lugt, lower left, in black ink.</div>"], "date": "1921-1976", "sortorder": 4}, {"description": "(Hotel Drouot, Nepveu-Degas collection sale, Paris, May 6, 1976, no. 13, sold to John Couper?)", "citations": [], "footnotes": [], "date": "1976", "sortorder": 5}, {"description": "John Couper, Paris, sold to Shepherd Gallery, New York", "citations": [], "footnotes": [], "date": "Probably 1976-1977", "sortorder": 6}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "1977", "sortorder": 7}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-2008", "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of numerous depictions of Italians in local costume that Degas made in his three years traveling around the country.", "description": "This sheet of head studies unites three fundamental characteristics of Degas's art: consummate draftsmanship, captured movement and expression, and an almost obsessive attention to the attitudes of the female figure. Drawn in 1856 during his first trip to Italy, the sheet represents the model in successive positions and expressions of suffering. The name inscribed at the upper right-Rita Cacciala-must be that of the model. Writing models' names and addresses on figure studies was a common practice among artists, providing them with a handy reference of models they might want to contact for future use.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997254"], "internet_archive": ["https://archive.org/details/clevelandart-2008.388-four-studies-of-the"]}, "citations": [{"citation": "Ho\u0302tel Drouot, Paris. <em>Important Ensemble de dessins par Edgar Degas...provenant de l'atelier de l'artiste et d'une partie de la collection Nepveu-Degas</em>. May 6, 1976. Lot 13.", "page_number": "Mentioned: no. 13", "url": null}, {"citation": "Rohowsky, Peter S. <em>French Nineteenth Century Drawings, Pastels, Watercolors: Nov. 1977-Feb. 1978</em>. Exh. Cat. New York: Shepherd Gallery Associates, 1977.", "page_number": "Mentioned and Reproduced: cat. no. 24", "url": null}, {"citation": "Villa Medici. <em>Degas e l'Italia: Villa Medici, 1 dicembre 1984-10 febbraio 1985</em>. Exh. Cat. Roma: F. Palombi, 1984.", "page_number": "Mentioned: cat. no. 31, p. 102, Reproduced: p. 103", "url": null}, {"citation": "Loyrette, Henri et al. <em>Degas</em>. Exh. Cat. Paris: Re\u0301union des Muse\u0301es Nationaux, 1988.", "page_number": "Mentioned and reproduced: pp. 66-67, no. 8", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Cleveland, Ohio: Cleveland Museum of Art, 2001.", "page_number": "Mentioned and Reproduced: cat. no. 38, pp. 86-87", "url": null}, {"citation": "Waller, Susan. \"Rodin and the mod\u00e8le italien.\" <em>sculpture journal</em> 27.1 (2018): 75-88.", "page_number": "Mentioned and Reproduced; pp. 78-79, fig 4", "url": ""}, {"citation": "Waller, Susan. \"Rodin and the Modele Italien.\" <em>The Sculpture Journal</em> 27, no. 1 (2018): 75-88.", "page_number": "Reproduced: p. 79, fig. 4", "url": null}], "url": "https://clevelandart.org/art/2008.388", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.388/2008.388_web.jpg", "width": "602", "height": "893", "filesize": "76724", "filename": "2008.388_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.388/2008.388_print.jpg", "width": "2293", "height": "3400", "filesize": "1562665", "filename": "2008.388_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.388/2008.388_full.tif", "width": "3888", "height": "5764", "filesize": "67256112", "filename": "2008.388_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:47:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.388/2008.388_alt0_web.jpg", "width": "613", "height": "893", "filesize": "294229"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.388/2008.388_alt0_print.jpg", "width": "2335", "height": "3400", "filesize": "4755569"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.388/2008.388_alt0_full.tif", "width": "3434", "height": "5000", "filesize": "51528372"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166674, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1856, "date_added_to_oa": null, "date_text": "1856", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:02.531000"}, {"id": 286213, "accession_number": "2016.57", "share_license_status": "CC0", "tombstone": "Male figure, probably 1800s. Africa, West Africa, Nigeria, Benue River Valley, Unidentified maker. Copper alloy; height: 44.7 x 22.7 x 9.6 cm (17 5/8 x 8 15/16 x 3 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2016.57", "current_location": null, "title": "Male figure", "creation_date": "probably 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1968, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Benue River Valley, Unidentified maker"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "height: 44.7 x 22.7 x 9.6 cm (17 5/8 x 8 15/16 x 3 3/4 in.)", "dimensions": {"height": {"height": 0.447, "width": 0.227, "depth": 0.096}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "<em>The Art of Metal in Africa. </em>African-American Institute, New York, NY (October 7, 1982-January 5, 1983); The Institute for the Arts, Rice University, Houston, TX (February 3-April 10, 1983); Charles W. Bowers Museum, Santa Ana, CA (June 18-September 5, 1983).", "opening_date": "1983-02-03T00:00:00"}, {"description": "<em>Africa: The Art of a Continent</em>. Royal Academy of Arts, London, UK (October 4, 1995-January 21, 1996).", "opening_date": "1995-10-04T00:00:00"}, {"description": "<em>Central Nigeria Unmasked: Arts of the Benue River Valley</em>. Fowler Museum at UCLA, Los Angeles, CA (February 13-July 24, 2011); National Museum of African Art, Washington, DC (September 14, 2011-February 12, 2012); Cantor Arts Center at Stanford University, Stanford, CA (May 16-September 2, 2012); Musee du Quai Branly, Paris, FR (November 12, 2012-January 27, 2013).", "opening_date": "2011-02-13T00:00:00"}]}, "provenance": [{"description": "Acquired by Helene Kamer (now Leloup) in Nigeria (Biafra) in 1968 or 1969", "citations": [], "footnotes": [], "date": "1968-1993", "sortorder": 1}, {"description": "Helene and Philippe Leloup, New York, NY, sold to a private collector", "citations": [], "footnotes": [], "date": "1993-2016", "sortorder": 2}, {"description": "Private collector, New York, NY, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1993-2016", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2016-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Figurative copper-alloy objects like this sculpture point to intense trade and the circulation of people, goods, and technologies in the Benue River Valley, resulting in a highly cosmopolitan society.", "description": "Realized in a very distinctive style using the lost-wax method, this figure\u2019s cultural origin and function is limited because it was removed from Nigeria during that country\u2019s turbulent civil war of the late 1960s. Perhaps it was once part of an altar or shrine dedicated to a guardian or tutelary spirit. Connotations of prestige and wealth may explain why copper-alloy objects were diffused across vast territory and inherited over many generations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79876261"], "internet_archive": ["https://archive.org/details/clevelandart-2016.57-male-figure"]}, "citations": [{"citation": "Brincard, Marie-The\u0301re\u0300se, and Evelyn Fischel. <em>The Art of Metal in Africa</em>: New York, N.Y.: African-American Institute, 1982.", "page_number": "cat. no. H5", "url": null}, {"citation": "Phillips, Tom. <em>Africa: The Art of a Continent</em>. Munich: Prestel, 1995.", "page_number": "cat. no. 5.31", "url": null}, {"citation": "Grunne, Bernard de. \"A Missing Link?: Notes on an Early Proto-Jukun Seated Terracotta Figure\". <em>Tribal: the Magazine of Tribal Art. </em>10 (2) no. 39 (Autumn-Winter 2005): 130-131.", "page_number": "Reproduced:  p. 130, fig. 1", "url": ""}, {"citation": "Berns, Marla, Richard Fardon, Sidney Littlefield Kasfir, and Jo\u0308rg Adelberger. <em>Central Nigeria Unmasked: Arts of the Benue River Valley</em>. Los Angeles: Fowler Museum at UCLA, 2011.", "page_number": "cat. no. 6.20", "url": null}, {"citation": "Berns, Marla C, and Richard Fardon. \u201cCentral Nigeria Unmasked: Arts of the Benue River Valley.\u201d <em>African Arts</em> 44, no. 3 (Autumn 2011): 16\u201337.", "page_number": "Reproduced:  p. 19, fig. 6", "url": ""}, {"citation": "Petridis, Constantine. \u201cAcquisition Highlights 2016: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 17.", "page_number": "Reproduced: P. 17; Mentioned: P. 7, 17", "url": "https://archive.org/details/CMAMM2017-02/page/n7/mode/2up"}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2016.57", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2016.57/2016.57_web.jpg", "width": "609", "height": "900", "filesize": "", "filename": "2016.57_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2016.57/2016.57_print.jpg", "width": "2300", "height": "3400", "filesize": "", "filename": "2016.57_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2016.57/2016.57_full.tif", "width": "5277", "height": "7800", "filesize": "", "filename": "2016.57_full.tif"}}, "alternate_images": [{"date_created": "2016-09-02T13:10:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt0_web.jpg", "width": "635", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt0_print.jpg", "width": "2398", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt0_full.tif", "width": "5643", "height": "8000", "filesize": ""}}, {"date_created": "2016-09-02T13:42:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt1_web.jpg", "width": "575", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt1_print.jpg", "width": "2171", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt1_full.tif", "width": "5109", "height": "8000", "filesize": ""}}, {"date_created": "2016-09-02T14:19:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt2_web.jpg", "width": "556", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt2_print.jpg", "width": "2100", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt2_full.tif", "width": "4940", "height": "8000", "filesize": ""}}, {"date_created": "2016-09-02T14:36:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt3_web.jpg", "width": "542", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt3_print.jpg", "width": "2048", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt3_full.tif", "width": "4818", "height": "8000", "filesize": ""}}, {"date_created": "2016-09-02T14:27:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt4_web.jpg", "width": "612", "height": "900", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt4_print.jpg", "width": "2313", "height": "3400", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt4_full.tif", "width": "5331", "height": "7835", "filesize": ""}}, {"date_created": "2016-09-02T14:45:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt5_web.jpg", "width": "900", "height": "670", "filesize": ""}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt5_print.jpg", "width": "3400", "height": "2532", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.57/2016.57_alt5_full.tif", "width": "8000", "height": "5958", "filesize": ""}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 286213, "creators": [], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "probably 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:37.860000"}, {"id": 107208, "accession_number": "1925.1202", "share_license_status": "CC0", "tombstone": "Miss Lo\u00efe Fuller, 1893. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph; image: 37.9 x 25.7 cm (14 15/16 x 10 1/8 in.). The Cleveland Museum of Art, Gift of Ralph King, 1925.1202", "current_location": null, "title": "Miss Lo\u00efe Fuller", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 37.9 x 25.7 cm (14 15/16 x 10 1/8 in.)", "dimensions": {"image": {"height": 0.379, "width": 0.257}}, "state_of_the_work": "W. I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301701, "title": "The Artist and the Theater", "description": "<i>The Artist and the Theater</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-September 12, 1960).", "opening_date": "1960-04-05T05:00:00"}, {"id": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 304520, "title": "Art and the Stage", "description": "<i>Art and the Stage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 22-August 16, 1981).", "opening_date": "1981-05-22T04:00:00"}, {"id": 309843, "title": "Lo\u00efe Fuller", "description": "<i>Lo\u00efe Fuller</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 10-June 3, 1984).", "opening_date": "1984-04-10T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 177160, "title": "Toulouse-Lautrec and Montmartre", "description": "<i>Toulouse-Lautrec and Montmartre</i>. National Gallery of Art, Landover, MD (organizer) (March 20-June 12, 2005); The Art Institute of Chicago, Chicago, IL (July 16-October 10, 2005).", "opening_date": "2005-03-20T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lo\u00efe Fuller, depicted here, donated a group of sculptures to the Cleveland Museum of Art following its opening to the public in 1916.", "description": "Parisian audiences were captivated by Lo\u00efe Fuller (1862\u20131928), the American dancer seen in this print, whose unique performances involved manipulating voluminous translucent gowns with the aid of large poles in each hand. Fuller danced in a specially designed space featuring a glass floor illuminated from below and surrounded by mirrors. Electric lights of various colors projected onto the stage created an ethereal, swirling effect. Fuller\u2019s extraordinary dance was the subject of Toulouse-Lautrec\u2019s most abstract lithograph. The artist used layers of colored ink\u2014including some metallic tones\u2014to convey the movement and energy of Fuller's performances.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781238"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1202-miss-loie-fuller"]}, "citations": [], "catalogue_raisonne": "Wittrock Vol.I.17 ; Delteil 39", "url": "https://clevelandart.org/art/1925.1202", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1202/1925.1202_web.jpg", "width": "608", "height": "893", "filesize": "448023", "filename": "1925.1202_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1202/1925.1202_print.jpg", "width": "2316", "height": "3400", "filesize": "7079965", "filename": "1925.1202_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1202/1925.1202_full.tif", "width": "3783", "height": "5553", "filesize": "63053604", "filename": "1925.1202_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107208, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:17.430000"}, {"id": 152428, "accession_number": "1985.256", "share_license_status": "CC0", "tombstone": "A Beauty (\u7f8e\u4eba\u56f3), c. 1810. Fujimaro (Japanese, d. 1830). Hanging scroll; ink and color on silk; overall: 180.4 x 48.3 cm (71 x 19 in.); painting only: 94 x 31 cm (37 x 12 3/16 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.256", "current_location": null, "title": "A Beauty", "title_in_original_language": "\u7f8e\u4eba\u56f3", "creation_date": "c. 1810", "creation_date_earliest": 1805, "creation_date_latest": 1815, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll; ink and color on silk", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 180.4 x 48.3 cm (71 x 19 in.); Painting only: 94 x 31 cm (37 x 12 3/16 in.)", "dimensions": {"overall": {"height": 1.804, "width": 0.483}, "painting only": {"height": 0.94, "width": 0.31}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature and two seals middle right side", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": null, "inscription_translation": "The full blooming cherry/ \nis not the only flower worth mentioning./ \nThe color of the young plum tree/  \nblooms as well.", "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 311608, "title": "Ukiyo-e: The Floating World Revisited", "description": "<i>Ukiyo-e: The Floating World Revisited</i>. The Cleveland Museum of Art, Cleveland, OH (February 2-April 3, 1994).", "opening_date": "1993-10-26T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 440861, "title": "Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16", "description": "<i>Japan\u2019s Floating World \u65e5\u672c\u306e\u6d6e\u4e16</i>. The Cleveland Museum of Art (organizer) (April 8-October 9, 2022).", "opening_date": "2022-04-08T04:00:00"}], "legacy": [{"description": "<em>Japanese Gallery 235 Rotation</em>. The Cleveland Museum of Art, Cleveland OH (June 3, 2016\u2013January 10, 2017).", "opening_date": "2016-06-03T00:00:00"}]}, "provenance": [{"description": "(Felice Fedder Oriental Art, Inc., New York, NY, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The handsome youth in the painting is accompanied by a boy carrying a plum branch.", "description": "Many ukiyo-e paintings and prints focus on <em>bijin</em> (\u7f8e\u4eba), or \u201cbeautiful people.\u201d Female courtesans and entertainers were the main draw in the pleasure district of Edo (now Tokyo), but young men were also available. The poem here reads as follows: \"The full blooming cherry / is not the only flower worth mentioning. / The color of the young plum tree / blooms as well.\"<br><br>The full blooming cherry is a metaphor for mature women, and the plum for young men.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475544"], "internet_archive": ["https://archive.org/details/clevelandart-1985.256-man-strolling-with-a", "https://archive.org/details/clevelandart-1985.256-a-beauty"]}, "citations": [{"citation": "Jenkins, Donald. \u201cPaintings of the Floating World.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 75, no. 7 (September 1988): 244\u2013260, 262\u2013278, 238.", "page_number": "Reproduced: fig. 9, color plate 1, pp. 255\u2013257", "url": "www.jstor.org/stable/25160038"}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}, {"citation": "Jenkins, Donald, and Lynn Jacobsen-Katsumoto. <em>The Floating World Revisited</em>. Portland, OR: Portland Art Museum, 1993.", "page_number": "Reproduced: cat. no. IV-4, pp. 196\u2013197", "url": null}, {"citation": "Vilbar, Sin\u00e9ad. \"Enhancing East Asia: Experience the Japanese and Korean Galleries in a New Light.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em>, vol. 56, no. 3, May/June 2016, 22\u201323.", "page_number": "Mentioned and Reproduced: p. 22.", "url": "https://archive.org/details/CMAMM2016-03"}], "url": "https://clevelandart.org/art/1985.256", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.256/1985.256_web.jpg", "width": "307", "height": "893", "filesize": "189675", "filename": "1985.256_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.256/1985.256_print.jpg", "width": "1168", "height": "3400", "filesize": "2922604", "filename": "1985.256_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.256/1985.256_full.tif", "width": "2244", "height": "6530", "filesize": "43985648", "filename": "1985.256_full.tif"}}, "alternate_images": [{"date_created": "2010-02-03T20:49:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.256/1985.256_alt0_web.jpg", "width": "247", "height": "893", "filesize": "171501"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.256/1985.256_alt0_print.jpg", "width": "942", "height": "3400", "filesize": "2505025"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.256/1985.256_alt0_full.tif", "width": "1784", "height": "6433", "filesize": "34455064"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152428, "creators": [{"id": 23421, "description": "Fujimaro (Japanese, d. 1830)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u85e4\u9ebf", "death_year": "1830", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1805, "date_added_to_oa": null, "date_text": "c. 1810", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Man Strolling with a Boy Carrying Flowering Branch"], "is_highlight": false, "updated_at": "2026-03-27 00:08:46.427000"}, {"id": 156525, "accession_number": "1992.236", "share_license_status": "CC0", "tombstone": "Egypt, Sinai and Jerusalem: A Series of Twenty Photographic Views, with Descriptions by Mrs. Poole and Reginald Stuart Poole: Fallen Statue at the Ramesseum, Thebes, 1857. Francis Frith (British, 1822\u20131898). Albumen print from wet collodion negative; image: 38.3 x 48.2 cm (15 1/16 x 19 in.); matted: 61 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1992.236", "current_location": null, "title": "Fallen Statue at the Ramesseum, Thebes", "series": "Egypt, Sinai and Jerusalem: A Series of Twenty Photographic Views, with Descriptions by Mrs. Poole and Reginald Stuart Poole", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "albumen print from wet collodion negative", "support_materials": [], "department": "Photography", "collection": "PH - British 19th Century", "type": "Photograph", "measurements": "Image: 38.3 x 48.2 cm (15 1/16 x 19 in.); Matted: 61 x 76.2 cm (24 x 30 in.)", "dimensions": {"image": {"height": 0.383, "width": 0.482}, "matted": {"height": 0.61, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in black ink on recto of mount: \"Frith, Photo. 1857\"; \"The RAMESEUM of EL-KURNAH / Thebes - First View\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311474, "title": "Nineteenth Century Views of Egypt", "description": "<i>Nineteenth Century Views of Egypt</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 19-September 9, 1992).", "opening_date": "1992-05-19T04:00:00"}, {"id": 311552, "title": "Selected Acquisitions", "description": "<i>Selected Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 9-April 11, 1993).", "opening_date": "1993-02-09T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 202979, "title": "Pyramids & Sphinxes: Views of Egypt", "description": "<i>Pyramids & Sphinxes: Views of Egypt</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-May 24, 2016).", "opening_date": "2016-02-06T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Janet Lehr Fine Arts, East Hampton, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 7, 1992", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Francis Frith was 17 years old when photography was discovered and almost 30 when he became a photographer.", "description": "Overcoming both physical dangers and technical difficulties, Francis Frith traveled to obscure regions of the world to capture exotic images for an eager Victorian audience. Taken on the second of three trips to Egypt, this photograph was created with a mammoth plate (typically an 18-x-22-inch glass negative), which enabled the artist to capture the smallest details of a scene. Here Frith conveyed the monumentality of the ancient Egyptian sculpture by including members of his expedition in the picture. The image was published in an album containing 20 mammoth-plate views, the only published volume of Frith's large photographs and one of the first devoted to large-scale prints.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781005"], "internet_archive": ["https://archive.org/details/clevelandart-1992.236-fallen-statue-at-the"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1992.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38-79.", "page_number": "Mentioned: p. 68, no. 97; Reproduced: p. 47", "url": "www.jstor.org/stable/25161388"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Mentioned and Reproduced: P. 20-21, 177", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 10, December 1996", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM1996-10/page/4"}, {"citation": "Tannenbaum, Barbara, \u201cPyramids &amp; Sphinxes: Over the course of more than 150 years, images of Egypt's iconic landscape have ranged from awe-inspiring to cynical.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 8-10.", "page_number": "Reproduced: p. 9; Mentioned: p. 9, 10", "url": "https://archive.org/details/CMAMM2016-02/page/n3/mode/2up"}], "url": "https://clevelandart.org/art/1992.236", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.236/1992.236_web.jpg", "width": "1122", "height": "893", "filesize": "663822", "filename": "1992.236_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.236/1992.236_print.jpg", "width": "3400", "height": "2707", "filesize": "5126858", "filename": "1992.236_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.236/1992.236_full.tif", "width": "5682", "height": "4524", "filesize": "77148468", "filename": "1992.236_full.tif"}}, "alternate_images": [], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156525, "creators": [{"id": 403, "description": "Francis Frith (British, 1822\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Francis Frith British, 1822-1898\r\n\r\nFrancis Frith, best known for his views of Egypt and the Middle East, was born in Chesterfield, Derbyshire. A Quaker, he attended Ackworth School and Quaker Camp Hill School in Birmingham (about 1828-38), then apprenticed in a Sheffield cutlery house before working in a wholesale grocery business. He began photographing in 1850 and three years later helped to found the Liverpool Photographic Society.\r\n\tIn 1856 Frith embarked on an extensive tour of Egypt, traveling up the Nile from Cairo to Abu Simbel, and returning in July 1857. Inspired by this journey's success, that November he traveled again to Egypt and the Holy Land for about six months. During a third trip, in 1859-60, he voyaged up the Nile to the Sixth Cataract, farther than any photographer before him. These excursions were difficult; besides the desert heat, sand, and flies, the wet collodion process used by Frith meant traveling with numerous crates filled with cameras, chemicals, and darkroom equipment.\r\n\tThe firm of Frith & Co. was established at Reigate, Surrey, in 1860, becoming one of the most important publishers of European topographic and architectural views. It continued under the direction of his descendants for well over a century. Previously, Frith's large views had been published in London by Thomas Agnew & Sons, and James S. Virtue, and his stereographs by Negretti & Zambra. Frith's 1876 catalog included more than 4,000 views, and his works and travelogue were assembled into several albums, which sold well as souvenirs and to armchair travelers. Many of the photographs certainly were taken by operators working for him. However, a number of Frith's prints, especially his large glass plate views of Egypt and the Middle East, still astonish with their grandeur of vision. T.W.F.", "name_in_original_language": null, "birth_year": "1822", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69563, "description": "William Mackenzie", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-12-07T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:37.605000"}, {"id": 149563, "accession_number": "1979.138", "share_license_status": "CC0", "tombstone": "The Thinker, c. 1880. Auguste Rodin (French, 1840\u20131917). Bronze; overall: 70.8 x 34.9 x 59.7 cm (27 7/8 x 13 3/4 x 23 1/2 in.). The Cleveland Museum of Art, Gift of Alexandre P. Rosenberg, 1979.138", "current_location": "AAE Art All\u00e9e East", "title": "The Thinker", "creation_date": "c. 1880", "creation_date_earliest": 1875, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 70.8 x 34.9 x 59.7 cm (27 7/8 x 13 3/4 x 23 1/2 in.)", "dimensions": {"overall": {"height": 0.708, "width": 0.349, "depth": 0.597}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"id": 310227, "title": "The Persistence of Classicism in Sculpture", "description": "<i>The Persistence of Classicism in Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1988-January 15, 1989).", "opening_date": "1988-11-16T05:00:00"}, {"id": 218179, "title": "Rodin and His Contemporaries", "description": "<i>Rodin and His Contemporaries</i>. Sunrise Art Museum, Charleston, WV (organizer) (January 10-March 8, 1998).", "opening_date": "1998-01-10T00:00:00"}, {"id": 188842, "title": "Conserving the Past for the Future", "description": "<i>Conserving the Past for the Future</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-May 6, 2001).", "opening_date": "2001-03-04T00:00:00"}, {"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": 300186, "title": "Rodin-100 Years", "description": "<i>Rodin-100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 543896, "title": "Rodin\u2014100 Years", "description": "<i>Rodin\u2014100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "Alexandre P. Rosenberg, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131979", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1979\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Rodin originally conceived <em>The Thinker</em> as a depiction of the Italian poet Dante Alighieri (1265\u20131321) sitting in the upper center of a monumental sculptural doorway titled <em>The Gates of Hell</em> (below). Inspired by Dante\u2019s description of a journey through the underworld in his epic poem <em>The Divine Comedy</em> (about 1320), <em>The Thinker</em> contemplates mankind\u2019s fate while gazing at a host of damned figures writhing in anguish below. Stripped of clothing, the figure\u2019s rippling muscles convey an inner, animating life force symbolic of mental activity or creative effort. The figure leans forward, as if ready to spring from his perch, yet seems simultaneously caught in the inaction of deep thought. Rodin produced independent versions of <em>The Thinker</em>, first in this original size and later in a monumental version.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930904"], "internet_archive": ["https://archive.org/details/clevelandart-1979.138-the-thinker"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "p. 97, cat. no. 88, repr. p. 76.", "url": "www.jstor.org/stable/25159667."}], "url": "https://clevelandart.org/art/1979.138", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.138/1979.138_web.jpg", "width": "600", "height": "893", "filesize": "297437", "filename": "1979.138_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.138/1979.138_print.jpg", "width": "2286", "height": "3400", "filesize": "4478260", "filename": "1979.138_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.138/1979.138_full.tif", "width": "3936", "height": "5855", "filesize": "69166584", "filename": "1979.138_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt0_web.jpg", "width": "679", "height": "893", "filesize": "454512"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt0_print.jpg", "width": "1536", "height": "2020", "filesize": "2467467"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt0_full.tif", "width": "1536", "height": "2020", "filesize": "9311572"}}, {"date_created": "2009-01-27T19:35:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt1_web.jpg", "width": "712", "height": "893", "filesize": "343314"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt1_print.jpg", "width": "2709", "height": "3400", "filesize": "5177960"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt1_full.tif", "width": "4565", "height": "5730", "filesize": "78503712"}}, {"date_created": "2009-01-27T19:59:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt2_web.jpg", "width": "785", "height": "893", "filesize": "415657"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt2_print.jpg", "width": "2988", "height": "3400", "filesize": "6715248"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt2_full.tif", "width": "", "height": "", "filesize": ""}}, {"date_created": "2009-01-27T20:14:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt3_web.jpg", "width": "821", "height": "893", "filesize": "405676"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt3_print.jpg", "width": "3127", "height": "3400", "filesize": "6563415"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt3_full.tif", "width": "4705", "height": "5116", "filesize": "72244288"}}, {"date_created": "2009-01-27T20:30:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt4_web.jpg", "width": "742", "height": "893", "filesize": "368426"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt4_print.jpg", "width": "2825", "height": "3400", "filesize": "5567465"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.138/1979.138_alt4_full.tif", "width": "4015", "height": "4832", "filesize": "58233056"}}], "creditline": "Gift of Alexandre P. Rosenberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Laura and Alvin A. Siegal All\u00e9e", "athena_id": 149563, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:31.642000"}, {"id": 136514, "accession_number": "1960.85", "share_license_status": "CC0", "tombstone": "The Fall of the Angels, c. 1890\u20131900. Auguste Rodin (French, 1840\u20131917). Marble; overall: 53.5 x 69.9 x 40.6 cm (21 1/16 x 27 1/2 x 16 in.). The Cleveland Museum of Art, Gift of Carrie Moss Halle in memory of Salmon Portland Halle, 1960.85", "current_location": "218 European Sculpture", "title": "The Fall of the Angels", "creation_date": "c. 1890\u20131900", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["France, late 19th-early 20th Century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 53.5 x 69.9 x 40.6 cm (21 1/16 x 27 1/2 x 16 in.)", "dimensions": {"overall": {"height": 0.535, "width": 0.699, "depth": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed under dexter wing of male figure:  A. Rodin.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 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": 200271, "title": "Picasso and the Mysteries of Life: La Vie", "description": "<i>Picasso and the Mysteries of Life: La Vie</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2012-April 21, 2013).", "opening_date": "2012-12-12T05:00:00"}, {"id": 300186, "title": "Rodin-100 Years", "description": "<i>Rodin-100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 543896, "title": "Rodin\u2014100 Years", "description": "<i>Rodin\u2014100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Salmon P. Halle, Shaker Heights, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The entwined couple in this sculpture recalls the figures on Rodin\u2019s monumental doorway <em>The Gates of Hell</em>. Struck by Dante Alighieri\u2019s descriptions of the damned suffering in hell because of their sins of the flesh, Rodin populated his portal with embracing lovers symbolic of carnal desire and sensual pleasure. Here, a winged figure alludes to the biblical account of the angels who were cast out of Heaven after siding with Satan (Revelation 12:4). Rodin preferred marble for erotic subjects. The juxtaposition between the smooth, sensual surfaces of the figures and the rough-hewn areas below gives the impression that the couple is blossoming into life from hard, lifeless stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762432"], "internet_archive": ["https://archive.org/details/clevelandart-1960.85-the-fall-of-the-ange"]}, "citations": [{"citation": "Lee, Sherman E. \"Year in Review.\" <em>The Bulletin of the Cleveland Museum of Art</em> 52, no. 9 (1965): 124-57.", "page_number": "p. 152, no. 17 as \"Fall of Icarus\"", "url": "www.jstor.org/stable/25152069."}, {"citation": "Tacha, Athena. <em>Rodin Sculpture in the Cleveland Museum of Art.</em> Cleveland: The Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 100, cat. no. XVII; Reproduced: p. 72, Plate 88", "url": "https://archive.org/details/RodinSculpture/page/n114"}], "url": "https://clevelandart.org/art/1960.85", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.85/1960.85_web.jpg", "width": "1150", "height": "893", "filesize": "453529", "filename": "1960.85_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.85/1960.85_print.jpg", "width": "3400", "height": "2641", "filesize": "3757178", "filename": "1960.85_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.85/1960.85_full.tif", "width": "4957", "height": "3850", "filesize": "57283428", "filename": "1960.85_full.tif"}}, "alternate_images": [{"date_created": "2005-10-31T21:45:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt0_web.jpg", "width": "773", "height": "893", "filesize": "301305"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt0_print.jpg", "width": "2942", "height": "3400", "filesize": "3951622"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt0_full.tif", "width": "3243", "height": "3748", "filesize": "36494276"}}, {"date_created": "2005-10-31T21:28:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt1_web.jpg", "width": "1140", "height": "893", "filesize": "453944"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt1_print.jpg", "width": "3400", "height": "2664", "filesize": "4008401"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt1_full.tif", "width": "4780", "height": "3745", "filesize": "53733292"}}, {"date_created": "2005-10-31T21:54:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt2_web.jpg", "width": "697", "height": "893", "filesize": "291608"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt2_print.jpg", "width": "2655", "height": "3400", "filesize": "3828002"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.85/1960.85_alt2_full.tif", "width": "2904", "height": "3719", "filesize": "32429764"}}], "creditline": "Gift of Carrie Moss Halle in memory of Salmon Portland Halle", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 136514, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1890\u20131900", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:13.315000"}, {"id": 151714, "accession_number": "1984.11", "share_license_status": "CC0", "tombstone": "Casement Window, c. 1904. Designed by Frank Lloyd Wright (American, 1867\u20131959), made by Linden Glass Co. (American). Leaded glass panes in metal frame; overall: 105.1 x 28.5 cm (41 3/8 x 11 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1984.11", "current_location": "208 American Gilded Age and Realism", "title": "Casement Window", "creation_date": "c. 1904", "creation_date_earliest": 1899, "creation_date_latest": 1909, "artists_tags": ["male", "gender unknown"], "culture": ["America, Illinois, Chicago, 20th century"], "technique": "leaded glass panes in metal frame", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 105.1 x 28.5 cm (41 3/8 x 11 1/4 in.)", "dimensions": {"overall": {"height": 1.051, "width": 0.285}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}, {"id": 310042, "title": "Images of the Mind", "description": "<i>Images of the Mind</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 7-August 30, 1987).", "opening_date": "1987-07-07T04:00:00"}, {"id": 215403, "title": "The Arts and Crafts Movement in Europe and America, 1880-1920: Design for the Modern World", "description": "<i>The Arts and Crafts Movement in Europe and America, 1880-1920: Design for the Modern World</i>. The Cleveland Museum of Art, Cleveland, OH (October 16, 2005-January 8, 2006).", "opening_date": "2005-10-16T00:00:00"}, {"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": "Los Angeles: Los Angeles County Museum of Art (12/19/04-4/3/05); Milwaukee, WI: Milwaukee Art Museum (5/19-9/5/05); Cleveland: Cleveland Museum of Art (10/16/05-1/8/06): \"The Arts &amp; Crafts Movement in Europe and America: Design for the Modern World\"", "opening_date": "2004-12-19T00:00:00"}, {"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. 56, p. 118, color repr. p. 41.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "From the Darwin D. Martin House, Buffalo, New York, 1905; private collection, removed from the house c. 1945; (Robert Schoelkopf Gallery, New York).", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This window was made for the Darwin D. Martin House built in Buffalo, New York, in 1905.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757188"], "internet_archive": ["https://archive.org/details/clevelandart-1984.11-casement-window"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1984.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 2 (April 1985): 163\u2013207.", "page_number": "Mentioned: p. 203, no. 91; Reproduced: p. 189", "url": "http://www.jstor.org/stable/25159897"}, {"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. 41, no. 56", "url": ""}], "url": "https://clevelandart.org/art/1984.11", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.11/1984.11_web.jpg", "width": "459", "height": "893", "filesize": "224660", "filename": "1984.11_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.11/1984.11_print.jpg", "width": "1749", "height": "3400", "filesize": "2924517", "filename": "1984.11_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.11/1984.11_full.tif", "width": "3359", "height": "6529", "filesize": "65846928", "filename": "1984.11_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 151714, "creators": [{"id": 10428, "description": "Frank Lloyd Wright (American, 1867\u20131959)", "extent": "designed by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1867", "death_year": "1959", "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 16773, "description": "Linden Glass Co. (American)", "extent": "made by", "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1984-03-26T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "c. 1904", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:35.874000"}, {"id": 112818, "accession_number": "1931.426", "share_license_status": "CC0", "tombstone": "Mother-and-Child Figure, late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo, Pende-style maker. Wood, glass beads, upholstery studs, natural fiber, and pigment; overall: 53.4 x 13.1 x 14.6 cm (21 x 5 3/16 x 5 3/4 in.). The Cleveland Museum of Art, Gift of the African Art Sponsors of Karamu House, 1931.426", "current_location": null, "title": "Mother-and-Child Figure", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Pende-style maker"], "technique": "Wood, glass beads, upholstery studs, natural fiber, and pigment", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 53.4 x 13.1 x 14.6 cm (21 x 5 3/16 x 5 3/4 in.)", "dimensions": {"overall": {"height": 0.534, "width": 0.131, "depth": 0.146}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 518209, "title": "African Art", "description": "<i>African Art</i>. Karamu House, Cleveland, OH (organizer) (March 1-May 30, 1960).", "opening_date": "1960-03-01T05:00:00"}, {"id": 184501, "title": "Object in Focus:  Mother and Child Figure, 19th-early 20th century; Democratic Republic of the Congo, Mbala people (wood, beads; 1931.426)", "description": "<i>Object in Focus:  Mother and Child Figure, 19th-early 20th century; Democratic Republic of the Congo, Mbala people (wood, beads; 1931.426)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 24, 2002).", "opening_date": "2002-09-17T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio: Karamu House, March 1 - May 30, 1960: \"African Art.\"", "opening_date": "1960-03-01T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; September 17- November 24, 2002.  \" Object in Focus:  Mother and Child Figure, 19th-early 20th century; 1931.426.\"", "opening_date": "2002-09-17T00:00:00"}]}, "provenance": [{"description": "Edgar Gustave \"Guillaume\" de Hondt, Brussels (?\u20131952)", "citations": [], "footnotes": ["<div><!--block-->Name previously misspelled in records as Guillaume de Hondat</div>", "<div><!--block-->\"Purchased by African Art Sponsors Fund, 11/25/31, from Guillaume de Hondat.\" Index card dated 9/2/31, CMA Curatorial File.</div>"], "date": "?\u20131931", "sortorder": 1}, {"description": "The African Art Sponsors of Karamu House", "citations": [], "footnotes": null, "date": "1931", "sortorder": 2}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1931\u2014", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Eastern Pende carvers also once made larger mother-and-child sculptures to adorn the tops of chiefs' ritual houses.", "description": "Wearing an elaborate lobed headdress and a beaded waistbelt, and having filed teeth and red-powdered skin, this maternity figure seems to have once carried an ax and a cup, wooden imitations of the two most important chiefly attributes. Perhaps together with a male counterpart, it was secretly kept inside the ritual house, serving as a guardian of the chief\u2019s treasure. Its style places it in the westernmost corner of Pendeland, between the Lutshima and Kwilu rivers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005243"], "internet_archive": ["https://archive.org/details/clevelandart-1931.426-mother-and-child-fig"]}, "citations": [{"citation": "Wixom, William D. \"African Art in the Cleveland Museum of Art.\" African Arts 10, no. 3 (1977): 16-25, 88, pp. 16-24, repr., fig. 10 (center).", "page_number": "", "url": ""}, {"citation": "\"Three Pieces of Negro Sculpture.\" <em>The Bulletin of the Cleveland Museum of Art </em>19, no. 3 (March 1932): 38-39.", "page_number": "Mentioned: p. 38-39", "url": "https://www.jstor.org/stable/25137461"}, {"citation": "Petridis, Constantine. \u201cMbala, Tsaam, or Kwilu Pende? A Mother-and-Child Figure from the Kwango-Kwilu Region of the Democratic Republic of the Congo.\u201d <em>Cleveland Studies in the History of Art</em> 7 (2002): 126\u2013141.", "page_number": "Mentioned and Reproduced: p. 126-127, fig. 1", "url": "http://www.jstor.org/stable/20079722"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 37, p. 104 - 105", "url": ""}, {"citation": "Cole, Herbert M. <em>Maternity: Mothers and Children in the Arts of Africa</em>. <br> Brussels : Mercatorfonds, 2017", "page_number": "Reproduced and mentioned: pp. 150-151, fig. 126", "url": null}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display.</em> Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 111.", "url": null}], "url": "https://clevelandart.org/art/1931.426", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.426/1931.426_web.jpg", "width": "534", "height": "893", "filesize": "211243", "filename": "1931.426_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.426/1931.426_print.jpg", "width": "2035", "height": "3400", "filesize": "3262675", "filename": "1931.426_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.426/1931.426_full.tif", "width": "3678", "height": "6144", "filesize": "67814080", "filename": "1931.426_full.tif"}}, "alternate_images": [{"date_created": "2009-06-10T14:20:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt0_web.jpg", "width": "507", "height": "893", "filesize": "199539"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt0_print.jpg", "width": "1929", "height": "3400", "filesize": "3083211"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt0_full.tif", "width": "3486", "height": "6144", "filesize": "64275040"}}, {"date_created": "2009-06-10T14:17:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt1_web.jpg", "width": "535", "height": "893", "filesize": "212477"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt1_print.jpg", "width": "2038", "height": "3400", "filesize": "3262380"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt1_full.tif", "width": "3654", "height": "6096", "filesize": "66845440"}}, {"date_created": "2009-06-10T14:19:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt2_web.jpg", "width": "546", "height": "893", "filesize": "211333"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt2_print.jpg", "width": "2078", "height": "3400", "filesize": "3323551"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt2_full.tif", "width": "3726", "height": "6096", "filesize": "68162168"}}, {"date_created": "2009-06-10T14:18:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt3_web.jpg", "width": "546", "height": "893", "filesize": "223222"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt3_print.jpg", "width": "2078", "height": "3400", "filesize": "3383531"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt3_full.tif", "width": "3726", "height": "6096", "filesize": "68162176"}}, {"date_created": "2009-06-10T14:17:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt4_web.jpg", "width": "556", "height": "893", "filesize": "211216"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt4_print.jpg", "width": "2118", "height": "3400", "filesize": "3312551"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.426/1931.426_alt4_full.tif", "width": "3798", "height": "6096", "filesize": "69478912"}}], "creditline": "Gift of the African Art Sponsors of Karamu House", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112818, "creators": [], "legal_status": "accessioned", "accession_date": "1931-11-25T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:06.562000"}, {"id": 127812, "accession_number": "1950.455", "share_license_status": "CC0", "tombstone": "Yvette Guilbert, c. 1894. Henri de Toulouse-Lautrec (French, 1864\u20131901). Black crayon; framed: 135.2 x 73 cm (53 1/4 x 28 3/4 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1950.455", "current_location": null, "title": "Yvette Guilbert", "creation_date": "c. 1894", "creation_date_earliest": 1889, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black crayon", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Framed: 135.2 x 73 cm (53 1/4 x 28 3/4 in.)", "dimensions": {"framed": {"height": 1.352, "width": 0.73}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, in black crayon, at upper right: TLautrec; initialed (monogram), in black crayon at right center.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300857, "title": "Art: The International Language", "description": "<i>Art: The International Language</i>. The Cleveland Museum of Art (October 2-November 4, 1956).", "opening_date": "1956-10-02T04:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 301701, "title": "The Artist and the Theater", "description": "<i>The Artist and the Theater</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-September 12, 1960).", "opening_date": "1960-04-05T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. Cornelius Sullivan, New York", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "Leonard C. Hanna, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1950", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1950-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Yvette Guilbert's cabaret act was centered on the distinctive long black gloves that she wore during performances.", "description": "This drawing depicts Yvette Guilbert, a popular Parisian cabaret performer who was the subject of numerous prints, posters, drawings, and paintings by Henri de Toulouse-Lautrec. Here, Lautrec began to work out the composition of a poster that Guilbert commissioned from him to publicize her upcoming season at Les Ambassadeurs, a popular night club. A more finished study is part of the collection of the Mus\u00e9e Toulouse-Lautrec in Albi, France, but the poster itself was never realized after Guilbert rejected the design as unflattering.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79908106"], "internet_archive": ["https://archive.org/details/clevelandart-1950.455-yvette-guilbert"]}, "citations": [{"citation": "\"Accessions of American and Canadian Museums, April - June 1953.\" <em>Art Quarterly</em> 16, no. 4 (Winter 1953): 346-365.", "page_number": "Mentioned: p. 353", "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: no. 604", "url": "https://archive.org/details/CMAHandbook1958/page/n4/mode/2up"}, {"citation": "Milliken, William. <em>In Memoriam: Leonard C. Hanna, Jr. </em>Cleveland: Cleveland Museum of Art, 1958.", "page_number": "Mentioned and reproduced: no. 131", "url": null}, {"citation": "Dortu, M. G. <em>Toulouse-Lautrec et son oeuvre</em>. New York: Collectors Editions, 1971.", "page_number": "Mentioned: p. 604, D.e.639; Reproduced: p. 605", "url": null}, {"citation": "<em>Toulouse-Lautrec</em>. Exh. Cat. London: Hayward Gallery, 1991.", "page_number": "Mentioned and reproduced: p. 328", "url": null}, {"citation": "Frangne, Pierre-Henry, and Patricia Plaud-Dilhuit. Gustave Geffroy au coeur de la vie artistique francaise 1880-1926. <br>Rennes : Presses Universitaires de Rennes , 2024.", "page_number": "Reproduced: plate II of color plate section", "url": ""}], "catalogue_raisonne": "Dortu D.3.639", "url": "https://clevelandart.org/art/1950.455", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1950.455/1950.455_web.jpg", "width": "491", "height": "900", "filesize": "167100", "filename": "1950.455_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1950.455/1950.455_print.jpg", "width": "1853", "height": "3400", "filesize": "1650642", "filename": "1950.455_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1950.455/1950.455_full.tif", "width": "6847", "height": "12564", "filesize": "258102440", "filename": "1950.455_full.tif"}}, "alternate_images": [], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127812, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1950-12-28T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "c. 1894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:40.633000"}, {"id": 153388, "accession_number": "1986.73", "share_license_status": "CC0", "tombstone": "View of Bordeaux, from the Quai des Chartrons, 1874. Eug\u00e8ne Boudin (French, 1824\u20131898). Oil on fabric; framed: 80.5 x 115.5 x 10 cm (31 11/16 x 45 1/2 x 3 15/16 in.); unframed: 54.7 x 89.5 cm (21 9/16 x 35 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund and Gift of Mrs. Dudley S. Blossom Jr., 1986.73", "current_location": null, "title": "View of Bordeaux, from the Quai des Chartrons", "creation_date": "1874", "creation_date_earliest": 1874, "creation_date_latest": 1874, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 80.5 x 115.5 x 10 cm (31 11/16 x 45 1/2 x 3 15/16 in.); Unframed: 54.7 x 89.5 cm (21 9/16 x 35 1/4 in.)", "dimensions": {"framed": {"height": 0.805, "width": 1.155, "depth": 0.1}, "unframed": {"height": 0.547, "width": 0.895}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: E. Boudin / Bordeaux 1874\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}], "legacy": [{"description": "<em>Exposition des oeuvres d'Eug\u00e8ne Boudin.</em> \u00c9cole des Beaux-Arts, Paris, France (1899).", "opening_date": null}]}, "provenance": [{"description": "(Boudin sale, H\u00f4tel Drouot, Paris, Feb. 28, 1877, no. 30) 1", "citations": [], "footnotes": ["<div><!--block-->1 A painting titled \"Vue de Bordeaux\" that matches the dimensions of the Cleveland picture appears in this sale of works by Boudin.</div>"], "date": null, "sortorder": 1}, {"description": "Aur\u00e9lien Scholl [1833-1902], Paris 1", "citations": [], "footnotes": ["<div><!--block-->1 Scholl was the lender of the Cleveland picture to a Boudin exhibition at the \u00c9cole des Beaux-Arts in 1899.</div>"], "date": null, "sortorder": 2}, {"description": "(Sale, H\u00f4tel Drouot, Paris, June 17, 1921 (no. 52), probably sold to Galerie Allard & No\u00ebl)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Probably Galerie Allard & No\u00ebl, Paris) 1", "citations": [], "footnotes": ["<div><!--block-->1 The annotated copy of this catalogue held by H\u00f4tel Drouot indicates that the buyer of the Boudin was \u201cAllard.\u201d&nbsp; This notation likely refers to Galerie Allard et No\u00ebl, Paris, which appears in the provenances of several other paintings by Boudin, including one currently in the Museum of Fine Arts, Boston (67.906).&nbsp; Schmit\u2019s Boudin catalogue raisonn\u00e9 lists \u201cG\u00e9rard, Paris\u201d following the 1921 sale in this painting\u2019s provenance.&nbsp; G\u00e9rard may refer to F\u00e9lix G\u00e9rard, a dealer who lent a Boudin to the 1899 exhibition in which the CMA painting appears.&nbsp; More likely, \u201cG\u00e9rard\u201d may be Raphael G\u00e9rard, a dealer who held a Boudin retrospective exhibition in 1937 and who bought and sold a number of works by the artist.&nbsp; Raphael G\u00e9rard also appears following Galerie Allard &amp; No\u00ebl in the provenance of a Boudin currently at the MFA Boston. Although this connection between Allard &amp; No\u00ebl and Raphael G\u00e9rard does strongly suggest that the Cleveland picture passed through the latter\u2019s hands, no primary documentation has been found that situates the painting with <em>any </em>dealer or collector by the name of G\u00e9rard.&nbsp; Following G\u00e9rard, Schmit includes Galerie Abels, Cologne, in the provenance, but again, thus far no confirmation that this dealer had the CMA painting has been located.</div>"], "date": null, "sortorder": 4}, {"description": "(E. J. van Wisselingh & Co., Amsterdam) 1", "citations": [], "footnotes": ["<div><!--block-->1 The CMA painting is no. 4 in the 1950 van Wisselingh &amp; Co. exhibition, <em>Mai\u0302tres franc\u0327ais XIXme et XXme sie\u0300cles.&nbsp; </em>Following van Wisselingh, the Schmit catalogue raisonn\u00e9 lists dealer C. R. A. van Stolk, from Bergen, the Netherlands; no documentation of his involvement in the sale of the Cleveland Boudin has been found to date.&nbsp;</div>"], "date": null, "sortorder": 5}, {"description": "Private collection, Washington, D.C., to Wildenstein & Co.", "citations": [], "footnotes": [], "date": null, "sortorder": 6}, {"description": "(Wildenstein & Co., New York, sold to Emily Blossom)", "citations": [], "footnotes": [], "date": null, "sortorder": 7}, {"description": "Emily Blossom [1913-1991], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": null, "sortorder": 8}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": null, "sortorder": 9}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Pentimenti</em>, the visible trace of earlier painting, appears among the diagonal rigging of the small ship at the left, indicating that the artist did not thoroughly work out his composition before beginning his picture and slightly changed the position of these lines while painting.", "description": "In 1873, Boudin made his first visit to the important port city of Bordeaux as a guest of the resident art collector Arthur Bourges. Between 1874 and 1876, Boudin made paintings of the city's harbor and docks. This was an especially stimulating time in Boudin's career, as he was invited to exhibit in 1874 with the newly-founded Soci\u00e9t\u00e9 anonyme des artistes, soon to be known as the Impressionists. As in many of his views, Boudin concentrated here on the quais or working docks where goods were loaded and unloaded and sailors left in small dinghies for the larger vessels on which they worked. The low horizon line relegates much of the canvas to pure sky, but the soaring vertical and diagonal forms of the masts complement this horizontal thrust and open space. Many contemporaries greatly admired Boudin's ability to paint skies. Here, one can see the way in which he brushed on a tan color, then went over it, probably while it was still wet, with a thin but opaque application of white, to create a fresh, airy quality. For the darker areas representing water, Boudin laid in an olive-green tone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475908"], "internet_archive": ["https://archive.org/details/clevelandart-1986.73-view-of-bordeaux-fro"]}, "citations": [{"citation": "Joseph Baillio, letter to Roger Diederen, Sept. 9, 1996, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Joseph Baillio, letter to Roger Diederen, Sept. 9, 1996, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "E.J. van Wisselingh &amp; co. <em>Mai\u0302tres franc\u0327ais XIXme et XXme sie\u0300cles, 17 juillet-9 septembre 1950</em>. Amsterdam: E.J. Van Wisselingh &amp; Co, 1950.", "page_number": null, "url": null}, {"citation": "Schmit, Robert. <em>Euge\u0300ne Boudin, 1824-1898</em>. Paris: Schmit, 1973.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes</em>. June 17, 1921.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes</em>. June 17, 1921.", "page_number": null, "url": null}, {"citation": "<em>Exposition des oeuvres d'Euge\u0300ne Boudin, du 9 au 30 janvier 1899... </em>[Paris], Ecole des beaux-arts. Paris (64 rue Amelot): Typ. Morris pe\u0300re &amp; fils, 1899.", "page_number": null, "url": null}, {"citation": "Schmit, Robert. <em>Euge\u0300ne Boudin, 1824-1898</em>. Paris: Schmit, 1973.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes, aquarelles, dessins</em>. Feb. 28, 1877.", "page_number": null, "url": null}, {"citation": "Coe, Nancy. <em>The History of the Collecting of European Paintings and Drawings in the City of Cleveland</em>. Thesis M.A. Oberlin College, 1955.", "page_number": "Reproduced: v. 2, p. 6", "url": null}, {"citation": "Schmit, Robert. <em>Euge\u0300ne Boudin, 1824-1898</em>. Paris, France: Schmit, 1973.", "page_number": "Reproduced: p. 968, vol I", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review for 1986.\" The Bulletin of The Cleveland Museum of Art LXXIV, no.2 (February, 1986): 38-79.", "page_number": "Reproduced: p. 53; Mentioned: p. 52, p. 62, no. 31", "url": null}, {"citation": "Chong, Alan.<em> European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogu</em>e. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 20", "url": null}, {"citation": "D' Argencourt, Louis, and Roger Diederen. <em>Catalogue of Paintings.  Pt. 4. European Paintings of the 19th Century. </em> Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: v. 1, p. 70-72", "url": null}, {"citation": "Brady, Peter. <em>The Spirit of Impressionism</em>. London, United Kingdom: Richard Green, 2003.", "page_number": "Reproduced: pl. 3", "url": null}, {"citation": "Brady, Peter. <em>The Spirit of Impressionism.</em> London: Richard Green, 2003.", "page_number": "Reproduced: pl. 3", "url": null}, {"citation": "<em>Suivre Les Nuages Le Pinceau \u00c0 La Main: Correspondances, 1861-1898 d\u2019Eug\u00e8ne Boudin</em>. Edited by Laurent Manoeuvre and Archives Durand-Ruel. [Strasbourg]: L\u2019Atelier contemporain, Fran\u00e7ois-Marie Deyrolle \u00e9diteur, 2025.", "page_number": "Reproduced: p. 31 color plate section", "url": ""}], "url": "https://clevelandart.org/art/1986.73", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.73/1986.73_web.jpg", "width": "1263", "height": "761", "filesize": "678813", "filename": "1986.73_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.73/1986.73_print.jpg", "width": "3400", "height": "2049", "filesize": "5278890", "filename": "1986.73_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.73/1986.73_full.tif", "width": "6090", "height": "3670", "filesize": "67083488", "filename": "1986.73_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.73/1986.73_alt0_web.jpg", "width": "1263", "height": "761", "filesize": "825369"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.73/1986.73_alt0_print.jpg", "width": "2048", "height": "1234", "filesize": "2215460"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.73/1986.73_alt0_full.tif", "width": "2048", "height": "1234", "filesize": "7584348"}}], "creditline": "John L. Severance Fund and Gift of Mrs. Dudley S. Blossom Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153388, "creators": [{"id": 1568, "description": "Eug\u00e8ne Boudin (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre. <br>1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42. <br>2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23. <br>3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville. <br>4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-11-19T00:00:00", "sortable_date": 1874, "date_added_to_oa": null, "date_text": "1874", "collapse_artists": false, "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": "2026-03-27 00:01:20.906000"}, {"id": 119728, "accession_number": "1940.563", "share_license_status": "CC0", "tombstone": "Descent into the Plain of Granada, 1834. David Roberts (Scottish, 1796\u20131864). Watercolor with gouache, scratch-away, and graphite; sheet: 23.2 x 32.5 cm (9 1/8 x 12 13/16 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.563", "current_location": null, "title": "Descent into the Plain of Granada", "creation_date": "1834", "creation_date_earliest": 1834, "creation_date_latest": 1834, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with gouache, scratch-away, and graphite", "support_materials": [{"description": "off-white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 23.2 x 32.5 cm (9 1/8 x 12 13/16 in.)", "dimensions": {"sheet": {"height": 0.232, "width": 0.325}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in brown watercolor, at lower left: D. Roberts 1834", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 301852, "title": "Water Colors from the Museum Collection", "description": "<i>Water Colors from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (July 23-September 16, 1973).", "opening_date": "1973-07-23T04:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(sale, Victor G. Fischer Company Collection, Anderson Galleries, New York, February 19, 1912, no. 656)", "citations": [], "footnotes": null, "date": "1912", "sortorder": 1}, {"description": "James Parmelee [1855-1931], Washington, DC, by descent to Alice Maury Parmelee", "citations": [], "footnotes": null, "date": "?-1931", "sortorder": 2}, {"description": "Alice Maury Parmelee [1866-1940], Washington, DC, bequeathed to the Cleveland Museum of Art, Cleveland, OH through the Estate of James Parmelee", "citations": [], "footnotes": null, "date": "1931-1940", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1940-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was reproduced as a wood engraving in Roscoe's first volume, <em>The Tourist in Spain: Granada</em>.", "description": "Later celebrated for his topographical landscapes of the Middle East, David Roberts\u2019s first extended trip abroad was in 1832 when he traveled through France to Spain over a period of 10 months. This watercolor records a scene from Roberts\u2019s journey from Madrid to Andalusia. He described the trip in a letter to his sister: \"I jogged on a considerable part of the way on foot, happy and contented. Granada is in the most beautiful situation that can be imagined. It lies at the foot of a ridge of high mountains, called the Sierra Nevada, or the Mountains of Snow.\" Replete with burdened mules, a lone figure on foot, and sun-drenched mountains with a view of Granada in the distance, this watercolor vividly illustrates the artist\u2019s recollections.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80014912"], "internet_archive": ["https://archive.org/details/clevelandart-1940.563-descent-into-the-pla"]}, "citations": [{"citation": "Roscoe, Thomas. <em>The Tourist in Spain: Granada, Illustrated from Drawings by David Roberts</em>. London: Robert Jennings, 1835.", "page_number": "Mentioned: pp. 43-45; Reproduced: pl. 43", "url": "https://hdl.handle.net/2027/yale.39002007497259"}, {"citation": "Francis, Henry S. \"The Bequest of James Parmelee.\" <em>Bulletin of the Cleveland Museum of Art</em> 28, no. 2 (February 1941): 15-27, 31.", "page_number": "Mentioned: p. 17", "url": "https://www.jstor.org/stable/25140904"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 76-77, 148, no. 24; Reproduced: p. 77", "url": null}], "url": "https://clevelandart.org/art/1940.563", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.563/1940.563_web.jpg", "width": "1237", "height": "893", "filesize": "217481", "filename": "1940.563_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.563/1940.563_print.jpg", "width": "3400", "height": "2454", "filesize": "1508976", "filename": "1940.563_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.563/1940.563_full.tif", "width": "6229", "height": "4497", "filesize": "84094768", "filename": "1940.563_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.563/1940.563_alt0_web.jpg", "width": "1249", "height": "893", "filesize": "885481"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.563/1940.563_alt0_print.jpg", "width": "3400", "height": "2430", "filesize": "5988426"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.563/1940.563_alt0_full.tif", "width": "5000", "height": "3574", "filesize": "53639112"}}, {"date_created": "2010-04-15T19:35:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.563/1940.563_alt1_web.jpg", "width": "1243", "height": "893", "filesize": "891232"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.563/1940.563_alt1_print.jpg", "width": "3400", "height": "2443", "filesize": "7046832"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.563/1940.563_alt1_full.tif", "width": "5847", "height": "4202", "filesize": "73737072"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119728, "creators": [{"id": 1474, "description": "David Roberts (Scottish, 1796\u20131864)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1796", "death_year": "1864", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Spanish Mountain Landscape"], "is_highlight": false, "updated_at": "2026-03-27 00:00:12.083000"}, {"id": 143983, "accession_number": "1968.357", "share_license_status": "CC0", "tombstone": "Rue Damiette, Rouen, c. 1884. Camille Pissarro (French, 1830\u20131903). Black chalk and watercolor on wove paper; sheet: 29.2 x 22.7 cm (11 1/2 x 8 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1968.357", "current_location": null, "title": "Rue Damiette, Rouen", "creation_date": "c. 1884", "creation_date_earliest": 1879, "creation_date_latest": 1889, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 19th century"], "technique": "black chalk and watercolor on wove paper", "support_materials": [{"description": "Whatman wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 29.2 x 22.7 cm (11 1/2 x 8 15/16 in.)", "dimensions": {"sheet": {"height": 0.292, "width": 0.227}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, across bottom, in black crayon: C Pissarro   Rue  Daumiette  \u00e0  Rouen; watermark: JWhatman / Turkeyhill", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 443703, "title": "From Delacroix to Cezanne: French Watercolor Landscapes of the Nineteenth Century", "description": "<i>From Delacroix to Cezanne: French Watercolor Landscapes of the Nineteenth Century</i>. Art Gallery, University of Maryland at College Park, College Park, MD (organizer) (October 26-December 4, 1977); Speed Art Museum, Louisville, KY (January 9-February 19, 1978); University of Michigan Museum of Art, Ann Arbor, MI (April 1-May 14, 1978).", "opening_date": "1977-10-26T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}], "legacy": [{"description": "<em>Exhibition of Modern French Paintings, Water Colors and Drawings</em>. C.W. Kraushaar Art Galleries, New York (October 8-22, 1927).", "opening_date": "1927-10-08T05:00:00Z"}]}, "provenance": [{"description": "Mr. and Mrs. Lewis B. Williams, Cleveland, OH, donated to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": ["<div><!--block-->Loaned by Williams to an October 1927 exhibition at Kraushaar Art Galleries, New York.</div>"], "date": "Before 1927-1968", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1968-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Because of its picturesque qualities, Rouen's rue Damiette has served as a subject for numerous artists.", "description": "This drawing was created during an early trip of many that Camille Pissarro took to Rouen, a port city in northern France. It inspired the artist to create a virtually identical etching around the same time, and may have served as a preparatory sketch for that work. A founding member of the Impressionist group, Pissarro spent much of his career painting the rural and landscape outdoors and paid particular attention to the effects of weather and natural light. Here, the gray skies over the town echo the muted tone of the stone buildings that occupy a quiet side street.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80044627"], "internet_archive": ["https://archive.org/details/clevelandart-1968.357-rue-damiette-rouen"]}, "citations": [{"citation": "<em> Exhibition of Modern French Paintings, Water Colors and Drawings</em>. Exh. Cat. New York: C.W. Kraushaar Art Galleries, 1927.", "page_number": "Mentioned: no. 50", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1969.\" <em>The Bulletin of the Cleveland Museum of Art</em> 57, no. 1 (1970): 2-50.", "page_number": "Mentioned: p. 49; Reproduced: p. 49, no. 180", "url": "http://www.jstor.org/stable/25152307"}, {"citation": "De Leiris, Alain, and Carol Hynning Smith. <em>From Delacroix to Cezanne: French Watercolor Landscapes of the Nineteenth Century</em>. Exh. Cat. College Park, Md.: University of Maryland, 1977.", "page_number": "Mentioned: p. 183; Reproduced: p. 77, no. 132", "url": null}], "url": "https://clevelandart.org/art/1968.357", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1968.357/1968.357_web.jpg", "width": "695", "height": "893", "filesize": "526246", "filename": "1968.357_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1968.357/1968.357_print.jpg", "width": "2645", "height": "3400", "filesize": "3083889", "filename": "1968.357_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1968.357/1968.357_full.tif", "width": "4254", "height": "5468", "filesize": "69827440", "filename": "1968.357_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143983, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-01-22T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "c. 1884", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:16.072000"}, {"id": 154218, "accession_number": "1988.36", "share_license_status": "Copyrighted", "tombstone": "Knitting in the Library, c. 1881. Mary Cassatt (American, 1844\u20131926). Softground etching and aquatint; platemark: 27.8 x 21.7 cm (10 15/16 x 8 9/16 in.); sheet: 36.5 x 27.8 cm (14 3/8 x 10 15/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1988.36", "current_location": null, "title": "Knitting in the Library", "creation_date": "c. 1881", "creation_date_earliest": 1876, "creation_date_latest": 1886, "artists_tags": ["female"], "culture": ["America"], "technique": "softground etching and aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 27.8 x 21.7 cm (10 15/16 x 8 9/16 in.); Sheet: 36.5 x 27.8 cm (14 3/8 x 10 15/16 in.)", "dimensions": {"platemark": {"height": 0.278, "width": 0.217}, "sheet": {"height": 0.365, "width": 0.278}}, "state_of_the_work": "II/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed in pencil at lower right: Mary Cassatt", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "inscribed in pencil at lower left: \u00e9pr. d'essai", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 218915, "title": "L'Impressionnisme vu d'Am\u00e9rique", "description": "<i>L'Impressionnisme vu d'Am\u00e9rique</i>. Mus\u00e9e Fabre, Montpellier, France (organizer) (June 9-September 9, 2007); Mus\u00e9e de Grenoble, Grenoble, France (October 6, 2007-January 20, 2008).", "opening_date": "2007-06-09T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "(David Tunick, New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1988", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1988-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mary Cassatt often made only a few (or even just one) impression of her early softground etchings, making these prints virtually unique works.", "description": "Beginning from a spare drawing of her mother in her home library, Mary Cassatt created this etching by adding aquatint to her copper plate, creating tonal variations and bold contrasts of light and shadow. This is an extremely rare artist's proof of the second of three versions of the etching. Early prints like <em>Knitting in the Library</em> were private rather than commercial works of art, exercises in experimentation and innovation made by Cassatt as she explored Impressionism.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762397"], "internet_archive": ["https://archive.org/details/clevelandart-1988.36-knitting-in-the-libr"]}, "citations": [{"citation": "\u201cThe Year in Review for 1988.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 2 (February 1989): 30\u201375.", "page_number": "Mentioned and reproduced: p. 72, no. 154", "url": "http://www.jstor.org/stable/25160061"}, {"citation": "Lees, Sarah, and Richard R. Brettell. <em>Innovative Impressions: Prints by Cassatt, Degas, and Pissarro</em>. Tulsa, Oklahoma : Philbrook Museum of Art, 2018", "page_number": "Mentioned: p. 44; reproduced: p. 45, fig. 44", "url": null}, {"citation": "Georgopulos, Nicole. \"\"Please Don't Let Your Ambition Sleep\": Cassatt's Professionalism\". In <em>Cassatt - McNicoll: Impressionists Between Worlds, </em>Caroline Shields, ed., 49-82. Toronto, Ontario: Art Gallery of Ontario; Fredericton, New Brunswick: Goose Lane Editions, 2023.", "page_number": "Reproduced: P. 74-75, 76-77", "url": ""}], "catalogue_raisonne": "Breeskin 30", "url": "https://clevelandart.org/art/1988.36", "images": {}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154218, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-06-09T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "c. 1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:00:06.843000"}, {"id": 155615, "accession_number": "1990.6", "share_license_status": "CC0", "tombstone": "Sketch of Ibaraki-d\u014dji (\u8328\u6728\u7ae5\u5b50\u7c89\u672c), c. 1840. Shibata Zeshin (Japanese, 1807\u20131891). Hanging scroll, ink on paper; overall: 214.6 x 195.5 cm (84 1/2 x 76 15/16 in.); mounted: 205.2 x 185.2 cm (80 13/16 x 72 15/16 in.); painting only: 161 x 172.2 cm (63 3/8 x 67 13/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1990.6", "current_location": null, "title": "Sketch of Ibaraki-d\u014dji", "title_in_original_language": "\u8328\u6728\u7ae5\u5b50\u7c89\u672c", "creation_date": "c. 1840", "creation_date_earliest": 1830, "creation_date_latest": 1850, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll, ink on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 214.6 x 195.5 cm (84 1/2 x 76 15/16 in.); Mounted: 205.2 x 185.2 cm (80 13/16 x 72 15/16 in.); Painting only: 161 x 172.2 cm (63 3/8 x 67 13/16 in.)", "dimensions": {"overall": {"height": 2.146, "width": 1.955}, "mounted": {"height": 2.052, "width": 1.852}, "painting only": {"height": 1.61, "width": 1.722}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}, {"id": 450073, "title": "Modern Japan", "description": "<i>Modern Japan</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 14, 2022-June 18, 2023).", "opening_date": "2022-10-14T04:00:00"}], "legacy": [{"description": "<em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. The Cleveland Museum of Art, Cleveland, OH (July 15-August 12, 2001) (1st of 2 rotations).", "opening_date": "2001-07-15T04:00:00Z"}, {"description": "<em>Main Asian Rotation (Gallery 236)</em>. The Cleveland Museum of Art, Cleveland, OH (July 21, 2014- January 13, 2015).", "opening_date": "2014-07-21T04:00:00Z"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The demon Ibaraki, having disguised itself as the aunt of warrior Minamoto no Yorimitsu to gain access to its severed limb, is shown is in the midst of transforming back into demon form.", "description": "Even before the arrival of US ships demanding trade, Japan\u2019s military government was experiencing economic challenges. This preparatory drawing is for a wooden plaque to be offered to a shrine, beseeching divine intervention in business affairs. Commissioned by a wholesalers\u2019 union, it shows the demon Ibaraki-d\u014dji reclaiming his arm from a warrior who, according to legend, had cut it off. The repossession of the arm is a metaphor for the union\u2019s desire for the restoration of rights to sell sugar, which had been rescinded by the government as part of a misguided effort to stabilize the economy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476516"], "internet_archive": ["https://archive.org/details/clevelandart-1990.6-sketch-of-ibaraki-do"]}, "citations": [{"citation": "Cunningham, Michael R. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (1991): 63-147.", "page_number": "Reproduced and Mentioned: p. 147", "url": "https://www.jstor.org/stable/25161319"}, {"citation": "Cunningham, Michael R. <em>Unfolding Beauty: Japanese Screens from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: p. 86", "url": ""}, {"citation": "Grossman, Nancy, James T. Ulak, Marjorie Williams, and Laurence Channing. <em>Art of Japan: Masterpieces from the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2005.", "page_number": "p. 111", "url": ""}], "url": "https://clevelandart.org/art/1990.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.6/1990.6_web.jpg", "width": "900", "height": "853", "filesize": "201928", "filename": "1990.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.6/1990.6_print.jpg", "width": "3400", "height": "3222", "filesize": "2261632", "filename": "1990.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.6/1990.6_full.tif", "width": "6258", "height": "5931", "filesize": "111382312", "filename": "1990.6_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt0_web.jpg", "width": "879", "height": "893", "filesize": "525414"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt0_print.jpg", "width": "3345", "height": "3400", "filesize": "6122892"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt0_full.tif", "width": "4919", "height": "5000", "filesize": "73825180"}}, {"date_created": "2005-01-14T16:07:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt1_web.jpg", "width": "879", "height": "893", "filesize": "550858"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt1_print.jpg", "width": "3345", "height": "3400", "filesize": "6667054"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt1_full.tif", "width": "4919", "height": "5000", "filesize": "73809616"}}, {"date_created": "2014-07-08T09:44:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt2_web.jpg", "width": "817", "height": "900", "filesize": "185816"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt2_print.jpg", "width": "3087", "height": "3400", "filesize": "2023543"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1990.6/1990.6_alt2_full.tif", "width": "5379", "height": "5924", "filesize": "95628868"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155615, "creators": [{"id": 6172, "description": "Shibata Zeshin (Japanese, 1807\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u67f4\u7530 \u662f\u771f", "birth_year": "1807", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1990-01-29T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1840", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hannya Retrieving Her Arm", "Ibaraki"], "is_highlight": false, "updated_at": "2026-03-26 23:59:58.676000"}, {"id": 166679, "accession_number": "2008.392", "share_license_status": "CC0", "tombstone": "Head of a Man, 1886. Alphonse Legros (French, 1837\u20131911). Metalpoint; sheet: 31.5 x 23 cm (12 3/8 x 9 1/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.392", "current_location": null, "title": "Head of a Man", "creation_date": "1886", "creation_date_earliest": 1886, "creation_date_latest": 1886, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "metalpoint", "support_materials": [{"description": "white clay-coated board, laid down on cardboard, overmatted with cardboard mount", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 31.5 x 23 cm (12 3/8 x 9 1/16 in.)", "dimensions": {"sheet": {"height": 0.315, "width": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, upper right, in metalpoint: A. Legros [underlined] / 1886 (according to Butkin records, above the preceding there is an inscription, currently covered by the mount, that reads \"\u00e0 mon ami F. W. Burton\"); verso of secondary support, lower left, in graphite: Le gros [sideways]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "<em>T. Edward Hanley Collection</em>. Philadelphia Museum of Art (1957).", "opening_date": "1957-01-01T00:00:00"}, {"description": "<em>Selections from the Collection of Dr. and Mrs. T. Edward Hanley</em>, Gallery of Modern Art, New York (January 3 - March 12, 1967); Philadelphia Museum of Art (April 6 - May 28, 1967); Denver Art Museum (February 22 - April 30, 1968).", "opening_date": "1967-01-03T00:00:00"}, {"description": "<em>", "opening_date": null}, {"description": "Visages du dix-neuvi\u00e8me si\u00e8cle</em>, Galerie Jacques Fischer-Chantal Kiener, Paris (December 1 - 15, 1977).", "opening_date": "1977-12-01T00:00:00"}]}, "provenance": [{"description": "T. Edward Hanley, Bradford, PA", "citations": [], "footnotes": ["<div><!--block-->According to old exhibition labels, now removed.</div>"], "date": "by 1957-before 1967", "sortorder": 1}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-2008", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist James Abbott McNeill Whistler encouraged Alphonse Legros to visit London in 1863, and he spent the rest of his life there.", "description": "This drawing, which appears to be a portrait at first glance, is difficult to categorize. Alphonse Legros created many such images while teaching in London, at the school of South Kensington and then at the Slade School, where he advised his students to directly copy the Old Masters. Legros combined depiction of live models with references to art of the past, as seen here. He used the thin lines of metalpoint for expressive means on this sheet.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997264"], "internet_archive": ["https://archive.org/details/clevelandart-2008.392-head-of-a-man"]}, "citations": [{"citation": "<em>Selections from the Collection of Dr. and Mrs. T. Edward Hanley. </em>Exh. Cat. New York: Gallery of Modern Art, 1967.", "page_number": "Mentioned: p. 63", "url": null}, {"citation": "<em>Visages du dix-neuvie\u0300me sie\u0300cle</em>. Exh. Cat. Paris: Galerie Jacques Fischer-Chantal Kiener, 1977.", "page_number": "Mentioned and reproduced: no. 25", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: pp. 118-19, 143, no. 54; Reproduced: p. 119", "url": null}], "url": "https://clevelandart.org/art/2008.392", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.392/2008.392_web.jpg", "width": "678", "height": "893", "filesize": "55993", "filename": "2008.392_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.392/2008.392_print.jpg", "width": "2581", "height": "3400", "filesize": "1008119", "filename": "2008.392_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.392/2008.392_full.tif", "width": "5688", "height": "7491", "filesize": "127847492", "filename": "2008.392_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:52:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.392/2008.392_alt0_web.jpg", "width": "660", "height": "893", "filesize": "353648"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.392/2008.392_alt0_print.jpg", "width": "2513", "height": "3400", "filesize": "4982054"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.392/2008.392_alt0_full.tif", "width": "3695", "height": "5000", "filesize": "55445972"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166679, "creators": [{"id": 53869, "description": "Alphonse Legros (French, 1837\u20131911)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1837", "death_year": "1911", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1886", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:21.562000"}, {"id": 108410, "accession_number": "1926.140.1", "share_license_status": "CC0", "tombstone": "The Apocalypse of Saint John: Cover, 1899. Odilon Redon (French, 1840\u20131916), printed by Blanchard, published by Ambroise Vollard (French, 1867\u20131939). Lithograph on wove paper; image: 20.2 x 23.3 cm (7 15/16 x 9 3/16 in.). The Cleveland Museum of Art, Gift of Ralph King, 1926.140.1", "current_location": null, "title": "Cover", "series": "The Apocalypse of Saint John", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "lithograph on wove paper", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 20.2 x 23.3 cm (7 15/16 x 9 3/16 in.)", "dimensions": {"image": {"height": 0.202, "width": 0.233}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "printed at center: Apocalypse / de / Saint Jean / ODILON REDON / \u00c9dit\u00e9 par VOLLARD, 6 rue Laffitte / PARIS", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1926.140"], "did_you_know": "This is one of the last works where Redon experimented with lithograph and all-black medium. In contrast, bright, dazzling colors characterize his late works.", "description": "The last of Odilon Redon\u2019s 11 lithographic portfolios, this series relates to the Book of Revelation from the Christian Bible. The subject had been explored throughout art history, allowing the artist to align himself with past masters, such as Albrecht D\u00fcrer. Although Redon often vaguely referenced texts, these prints directly illustrate 12 individual passages, including one about a woman clothed with the sun and another focused on a great star falling from heaven. By the time he created this portfolio, Redon\u2019s reputation was well established. The project was published by art dealer Ambroise Vollard, who began to sell and promote Redon\u2019s work about a year earlier, building a market for his prints in Paris and abroad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107723666"], "internet_archive": ["https://archive.org/details/clevelandart-1926.140.1-cover"]}, "citations": [], "catalogue_raisonne": "Mellerio 173", "url": "https://clevelandart.org/art/1926.140.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.1/1926.140.1_web.jpg", "width": "698", "height": "900", "filesize": "183966", "filename": "1926.140.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.1/1926.140.1_print.jpg", "width": "2637", "height": "3400", "filesize": "2070366", "filename": "1926.140.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.140.1/1926.140.1_full.tif", "width": "3435", "height": "4429", "filesize": "45671264", "filename": "1926.140.1_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108410, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67505, "description": "Blanchard", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1926.140", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Apocalypse of Saint John:  Cover and Title Page", "The Apocalypse of Saint John: Cover"], "is_highlight": false, "updated_at": "2026-03-27 00:00:08.526000"}, {"id": 109191, "accession_number": "1927.344.1", "share_license_status": "CC0", "tombstone": "Homage to Goya: In My Dream I Saw in the Sky a Face of Mystery, 1885. Odilon Redon (French, 1840\u20131916), printed by Lemercier & Cie.. Lithograph on China paper laid on wove paper; image: 29.1 x 23.9 cm (11 7/16 x 9 7/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.344.1", "current_location": null, "title": "In My Dream I Saw in the Sky a Face of Mystery", "series": "Homage to Goya", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 29.1 x 23.9 cm (11 7/16 x 9 7/16 in.)", "dimensions": {"image": {"height": 0.291, "width": 0.239}}, "state_of_the_work": "I/I", "edition_of_the_work": "first edition (edition of 50)", "copyright": null, "inscriptions": [{"inscription": "printed above image at center: Planche I.; below image at center: Dans mon r\u00eave, je vis au Ciel un VISAGE DE MYST\u00c8RE.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1927.344"], "did_you_know": "This portfolio was published in an edition of 50, one of which Redon sent to poet St\u00e9phane Mallarm\u00e9 soon after Redon became a frequent participant in a literary salon held regularly at Mallarm\u00e9's home.", "description": "This series is one of many that Odilon Redon created throughout his career. Nearly two-thirds of his lithographs took the form of portfolios\u2014prints connected conceptually by a theme or narrative and physically by a folder or binding. Such works were often dispersed over time, but Cleveland was fortunate to acquire several complete sets with their original covers during the 1920s. Dating from Redon\u2019s early experimentation with lithography, <em>Homage to Goya</em> was intended as a tribute to 18th-century Spanish master Francisco de Goya, whose interest in dreams and the subconscious influenced Redon. The six seemingly unrelated images celebrate Goya\u2019s ambiguity and collectively suggest the introspection and isolation of artistic practice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001379"], "internet_archive": ["https://archive.org/details/clevelandart-1927.344.1-in-my-dream-i-saw-in"]}, "citations": [], "catalogue_raisonne": "Mellerio 54", "url": "https://clevelandart.org/art/1927.344.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.1/1927.344.1_web.jpg", "width": "704", "height": "893", "filesize": "521782", "filename": "1927.344.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.1/1927.344.1_print.jpg", "width": "2680", "height": "3400", "filesize": "7178843", "filename": "1927.344.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.1/1927.344.1_full.tif", "width": "3852", "height": "4886", "filesize": "56494956", "filename": "1927.344.1_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109191, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.344", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Homage to Goya:  In My Dream I Saw in the Heavens a Mysterious Countenance", "Homage to Goya: In My Dream I Saw in the Sky a Face of Mystery"], "is_highlight": false, "updated_at": "2026-03-27 00:04:08.607000"}, {"id": 445579, "accession_number": "1927.344.7", "share_license_status": "CC0", "tombstone": "Homage to Goya: Cover, 1885. Odilon Redon (French, 1840\u20131916), printed by Lemercier & Cie.. Lithograph on China paper laid on wove paper; image: 34.9 x 26 cm (13 3/4 x 10 1/4 in.); sheet: 46.4 x 32.9 cm (18 1/4 x 12 15/16 in.); matted: 71 x 55.7 x 0.3 cm (27 15/16 x 21 15/16 x 1/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.344.7", "current_location": null, "title": "Cover", "series": "Homage to Goya", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 34.9 x 26 cm (13 3/4 x 10 1/4 in.); Sheet: 46.4 x 32.9 cm (18 1/4 x 12 15/16 in.); Matted: 71 x 55.7 x 0.3 cm (27 15/16 x 21 15/16 x 1/8 in.)", "dimensions": {"image": {"height": 0.349, "width": 0.26}, "sheet": {"height": 0.464, "width": 0.329}, "matted": {"height": 0.71, "width": 0.557, "depth": 0.003}}, "state_of_the_work": "I/I", "edition_of_the_work": "first edition (edition of 50)", "copyright": null, "inscriptions": [{"inscription": "printed above image at center: Planche I.; below image at center: Dans mon r\u00eave, je vis au Ciel un VISAGE DE MYST\u00c8RE.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This portfolio was published in an edition of 50, one of which Redon sent to poet St\u00e9phane Mallarm\u00e9 soon after Redon became a frequent participant in a literary salon held regularly at Mallarm\u00e9's home.", "description": "This series is one of many that Odilon Redon created throughout his career. Nearly two-thirds of his lithographs took the form of portfolios\u2014prints connected conceptually by a theme or narrative and physically by a folder or binding. Such works were often dispersed over time, but Cleveland was fortunate to acquire several complete sets with their original covers during the 1920s. Dating from Redon\u2019s early experimentation with lithography, <em>Homage to Goya</em> was intended as a tribute to 18th-century Spanish master Francisco de Goya, whose interest in dreams and the subconscious influenced Redon. The six seemingly unrelated images celebrate Goya\u2019s ambiguity and collectively suggest the introspection and isolation of artistic practice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246912"], "internet_archive": ["https://archive.org/details/clevelandart-1927.344.7-cover"]}, "citations": [], "url": "https://clevelandart.org/art/1927.344.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.7/1927.344.7_web.jpg", "width": "662", "height": "900", "filesize": "236841", "filename": "1927.344.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.7/1927.344.7_print.jpg", "width": "2499", "height": "3400", "filesize": "3596912", "filename": "1927.344.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.344.7/1927.344.7_full.tif", "width": "9358", "height": "12733", "filesize": "357492468", "filename": "1927.344.7_full.tif"}}, "alternate_images": [{"date_created": "2021-08-09T10:57:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.7/1927.344.7_alt0_web.jpg", "width": "650", "height": "900", "filesize": "221092"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.7/1927.344.7_alt0_print.jpg", "width": "2456", "height": "3400", "filesize": "3517938"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344.7/1927.344.7_alt0_full.tif", "width": "9234", "height": "12784", "filesize": "354167388"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 445579, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1927.344", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:56.313000"}, {"id": 172781, "accession_number": "1915.215", "share_license_status": "CC0", "tombstone": "Nine-Dragon Falls (\uad6c\ub8e1\ud3ec [\u4e5d\u9f8d\u5e03]), late 1800s. Han Unpyeong (Korean). Ink and color on paper; overall: 71 x 40.7 cm (27 15/16 x 16 in.); painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1915.215", "current_location": null, "title": "Nine-Dragon Falls", "title_in_original_language": "\uad6c\ub8e1\ud3ec [\u4e5d\u9f8d\u5e03]", "creation_date": "late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "ink and color on paper", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Painting", "measurements": "Overall: 71 x 40.7 cm (27 15/16 x 16 in.); Painting only: 59.4 x 28.2 cm (23 3/8 x 11 1/8 in.)", "dimensions": {"overall": {"height": 0.71, "width": 0.407}, "painting only": {"height": 0.594, "width": 0.282}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 315373, "title": "Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation", "description": "<i>Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 21-July 21, 2019).", "opening_date": "2019-01-23T05:00:00"}, {"id": 617635, "title": "From Dreaming to Hiking: Korean Landscape Paintings", "description": "<i>From Dreaming to Hiking: Korean Landscape Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-September 29, 2024).", "opening_date": "2024-03-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Jean Lawson, New York, NY, sold to the John Huntington Art and Polytechnic Trust as gift for the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131915", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1915\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["215.1915"], "did_you_know": "The Nine-Dragon Falls, the main subject of this painting, is about 240 feet (74 meters) high.", "description": "The Nine-Dragon Falls \uad6c\ub8e1\ud3ec is one of the popular tourist sites at the Diamond Mountain \uae08\uac15\uc0b0 in North Korea. Its V-shaped valley that opens into a rushing white waterfall is its major attraction, allowing visitors to experience the powerful forces of nature. In this painting, two excited scholar tourists accompanied by a Buddhist monk are enjoying both the spectacle and the roar generated by the cascading waterfall.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230176"], "internet_archive": ["https://archive.org/details/clevelandart-1915.215-nine-dragon-falls"]}, "citations": [{"citation": "Keith, Elizabeth. <em>Eastern Windows: An Artist's Notes of Travel in Japan, Hokkaido, Korea, China, and the Philippines. </em>Boston and New York: Houghton Mifflin, 1928.", "page_number": null, "url": null}, {"citation": "Pak Un-sun. <em>A Study of Paintings of Mt. Geumgang </em>[\uae08\uac15\uc0b0<strong>\ub3c4</strong> \uc5f0\uad6c] . Seoul: Iljisa, 1997.", "page_number": null, "url": null}, {"citation": "<em>Our Land, Our True-View Landscape </em>[\uc6b0\ub9ac \ub545, \uc6b0\ub9ac\uc758 \uc9c4\uacbd]. Chuncheon: Chuncheon National Museum, 2002.", "page_number": null, "url": null}, {"citation": "Seon Seung-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 18", "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Lee, So-young, Ahn Dae-hoe, Chin-Sung Chang, and Lee Soo-mi. <em>Diamond Mountains: Travel and Nostalgia in Korean Art</em>. New York: The Metropolitan Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "MCormick, Sooa. \u201cNorth of the Border: A preview of the Korean gallery\u2019s new display, coming in January.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> vol. 58. no. 6 (November/December 2018): 16\u201317.", "page_number": "Mentioned and Reproduced: p. 17", "url": "https://archive.org/details/CMAMM2018-06/page/n7/mode/2up"}, {"citation": "<em>Through the Eyes of Joseon Painters: Real Scenery Landscapes of Korea</em> [\ud654\uac00\uc758\uc2dc\uc120: \uc870\uc120\uc2dc\ub300\uc2e4\uacbd\uc0b0\uc218\ud654]. Seoul: National Museum of Korea, 2019.", "page_number": null, "url": null}, {"citation": "<em>Korean Collection of the Cleveland Museum of Art</em>. Seoul: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Reproduced: p. 22, fig. 2", "url": ""}], "url": "https://clevelandart.org/art/1915.215", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.215/1915.215_web.jpg", "width": "430", "height": "900", "filesize": "263928", "filename": "1915.215_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.215/1915.215_print.jpg", "width": "1626", "height": "3400", "filesize": "2777130", "filename": "1915.215_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.215/1915.215_full.tif", "width": "6044", "height": "12641", "filesize": "229236576", "filename": "1915.215_full.tif"}}, "alternate_images": [{"date_created": "2024-02-02T14:20:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt0_web.jpg", "width": "430", "height": "900", "filesize": "238306"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt0_print.jpg", "width": "1626", "height": "3400", "filesize": "2776261"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt0_full.tif", "width": "6044", "height": "12641", "filesize": "229235400"}}, {"date_created": "2008-11-20T14:56:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt1_web.jpg", "width": "419", "height": "893", "filesize": "321497"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt1_print.jpg", "width": "1597", "height": "3400", "filesize": "4502791"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt1_full.tif", "width": "2948", "height": "6278", "filesize": "55554736"}}, {"date_created": "2010-10-14T21:03:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt2_web.jpg", "width": "421", "height": "893", "filesize": "332144"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt2_print.jpg", "width": "1603", "height": "3400", "filesize": "5046879"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt2_full.tif", "width": "3064", "height": "6495", "filesize": "59729480"}}, {"date_created": "2008-11-20T15:02:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt3_web.jpg", "width": "1263", "height": "384", "filesize": "391634"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt3_print.jpg", "width": "3400", "height": "1035", "filesize": "3059573"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.215/1915.215_alt3_full.tif", "width": "6066", "height": "1846", "filesize": "33625468"}}], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172781, "creators": [{"id": 36113, "description": "Han Unpyeong (Korean)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-08-02T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-07 14:31:21.799000"}, {"id": 170727, "accession_number": "2013.249", "share_license_status": "CC0", "tombstone": "Phryne before Her Judges, c. 1816\u201320. Jacques-Louis David (French, 1748\u20131825). Black chalk on wove paper discolored to beige; sheet: 13.3 x 19.6 cm (5 1/4 x 7 11/16 in.). The Cleveland Museum of Art, Gift in memory of Helen Borowitz, 2013.249", "current_location": null, "title": "Phryne before Her Judges", "creation_date": "c. 1816\u201320", "creation_date_earliest": 1816, "creation_date_latest": 1820, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk on wove paper discolored to beige", "support_materials": [{"description": "medium-weight, wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 13.3 x 19.6 cm (5 1/4 x 7 11/16 in.)", "dimensions": {"sheet": {"height": 0.133, "width": 0.196}, "secondary support": {"height": 0.187, "width": 0.272}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, upper right, in black chalk: L. David Brux.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 361567, "title": "Jacques Louis David: Radical Draftsman", "description": "<i>Jacques Louis David: Radical Draftsman</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 14-May 15, 2022) https://www.metmuseum.org/exhibitions/listings/2022/jacques-louis-david-radical-draftsman.", "opening_date": "2022-02-17T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Master Drawings</em>. Covent Garden Gallery (Adolphe Stein), London (March 9\u2013April 6, 1977).", "opening_date": "1977-04-06T00:00:00"}]}, "provenance": [{"description": "(Adolphe Stein, Paris)", "citations": [], "footnotes": [], "date": "1977", "sortorder": 1}, {"description": "Helen [1929\u20132012] and Albert [b. 1930] Borowitz, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "by 1987-2013", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The two male figures at center may be <em>t\u00eates d\u2019expression</em>, which convey emotion through pose and expression.", "description": "Known in his own time for large-scale paintings on historical subjects, Jacques-Louis David drew avidly to plan his compositions. Late in life, however, his use of drawing changed dramatically, resulting in works such as this pair. After falling out of political favor during the French Revolution (1789\u201399), David moved to Brussels in exile. There, he crafted small, enigmatic drawings of close-up figures. <em>Phryne</em> features a mythological courtesan charged with blasphemy, while <em>The Prisoner</em> is vaguer, with an unidentifiable man grimacing alongside a chain and oil lamp. David embraced this uncertainty, writing at the time that \u201cI just threw down . . . the mad ideas that came into my head.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80079826"], "internet_archive": ["https://archive.org/details/clevelandart-2013.249-phryne-before-the-ju", "https://archive.org/details/clevelandart-2013.249-phryne-before-her-ju"]}, "citations": [{"citation": "Cantaloube, A. \"Les Dessins de Louis David,\" <em>Gazette des Beaux-Arts</em> 7 (September 1860): 285-303.", "page_number": "Mentioned: p. 302, no. 14", "url": ""}, {"citation": "David, J. L. Jules. <em>Le Peintre Louis David, 1748\u20131825: Souvenirs &amp; documents in\u00e9dits</em> . 2 vols. Paris: Havard, 1880.", "page_number": "Mentioned: vol. 1, p. 664", "url": ""}, {"citation": "<em>Master Drawings</em>. Exh. cat. London: Adolphe Stein, 1977.", "page_number": "Mentioned and reproduced: no. 31", "url": ""}, {"citation": "Schnapper, Antoine and Arlette S\u00e9rullaz. <em>Jacques-Louis David, 1748-1825</em>. Exh. Cat. Paris: Muse\u0301e du Louvre, 1989.", "page_number": "Mentioned: pp. 189, 548", "url": ""}, {"citation": "Rosenberg, Pierre and Louis-Antoine Prat. <em>Jacques-Louis David, 1748\u20131825: Catalogue raisonn\u00e9 des dessins. </em>Milan: Leonardo Arte, 2002.", "page_number": "Mentioned and reproduced: vol. I, p. 326, no. 351", "url": ""}, {"citation": "Prat, Louis-Antoine. <em>Le Dessin fran\u00e7ais</em> <em>au XIXe si\u00e8cle</em>. Paris: Louvre \u00c9ditions, 2012.", "page_number": "Mentioned: p. 65", "url": ""}, {"citation": "David, Jacques Louis, and Perrin Stein. Jacques Louis David: Radical Draftsman. 2022, 252.", "page_number": "Reproduced; p. 252, No. 80", "url": ""}, {"citation": "Stein, Perrin. <em>Jacques-Louis David: Radical Draftsman</em>, 252 (ill.), 256, no. 80. Exh. cat. New York: Metropolitan Museum of Art, 2022.", "page_number": "Mentioned: p. 256, no. 80; Reproduced: p. 252", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 80-83, no. 5a", "url": ""}], "catalogue_raisonne": "Rosenberg and Prat 351", "url": "https://clevelandart.org/art/2013.249", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.249/2013.249_web.jpg", "width": "900", "height": "615", "filesize": "203505", "filename": "2013.249_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.249/2013.249_print.jpg", "width": "3400", "height": "2324", "filesize": "2741494", "filename": "2013.249_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.249/2013.249_full.tif", "width": "7431", "height": "5080", "filesize": "113277136", "filename": "2013.249_full.tif"}}, "alternate_images": [], "creditline": "Gift in memory of Helen Borowitz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170727, "creators": [{"id": 1643, "description": "Jacques-Louis David (French, 1748\u20131825)", "extent": null, "qualifier": null, "role": "artist", "biography": "The founder and leading painter of the neoclassical movement in France, Jacques-Louis David was born in Paris to a prosperous family of artists and archi-tects. In 1766 he entered the Acad\u00e9mie Royale as the pupil of Joseph-Marie Vien (1716-1809). After several failed attempts, David won the Prix de Rome in 1774. The following year he left for Italy, where he studied antique art and envisioned replacing the frivolity of the rococo with an art of grandeur, simplicity, and moral virtue. After returning to Paris in 1780, he established his reputa-tion with three spectacular successes at the Salon: The Oath of the Horatii (1785, Mus\u00e9e du Louvre, Paris), The Death of Socrates (1787, Metropolitan Museum of Art, New York), and The Lictors Bring-ing Brutus the Bodies of His Sons (1789, Mus\u00e9e du Louvre, Paris). Widely interpreted as moral parables for contemporary political events, these archetypes of neoclassical aesthetics set the standard for academic painting of the next century. In the 1790s David joined the radical Jacobin Club and played an active role in the French Revolution. He allied himself with Robespierre, served a short term as president of the Convention, and voted for the execution of Louis XVI. He also placed his artistic talents at the service of the Revolution by creating paintings that glorified its martyrs and by organizing public festivals that celebrated the new political order. As the most prominent artist in the revolutionary ranks, he led the attack against the Acad\u00e9mie Royale that culminated in its abolish-ment in 1793. When the excesses of the Reign of Terror precipitated the fall of Robespierre in 1794, David was imprison-ed but spared execution. Authorities released him the following year due to ill health. Around 1798 David developed a new alliance with the brilliant young general of the Directory, Napol\u00e9on Bonaparte. David's painting The Intervention of the Sabine Women (1799, Mus\u00e9e du Louvre, Paris) coalesced perfectly with Napoleonic propaganda urging national reconciliation. After the coup d'\u00e9tat of 1799, Napol\u00e9on was named first consul and began supplying David with important commissions. Upon Napol\u00e9on's coronation in 1804, David was appointed first painter to the emperor. David's monumental painting The Coronation of Napol\u00e9on, or Le Sacre (1805-7, Mus\u00e9e du Louvre, Paris), introduced a less spartan, more colorful and emotive style. However, as seen in his life-size portrait Napol\u00e9on in His Study (1812, National Gallery of Art, Washington, D.C.), David increasingly searched to balance this new heroic-romanticism with an exacting realism. In 1816, following Napol\u00e9on's defeat at Waterloo and the restoration of the monarchy, David went into exile in Belgium. He spent the last nine years of his life in Brussels, painting mostly mythological subjects and portraits. David died of a stroke in 1825 and was denied burial in France.", "name_in_original_language": null, "birth_year": "1748", "death_year": "1825", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "c. 1816\u201320", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:38.178000"}, {"id": 112585, "accession_number": "1931.204", "share_license_status": "CC0", "tombstone": "Male Figure, by 1931. Totokro Master. Wood; overall: 44.8 x 9.3 x 7.7 cm (17 5/8 x 3 11/16 x 3 1/16 in.). The Cleveland Museum of Art, Gift of the African Art Sponsors of Karamu House, 1931.204", "current_location": null, "title": "Male Figure", "creation_date": "by 1931", "creation_date_earliest": 1900, "creation_date_latest": 1931, "artists_tags": ["male"], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, Baule peoples"], "technique": "wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 44.8 x 9.3 x 7.7 cm (17 5/8 x 3 11/16 x 3 1/16 in.)", "dimensions": {"overall": {"height": 0.448, "width": 0.093, "depth": 0.077}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 301168, "title": "Primitive to Contemporary Sculpture", "description": "<i>Primitive to Contemporary Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 6-October 31, 1956).", "opening_date": "1956-09-06T04:00:00"}, {"id": 287107, "title": "African Master Carvers: Known and Famous", "description": "<i>African Master Carvers: Known and Famous</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}, {"id": 316953, "title": "Second Careers: Two Tributaries in African Art", "description": "<i>Second Careers: Two Tributaries in African Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1, 2020-March 14, 2021).", "opening_date": "2020-11-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Paul Guillaume, Paris, sold to African Art Sponsors of Karamu House, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 1}, {"description": "African Art Sponsors of Karamu House, Cleveland, OH", "citations": [], "footnotes": [], "date": "1929-1931", "sortorder": 2}, {"description": "African Art Sponsors of Karamu House, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1931", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1931-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In Baule society, the name of the artist who made a sculpture is not always public knowledge. In 1999, art historian Susan Vogel gave the sculptor of this work and others similar in style the nickname \"Totokro Master\" for the geographic region they came from.", "description": "Purported to be the earliest surviving work by a Baule carver who art historians have dubbed the \"Totokro Master,\" this <em>Male Figure</em> typically comes as a pair of male and female sculptures, and serves as a bridge between the spirit (<em>asye usu</em>) and human worlds in the hand of Baule diviners. Representing idealized humans in their prime, the diviners consider them suitable forms used to cast out disruptive spirits. It is featured here without the female example. The African Art Sponsors\u2014a group of donors associated with Cleveland\u2019s Karamu House, the oldest African American theater group in the country\u2014purchased this Baule male figure in 1929 and donated it to the museum in 1931.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005042"], "internet_archive": ["https://archive.org/details/clevelandart-1931.204-male-figure"]}, "citations": [{"citation": "\"Three Pieces of Negro Sculpture.\" <em>The Bulletin of the Cleveland Museum of Art </em>19, no. 3 (March 1932): 38-39.", "page_number": "Mentioned: p. 38-39; Reproduced: p. 47", "url": "https://www.jstor.org/stable/25137461"}, {"citation": "Petridis, Constantine. \"A World of Great Art for Everyone.\" In <em>Representing Africa in American Art Museums: A Century of Collecting and Display.</em> Kathleen Bickford Berzock and Christa Clarke, 104-121. Seattle: University of Washington Press, 2011.", "page_number": "Mentioned: p. 119", "url": null}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Mentioned: p. 22, reproduced: p. 31, fig. 19, p. 58", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Mentioned: p. 22, reproduced: p. 31, fig. 19, p. 58", "url": "https://ingallslibrary.on.worldcat.org/oclc/1090438741"}, {"citation": "Nzewi, Ugochukwu-Smooth C. \"Martin Puryear and Africa.\" In <em>Martin Puryear: Nexus, </em>edited by Emily Liebert, 142-151. Cleveland: The Cleveland Museum of Art, 2025.", "page_number": "Mentioned and reproduced: p. 147-148, fig. 62", "url": ""}], "url": "https://clevelandart.org/art/1931.204", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.204/1931.204_web.jpg", "width": "506", "height": "893", "filesize": "192818", "filename": "1931.204_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.204/1931.204_print.jpg", "width": "1928", "height": "3400", "filesize": "2924479", "filename": "1931.204_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.204/1931.204_full.tif", "width": "3673", "height": "6477", "filesize": "71401528", "filename": "1931.204_full.tif"}}, "alternate_images": [{"date_created": "2009-08-21T13:38:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt0_web.jpg", "width": "454", "height": "893", "filesize": "187168"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt0_print.jpg", "width": "1727", "height": "3400", "filesize": "2818881"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt0_full.tif", "width": "3179", "height": "6257", "filesize": "59704648"}}, {"date_created": "2009-08-21T14:22:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt1_web.jpg", "width": "487", "height": "893", "filesize": "188804"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt1_print.jpg", "width": "1855", "height": "3400", "filesize": "2860768"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt1_full.tif", "width": "3484", "height": "6385", "filesize": "66767656"}}, {"date_created": "2009-08-21T14:28:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt2_web.jpg", "width": "517", "height": "893", "filesize": "194206"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt2_print.jpg", "width": "1968", "height": "3400", "filesize": "2946456"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1931.204/1931.204_alt2_full.tif", "width": "3729", "height": "6442", "filesize": "72098176"}}], "creditline": "Gift of the African Art Sponsors of Karamu House", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112585, "creators": [{"id": 379425, "description": "Totokro Master", "extent": "execution", "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 0}], "legal_status": "accessioned", "accession_date": "1931-05-25T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "by 1931", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Standing Male Figure"], "is_highlight": false, "updated_at": "2026-03-27 00:07:36.973000"}, {"id": 142355, "accession_number": "1966.176.b", "share_license_status": "Copyrighted", "tombstone": "The Visitor (verso), c. 1881. Mary Cassatt (American, 1844\u20131926). Soft ground lines transferred from etching plate; sheet: 40 x 30.9 cm (15 3/4 x 12 3/16 in.). The Cleveland Museum of Art, Gift of Fifty Members of The Print Club of Cleveland on the Occasion of the Fiftieth Anniversary, 1966.176.b", "current_location": null, "title": "The Visitor (verso)", "creation_date": "c. 1881", "creation_date_earliest": 1876, "creation_date_latest": 1886, "artists_tags": ["female"], "culture": ["America"], "technique": "soft ground lines transferred from etching plate", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 40 x 30.9 cm (15 3/4 x 12 3/16 in.)", "dimensions": {"sheet": {"height": 0.4, "width": 0.309}}, "state_of_the_work": "II/V", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 206325, "title": "The Private Collection of Edgar Degas\r\n", "description": "<i>The Private Collection of Edgar Degas\r\n</i>. The Metropolitan Museum of Art (organizer) (September 22, 1997-January 11, 1998).", "opening_date": "1997-09-22T00:00:00"}, {"id": 216663, "title": "Mary Cassatt: A Modern Woman", "description": "<i>Mary Cassatt: A Modern Woman</i>. The Art Institute of Chicago, Chicago, IL (organizer) (October 10, 1998-January 10, 1999); Museum of Fine Arts, Boston, Boston, MA (February 6-May 19, 1999).", "opening_date": "1998-10-10T00:00:00"}, {"id": 177307, "title": "Degas/Cassatt", "description": "<i>Degas/Cassatt</i>. National Gallery of Art, Landover, MD (organizer) (May 11-October 5, 2014).", "opening_date": "2014-05-11T00:00:00"}, {"id": 454246, "title": "Mary Cassatt at Work", "description": "<i>Mary Cassatt at Work</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 18-September 8, 2024) https://www.philamuseum.org/calendar/exhibition/mary-cassatt-at-work.", "opening_date": "2024-05-18T04:00:00"}], "legacy": []}, "provenance": [{"description": "Edgar Degas, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Edgar Degas, Paris, Lugt 657", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing's first owner was the artist Edgar Degas, a friend of Cassatt's and a collaborator in her experiments with etching.", "description": "Mary Cassatt produced this sheet as a working drawing for an etching of the same title. She framed the subject's slanted silhouette against the verticals and horizontals of the window, and featured a seated figure in profile in the lower left quadrant of the composition. The bold, dramatic contrasts of sunlight and shadow throughout the room contrast with the delicacy and sensitivity with which the visitor's face were drawn by Cassatt from direct observation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60753980"], "internet_archive": ["https://archive.org/details/clevelandart-1966.176.b-the-visitor-verso"]}, "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. 189", "url": "https://archive.org/details/CMAHandbook1966/page/n213"}, {"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. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"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. 234", "url": "https://archive.org/details/CMAHandbook1978/page/n254"}, {"citation": "Cassatt, Mary, Shalini Le Gall, Justin McCann, Justine de Young, and Daniel Harkett. Inside Out: The Prints of Mary Cassatt. 2021, 24.", "page_number": "Mentioned and reproduced, p. 24, fig. 7", "url": ""}, {"citation": "Thompson, Jennifer A., and Laurel Garber. <em>Mary Cassatt at Work.</em> Philadelphia, PA: Philadelphia Museum of Art, 2024.", "page_number": "Reproduced: p. 184, fig. 102b", "url": ""}], "catalogue_raisonne": "Breeskin 34", "url": "https://clevelandart.org/art/1966.176.b", "images": {}, "alternate_images": [], "creditline": "Gift of Fifty Members of The Print Club of Cleveland on the Occasion of the Fiftieth Anniversary", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142355, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-05-25T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "c. 1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.176", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:52.749000"}, {"id": 148159, "accession_number": "1975.158", "share_license_status": "CC0", "tombstone": "Female Figure (akua'ba), late 1800s\u2013early 1900s. Africa, West Africa, Ghana, Fante-style maker. Wood, hair, resin, and bone; overall: 42.9 x 4.6 x 5.1 cm (16 7/8 x 1 13/16 x 2 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1975.158", "current_location": null, "title": "Female Figure (akua'ba)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Fante-style maker"], "technique": "Wood, hair, resin, and bone", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 42.9 x 4.6 x 5.1 cm (16 7/8 x 1 13/16 x 2 in.)", "dimensions": {"overall": {"height": 0.429, "width": 0.046, "depth": 0.051}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 444266, "title": "The Arts of Ghana", "description": "<i>The Arts of Ghana</i>. Frederick S. Wight Art Gallery, UCLA, Los Angeles, CA (organizer) (October 11-December 11, 1977); Walker Art Center, Minneapolis, MN (February 11-March 26, 1978); The Dallas Museum of Art, Dallas, TX (May 3-July 2, 1978).", "opening_date": "1977-10-11T04:00:00"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 106, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1976: \"Year in Review 1975,\" CMA Bulletin LXIII (Feb., 1976), p. 65, no. 22", "opening_date": "1976-02-01T00:00:00"}, {"description": "Los Angeles, UCLA, Dickson Art Center, 1977-1978: \"The Arts of Ghana,\" cat. no. 212, p. 107, repr. p. 106. also traveled to Walker Art Center, Minneapolis, MN and Dallas Museum of Art, Dallas, TX.", "opening_date": "1977-01-01T00:00:00"}]}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "at least 1968\u20131976", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1976\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["844.68"], "did_you_know": "<em>Akua'ba</em> are always female, both because Akua\u2019s first child was a girl, and because the Akan and Fante societies are matrilineal, meaning that it is women that extend the family line.", "description": "An infertile woman would be advised by a priest to commission such a sculpture and care for it as if it were her baby. With the aim to induce fertility, or to ensure the birth of a healthy and beautiful daughter, the <em>akua'ba</em> figure is carried on the woman's back inside her wrapper. After a successful birth, the figure is placed in the priest's shrine as an offering, or it is given to the newborn as a toy.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60753948"], "internet_archive": ["https://archive.org/details/clevelandart-1975.158-female-figure-akua-b"]}, "citations": [{"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection.</em> [Cleveland]: Cleveland Museum of Art, 1968.", "page_number": "Mentioned and reproduced: no. 106", "url": ""}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: Selected Works of African Art.</em> [Cleveland]: Cleveland Museum of Art, 2003.", "page_number": "Mentioned and reproduced: P. 72-73, no. 21", "url": ""}, {"citation": "Petridis, Constantine, \"African Art Revisited\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 43 no. 09, November 2003", "page_number": "Mentioned & reproduced: 4-5", "url": "https://archive.org/details/CMAMM2003-09/page/n3"}, {"citation": "Cole, Herbert M., and Doran H. Ross. <em>The Arts of Ghana.</em> Los Angeles: Museum of Cultural History, University of California, 1977.", "page_number": "Reproduced: p. 106, fig. 212; mentioned: p. 107", "url": null}, {"citation": "Cleveland Museum of Art. <em>Motherhood across Time</em>. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned and reproduced: p. 4", "url": ""}], "url": "https://clevelandart.org/art/1975.158", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.158/1975.158_web.jpg", "width": "484", "height": "893", "filesize": "164675", "filename": "1975.158_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.158/1975.158_print.jpg", "width": "1841", "height": "3400", "filesize": "2715588", "filename": "1975.158_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.158/1975.158_full.tif", "width": "3294", "height": "6084", "filesize": "60152948", "filename": "1975.158_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T19:34:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.158/1975.158_alt0_web.jpg", "width": "447", "height": "893", "filesize": "161119"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.158/1975.158_alt0_print.jpg", "width": "1703", "height": "3400", "filesize": "2567084"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.158/1975.158_alt0_full.tif", "width": "3078", "height": "6144", "filesize": "56764616"}}, {"date_created": "2009-10-27T19:33:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.158/1975.158_alt1_web.jpg", "width": "454", "height": "893", "filesize": "133873"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.158/1975.158_alt1_print.jpg", "width": "1727", "height": "3400", "filesize": "2326985"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.158/1975.158_alt1_full.tif", "width": "3090", "height": "6084", "filesize": "56429428"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148159, "creators": [], "legal_status": "accessioned", "accession_date": "1976-01-08T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Female Figure (Akua'ba)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:52.286000"}, {"id": 149096, "accession_number": "1977.3", "share_license_status": "CC0", "tombstone": "Stag Lying Down, c. 1875\u201385. Rosa Bonheur (French, 1822\u20131899). Watercolor and gouache over graphite on cream wove paper; sheet: 28 x 38.1 cm (11 x 15 in.). The Cleveland Museum of Art, James Parmelee Fund, 1977.3", "current_location": null, "title": "Stag Lying Down", "creation_date": "c. 1875\u201385", "creation_date_earliest": 1870, "creation_date_latest": 1890, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "watercolor and gouache over graphite on cream wove paper", "support_materials": [{"description": "cream(3) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 28 x 38.1 cm (11 x 15 in.)", "dimensions": {"sheet": {"height": 0.28, "width": 0.381}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped, in black ink, at lower right: artist's estate stamp [Lugt 274]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Non-Dissenters: Fifth Exhibition</em>. Shepherd Gallery, New York (November 1\u2013December 31, 1976).", "opening_date": "1976-12-31T00:00:00"}]}, "provenance": [{"description": "studio of the artist [1822-1899]", "citations": [], "footnotes": null, "date": "c. 1860-1899", "sortorder": 1}, {"description": "(her sale, Paris, Galerie Georges Petit, June 5-8, 1900,  no. 934)", "citations": [], "footnotes": null, "date": "1900", "sortorder": 2}, {"description": "(Gerald Norman Gallery, London, sold to Shepherd Gallery, New York)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Shepherd Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1977", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1977-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bonheur constructed a park to house a stag named Jacques, whom she kept as a pet and model.", "description": "This drawing was among many representing stags that were discovered in Rosa Bonheur\u2019s studio after her death. One of the few women of her time who was given the support needed for an artistic career, Bonheur became famous during her lifetime for naturalistic portrayals of animals. Daily carriage rides through the forest around her home enabled her to sketch from nature. One such outing inspired Cleveland\u2019s drawing: Bonheur\u2019s companion recalled \u201ca stag . . . with the sun playing on him through the leaves . . . [who] remained perfectly still.\u201d Watercolor was ideal for such improvisatory studies, allowing Bonheur to work outdoors alongside the subjects she treasured.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929939"], "internet_archive": ["https://archive.org/details/clevelandart-1977.3-stag-lying-down"]}, "citations": [{"citation": "Roger-Mil\u00e8s, M. L[\u00e9on]. <em>Atelier Rosa Bonheur</em>. Paris: Georges Petit, 1900.", "page_number": "Mentioned: vol. 2, p. 11, no. 934", "url": ""}, {"citation": "Stanton, Theodore. <em>Reminiscences of Rosa Bonheur</em>. New York: Hacker, 1976.", "page_number": "Mentioned: p. 299", "url": ""}, {"citation": "<em>Non-Dissenters: Fifth Exhibition</em>. Exh. cat. New York: Shepherd Gallery, 1976.", "page_number": "Mentioned and reproduced: no. 16", "url": ""}, {"citation": "Klumpke, Anna. <em>Rosa Bonheur: The Artist\u2019s (Auto)biography</em>. Translated by Gretchen van Slyke. Ann Arbor: University of Michigan Press, 1997.", "page_number": "Mentioned: p. 280", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 120-121, no.19", "url": ""}], "catalogue_raisonne": "Roger-Mil\u00e9s 934", "url": "https://clevelandart.org/art/1977.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.3/1977.3_web.jpg", "width": "1206", "height": "893", "filesize": "190404", "filename": "1977.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.3/1977.3_print.jpg", "width": "3400", "height": "2518", "filesize": "1819162", "filename": "1977.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.3/1977.3_full.tif", "width": "7257", "height": "5376", "filesize": "117064152", "filename": "1977.3_full.tif"}}, "alternate_images": [{"date_created": "2007-04-09T18:19:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.3/1977.3_alt0_web.jpg", "width": "1196", "height": "893", "filesize": "764620"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.3/1977.3_alt0_print.jpg", "width": "3400", "height": "2538", "filesize": "6324387"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.3/1977.3_alt0_full.tif", "width": "4925", "height": "3676", "filesize": "54345416"}}], "creditline": "James Parmelee Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149096, "creators": [{"id": 1557, "description": "Rosa Bonheur (French, 1822\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": "The eldest of four children, Rosa Bonheur received drawing lessons in the studio of her father, Raymond Bonheur (1796-1849). From early on she pre-ferred to draw animals and went to the Jardin des Plantes in Paris to study and draw them. She first exhibited at the Salon of 1841. The family moved to the suburbs where Bonheur had an even more easy access to animals, and she visited slaughterhouses in order to study their anatomy. Her Salon submissions became increasingly successful, but her first major breakthrough occurred with Plowing in the Nivernais (Salon 1849, Mus\u00e9e National du Ch\u00e2teau, Fontainebleau). Based on Sand's rustic novel La mare au Diable (1846), the work represents a heroic depiction of rural life that Bonheur had elevated to the standards of a history painting. Her international reputation was established with The Horse Fair (Metropolitan Museum of Art, New York), presented at the Salon of 1853. She celebrated her final triumph at the 1855 Salon with Haymaking in the Auvergne (R. W. Norton Art Gallery, Shreveport, La.), after which she increasingly withdrew from public life. She mostly worked on her many commissions and shared her life with Nathalie Micas. The couple traveled extensively, and in 1859 Bonheur bought the Ch\u00e2teau de By in Thomery near Fontainebleau, where they lived in relative solitude. Bonheur had also little contact with the nearby group of Barbizon painters. The widespread appreciation for her work did not diminish, however, and in 1865 Empress Eug\u00e9nie visited her studio in order to award her a knighthood in the Legion of Honor, making her the first woman to carry that title. Nathalie Micas died in 1889, to Bonheur's great distress, but she soon befriended the American painter Anna Klumpke (1856-1942), with whom she would eventually live and who became her biographer. Even though Bonheur was appreciated in France, her principal collectors were in England and the United States. According to Albert Wolff, she was \"one of the three most highly priced French painters in America . . . the other two [were] Jules Breton [q.v.] and Meissonier [q.v.]\"1 Bonheur was one of the foremost animaliers, or animal painters, of her time and was also active as a sculptor. Her painting style changed little throughout her career, and her work found little esteem with more pro-gressive artists and critics. However, her unorthodox life as an independent and successful woman in a male-dominated society has recently generated great interest, especially among feminist art historians.\r\n1. Le Figaro (11 July 1890), 1.", "name_in_original_language": null, "birth_year": "1822", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-02-23T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "c. 1875\u201385", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Recumbent Stag"], "is_highlight": false, "updated_at": "2026-03-27 00:05:25.702000"}, {"id": 153402, "accession_number": "1986.86", "share_license_status": "CC0", "tombstone": "Square-shaped Bottle with the Scenery of the Han River (\ubc31\uc790 \uccad\ud654 \uc0b0\uc218\ubb34\ub2ac \uc0ac\uac01\ubcd1 (\u767d\u78c1\u9751\u756b\u5c71\u6c34\u6587\u56db\u89d2\u7501)), 1800s. Korea, Joseon dynasty (1392\u20131910). Porcelain with underglaze cobalt blue decoration. The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1986.86", "current_location": null, "title": "Square-shaped Bottle with the Scenery of the Han River", "title_in_original_language": "\ubc31\uc790 \uccad\ud654 \uc0b0\uc218\ubb34\ub2ac \uc0ac\uac01\ubcd1 (\u767d\u78c1\u9751\u756b\u5c71\u6c34\u6587\u56db\u89d2\u7501)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "porcelain with underglaze cobalt blue decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "dimensions": {"overall": {"height": 0.11, "width": 0.087, "length": 0.087}, "diameter of mouth": {"width": 0.058}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 617635, "title": "From Dreaming to Hiking: Korean Landscape Paintings", "description": "<i>From Dreaming to Hiking: Korean Landscape Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-September 29, 2024).", "opening_date": "2024-03-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "Robert W. Moore, Los Angeles, CA", "citations": [], "footnotes": [], "date": "?-1986", "sortorder": 1}, {"description": "(Christie's, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1986", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1986-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Han River is the principal river crossing the center of Seoul.", "description": "The depicted scenery of this bottle is the Han River, the principal river crossing the center of Seoul. Since the 1700s, Korean artists began to paint the real landscape of Korea instead of imaginary ones of the Chinese tradition. This blue-and-white porcelain bottle is presumably a water dropper for ink. Each facet was separately made and put together before firing in a kiln. Both the landscape motif and faceted bottle were in vogue in the late 19th century, largely produced to meet the growing demand from the elite class.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939332"], "internet_archive": ["https://archive.org/details/clevelandart-1986.86-square-shaped-bottle"]}, "citations": [{"citation": "Bang, Byungsun. \"The Technology of Porcelain Manufacturing in the late Joseon Dynasty [\u671d\u9bae\u5f8c\u671f\u767d\u78c1\uc758\u88fd\u4f5c\u6280\u8853\u784f\u7a76].\" <em>Misul sahak yeongu </em>(1997): 67-104", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00995382"}, {"citation": "Kang, Kyeong-sook. <em>History of Korean Ceramics</em> [\u97d3\u570b\u9676\u78c1\u53f2]. Seoul: Yekyong, 2012.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Jeong, Wonjoo. \"The Origin and Characteristics of White Porcelain Flask in the Joseon Dynasty [\uc870\uc120\uc2dc\ub300 \ubc31\uc790\ud3b8\ubcd1\uc758 \uc5f0\uc6d0\uacfc \uc131\uaca9].\" <em>Misulsa hakbo</em> (2016): 33-62.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE06700600"}, {"citation": "Choi, Kyung-hwa, \u201cObservations on the Relation between Designs on White Porcelain and Folk Paintings of the Late Joseon Period [\uc870\uc120 \ud6c4\uae30 \uccad\ud654\ubc31\uc790 \ubb38\uc591\uacfc \ubbfc\ud654\uc640\uc758 \uc0c1\uad00\uc131 \uace0\ucc30].\u201d<em> Hanguk munhwa yeongu </em>(2018): 151-186.", "page_number": null, "url": "https://www.kci.go.kr/"}], "url": "https://clevelandart.org/art/1986.86", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.86/1986.86_web.jpg", "width": "980", "height": "893", "filesize": "69102", "filename": "1986.86_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.86/1986.86_print.jpg", "width": "3400", "height": "3097", "filesize": "677846", "filename": "1986.86_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.86/1986.86_full.tif", "width": "4326", "height": "3941", "filesize": "51173640", "filename": "1986.86_full.tif"}}, "alternate_images": [{"date_created": "2012-04-17T15:43:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt0_web.jpg", "width": "939", "height": "893", "filesize": "65849"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt0_print.jpg", "width": "3400", "height": "3232", "filesize": "750874"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt0_full.tif", "width": "4299", "height": "4087", "filesize": "52737208"}}, {"date_created": "2012-04-17T15:57:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt1_web.jpg", "width": "939", "height": "893", "filesize": "64536"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt1_print.jpg", "width": "3400", "height": "3235", "filesize": "696952"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt1_full.tif", "width": "4303", "height": "4095", "filesize": "52888560"}}, {"date_created": "2012-04-17T17:33:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt2_web.jpg", "width": "920", "height": "893", "filesize": "68373"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt2_print.jpg", "width": "3400", "height": "3300", "filesize": "811752"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt2_full.tif", "width": "4096", "height": "3976", "filesize": "48883644"}}, {"date_created": "2012-04-17T18:04:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt3_web.jpg", "width": "1096", "height": "893", "filesize": "62988"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt3_print.jpg", "width": "3400", "height": "2770", "filesize": "472339"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt3_full.tif", "width": "4108", "height": "3347", "filesize": "41274232"}}, {"date_created": "2012-04-17T18:10:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt4_web.jpg", "width": "1059", "height": "893", "filesize": "87545"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt4_print.jpg", "width": "3400", "height": "2868", "filesize": "736648"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.86/1986.86_alt4_full.tif", "width": "3792", "height": "3199", "filesize": "36417080"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153402, "creators": [], "legal_status": "accessioned", "accession_date": "1986-11-19T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:27.193000"}, {"id": 161274, "accession_number": "1999.49", "share_license_status": "CC0", "tombstone": "End of the Harvest, c. 1892\u20131905. Charles Angrand (French, 1854\u20131926). Charcoal on cream laid paper; sheet: 49.1 x 63.5 cm (19 5/16 x 25 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1999.49", "current_location": null, "title": "End of the Harvest", "creation_date": "c. 1892\u20131905", "creation_date_earliest": 1892, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "charcoal on cream laid paper", "support_materials": [{"description": "cream(2) modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 49.1 x 63.5 cm (19 5/16 x 25 in.)", "dimensions": {"sheet": {"height": 0.491, "width": 0.635}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "watermark, lower left: BERVILLE (in reverse); watermark, upper right: Lalanne", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 213438, "title": "Van Gogh's Sheaves of Wheat", "description": "<i>Van Gogh's Sheaves of Wheat</i>. The Dallas Museum of Art, Dallas, TX (organizer) (October 22, 2006-January 7, 2007).", "opening_date": "2006-10-22T00:00:00"}, {"id": 213850, "title": "Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music", "description": "<i>Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music</i>. The Phillips Collection, Washington, DC (organizer) (September 27, 2014-January 11, 2015).", "opening_date": "2014-09-27T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Artist\u2019s family, by descent", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Galerie Lespinasse, Rouen, sold to Mr. P. L.)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 2}, {"description": "Mr. P. L.", "citations": [], "footnotes": null, "date": "1999", "sortorder": 3}, {"description": "(Galerie Ber\u00e8s, Paris, sold to the Cleveland Museum of Art, 1999)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1999 -", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist Paul Signac, a friend of Angrand, described the artist's drawings as \"poems of light.\"", "description": "This drawing's unusual technique reflects the ideas of the French painting movement known as Pointillism or Divisionism. Its most famous practitioner, Georges Seurat (1859\u20131891), developed a technique of applying color in short strokes or dots. Seurat's friend Charles Angrand was influenced by this method, and both artists developed a related technique for their drawings. In the sheet shown here, Angrand used a black, manufactured charcoal stick on a paper textured with tiny ridges. The highest of these ridges hold the charcoal, but the paper shows through in the small spaces between them. This creates the effect of a soft, diffuse evening light that dissolves the curved shapes of haystacks and turns the landscape into an expansive abstraction of nature.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79983843"], "internet_archive": ["https://archive.org/details/clevelandart-1999.49-end-of-the-harvest"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMajor Contemporary German Painting Acquired by CMA,\u201d June 9, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4262"}, {"citation": "DeGrazia, Diane, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2000.", "page_number": "Mentioned: pp. 144-145, p. 292, no. 58; Reproduced: p. 145", "url": null}, {"citation": "Kosinski, Dorothy M., Bradley Fratello, and Laura Bruck. <em>Van Gogh's Sheaves of Wheat</em>. Exh. Cat. Dallas: Dallas Museum of Art, 2007.", "page_number": "Reproduced: p. 65", "url": null}, {"citation": "Homburg, Cornelia. <em>Neo-Impressionism and the Dream of Realities: Painting, Poetry, Music</em>. Exh. Cat. Washington, D.C.: Phillips Collection, 2014.", "page_number": "Mentioned: pp. 35, 177; Reproduced: p. 41", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 168-169, no. 33", "url": ""}], "url": "https://clevelandart.org/art/1999.49", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.49/1999.49_web.jpg", "width": "900", "height": "685", "filesize": "288497", "filename": "1999.49_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.49/1999.49_print.jpg", "width": "3400", "height": "2589", "filesize": "4175249", "filename": "1999.49_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.49/1999.49_full.tif", "width": "13960", "height": "10632", "filesize": "445297936", "filename": "1999.49_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161274, "creators": [{"id": 34735, "description": "Charles Angrand (French, 1854\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1854", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1999-06-07T00:00:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "c. 1892\u20131905", "collapse_artists": false, "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": "2026-03-27 00:00:33.559000"}, {"id": 171144, "accession_number": "2013.6", "share_license_status": "CC0", "tombstone": "Prestige robe (riga), late 1800s\u2013by 1910. Africa, West Africa, Nigeria, probably Hausa-style or Nupe-style weavers and embroiders. Cotton, silk, and indigo; overall: 120 x 226 cm (47 1/4 x 89 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2013.6", "current_location": null, "title": "Prestige robe (riga)", "creation_date": "late 1800s\u2013by 1910", "creation_date_earliest": 1850, "creation_date_latest": 1910, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, probably Hausa-style or Nupe-style weavers and embroiders"], "technique": "Cotton, silk, and indigo", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 120 x 226 cm (47 1/4 x 89 in.)", "dimensions": {"overall": {"height": 1.2, "width": 2.26}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 387027, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2013-October 20, 2014).", "opening_date": "2013-10-28T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 375970, "title": "B\u00e1mgb\u00f3y\u00e8: A Twentieth-Century Yor\u00f9b\u00e1 Sculptor", "description": "<i>B\u00e1mgb\u00f3y\u00e8: A Twentieth-Century Yor\u00f9b\u00e1 Sculptor</i>. Yale University Art Gallery, New Haven, CT (organizer) (September 9, 2022-January 8, 2023).", "opening_date": "2022-09-09T04:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 108): October 28, 2013 - October 20, 2014.", "opening_date": "2013-10-28T00:00:00"}]}, "provenance": [{"description": "possibly from Julius August Konietzko [1886\u20131952], Hamburg, Germany", "citations": [], "footnotes": ["<div><!--block-->This hypothesis is based upon Maetzel obtaining most of his collection via Konietzko</div>"], "date": "", "sortorder": 1}, {"description": "Emil Maetzel, [1877\u20131955], Hamburg, Germany", "citations": [], "footnotes": ["<div><!--block-->Depicted wearing the garment in 1910 and 1926 photographs; auction house record: <br>&nbsp; <a href=\"https://www.auction.fr/_en/lot/mens-vestment-nigeria-nupe-3393435\">https://www.auction.fr/_en/lot/mens-vestment-nigeria-nupe-3393435</a>&nbsp;</div>"], "date": "by at least 1910", "sortorder": 2}, {"description": "(Zemanek-M\u00fcnster, Wurzburg, Germany, March 13, 2012, Lot 99, sold to Kevin Conru, London or Brussels)", "citations": [], "footnotes": ["<div><!--block-->Acquisition paperwork, CMA object file</div>"], "date": "March 13, 2012", "sortorder": 3}, {"description": "Alan Marcuson, Brussels, Belgium", "citations": [], "footnotes": ["<div><!--block-->Acquisition paperwork, CMA object file</div>"], "date": "c. 2012\u20132013", "sortorder": 4}, {"description": "(Andres Moraga San Francisco Tribal, Berkeley, CA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->Acquisition paperwork, CMA object file</div>"], "date": "2013", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Its owner's movements would have revealed a flash of magenta silk (an expensive trade good) along the hem of this <em>riga</em>, emphasizing his high status.", "description": "Elite Nigerian men wore voluminous status garments variously called <em>riga</em> (Hausa), <em>agb\u00e1d\u00e1</em> (Yor\u00f9b\u00e1), <em>boubou</em> (French), or <em>mbubb</em> (Wolof). Punctuated with white silk, this strip-woven riga\u2019s inky blue was achieved by repeatedly dipping threads into indigo dye before weaving them. Embroiderers were often skilled Arabic calligraphers; the motifs here once had protective Islamic symbolism. The front pocket features the pointed \u201ceight knives\u201d (<em>aska takwas</em>) and a leaf (<em>gambiya</em>) associated with the Nupe peoples. At back, a spiral leads the wearer toward God. Magenta silk imported via trans-Saharan routes lines the hem. Rigan historically held transcultural appeal; today, they are pan-Nigerian male national dress.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081025"], "internet_archive": ["https://archive.org/details/clevelandart-2013.6-prestige-robe-riga"]}, "citations": [{"citation": "Green, James, et al. <em>Ba\u0301migbo\u0301ye\u0300 : A Master Sculptor of the Yoru\u0300ba\u0301 Tradition</em>. Yale University Art Gallery, 2022.", "page_number": "p. 55-56.", "url": ""}, {"citation": "Picton, John, and John Mack. <em>African Textiles</em>. London: Published for the Trustees of the British Museum by British Museum Publications, 1989.", "page_number": "p. 192 illus", "url": ""}, {"citation": "Gillow, John. African Textiles: Colour and Creativity Across a Continent. London: Thames &amp; Hudson, 2003.", "page_number": "p. 100-103", "url": null}, {"citation": "Mackie, Louise W. \u201c2013 Acquisitions: Textiles.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 26-27.", "page_number": "Reproduced and Mentioned: p. 26", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Green, James. \"Islamic Influence in the Work of Yor\u00f9b\u00e1 Sculptor B\u00e1migb\u00f3y\u00e8,\" <em>\u00ccM\u1ecc\u0300 D\u00c1RA</em>, October 16, 2022.", "page_number": "Reproduced.", "url": "https://www.imodara.com/magazine/islamic-influence-bamigboye/"}], "url": "https://clevelandart.org/art/2013.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.6/2013.6_web.jpg", "width": "900", "height": "492", "filesize": "194600", "filename": "2013.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.6/2013.6_print.jpg", "width": "3400", "height": "1860", "filesize": "2230587", "filename": "2013.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.6/2013.6_full.tif", "width": "13711", "height": "7500", "filesize": "308522452", "filename": "2013.6_full.tif"}}, "alternate_images": [{"date_created": "2013-04-08T15:46:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt0_web.jpg", "width": "1263", "height": "733", "filesize": "131699"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt0_print.jpg", "width": "3400", "height": "1972", "filesize": "1259303"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt0_full.tif", "width": "7426", "height": "4309", "filesize": "96022184"}}, {"date_created": "2013-04-08T17:35:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt1_web.jpg", "width": "1263", "height": "720", "filesize": "120189"}, 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"https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt5_web.jpg", "width": "686", "height": "893", "filesize": "112704"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt5_print.jpg", "width": "2610", "height": "3400", "filesize": "2747840"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.6/2013.6_alt5_full.tif", "width": "6000", "height": "7815", "filesize": "140692004"}}], "creditline": "Alma Kroeger Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171144, "creators": [], "legal_status": "accessioned", "accession_date": "2013-03-04T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "late 1800s\u2013by 1910", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:33.301000"}, {"id": 85861, "accession_number": "2020.120", "share_license_status": "CC0", "tombstone": "Orchard, 1897. \u00c9douard Vuillard (French, 1868\u20131940). Oil on board; unframed: 22.4 x 29.4 cm (8 13/16 x 11 9/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.120", "current_location": null, "title": "Orchard", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 22.4 x 29.4 cm (8 13/16 x 11 9/16 in.)", "dimensions": {"unframed": {"height": 0.224, "width": 0.294}, "framed": {"height": 0.365, "width": 0.438, "depth": 0.043}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower center:  E Vuillard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Exposition \u00e0 l'occasion du 60e anniversaire de sa fondation</em>. Galerie Paul Vallotton, Lausanne, Switzerland (1973).", "opening_date": "1973-01-01T00:00:00"}, {"description": "<em>\u00c9douard Vuillard</em>. Galerie Paul Vallotton, Lausanne, Switzerland (1989).", "opening_date": "1989-01-01T00:00:00"}, {"description": "<em>Ma\u00eetres suisses et francais des XIXe et si\u00e8cles</em>. Galerie Paul Vallotton, Lausanne, Switzerland (1991).", "opening_date": "1991-01-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Paul Vallotton, Lausanne, Switzerland)", "citations": [], "footnotes": ["<div><!--block-->This painting was included in the \u201cExposition \u00e0 l'Occasion du 60e Anniversaire de sa Fondation,\u201d Galerie Paul Vallotton, Lausanne, Switzerland, July 5 \u2013 September 8, 1973, cat. no. 15.<br><br>The painting remained with the gallery until at least 2003. See: Antoine Salomon, Guy Cogeval, and Mathias Chivot, <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em> (Milan: Skira, 2003), vol. II, cat. no. VII-93, p. 587, ill.)<br><br></div>"], "date": "by 1973\u2013at least 2003", "sortorder": 1}, {"description": "(Galerie Kornfeld, Bern Switzerland, June 18, 2004, lot 150, sold to a private collector)", "citations": [], "footnotes": ["<div><!--block-->According to the 2014 Sotheby\u2019s sale catalogue. Sold as \u201cLandscape at L\u2019Etang-la-Ville,\u201d painted circa 1900, 22.2 x 29.2 cm.&nbsp;</div>"], "date": null, "sortorder": 2}, {"description": "(sold at Sotheby's, New York, NY, May 30, 2014, lot 11)", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "(Galerie Ber\u00e8s, Paris, France, at the New York Art Fair, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": ["<div><!--block-->According to an invoice in the curatorial file. Sold as \u201cLandscape at L\u2019Etang la Ville (Le Verger),\u201d ca. 1900, 22.2 x 29.2 cm.&nbsp;</div>"], "date": "2014", "sortorder": 4}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2014\u20132020", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fellow artist Maurice Denis noted in his journal that Vuillard paid little attention to color theory. In this painting, Vuillard used several colors that are next to each other on the color wheel such as orange, yellow, and green rather than pairing complementary colors.", "description": "The organic strokes that comprise Vuillard\u2019s trees contrast with the linear divisions of agricultural land. The imagery is reminiscent of a passage written by the artist\u2019s muse, Misia Natanson: \u201cSolemn and dreamy, Vuillard led me along the river, past high silver birch trees. . . . He slowly moved through the yellowed grass. . . . Our silhouettes were just shadows against a pale sky.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480941"], "internet_archive": ["https://archive.org/details/clevelandart-2020.120-orchard"]}, "citations": [{"citation": "La Galerie Paul Vallotton: Exposition du 5 juillet au 8 septembre 1973 : a l'occasion du 60e anniversaire de sa fondation, 1913-1973. Lausanne: La Galerie, 1973.", "page_number": "Reproduced: no. 15", "url": ""}, {"citation": "<em>La Galerie Paul Vallotton a l\u02bchonneur de pre\u0301senter du 22 juin au 2 september 1989, une exposition d'huiles, pastels, dessins et lithographies d\u02bcE\u0301douard Vuillard (1868-1940)</em>. Lausanne: Galerie Paul Vallotton, 1989.", "page_number": "Reproduced: no. 7", "url": null}, {"citation": "<em>La Galerie Paul Vallotton, Lausanne pre\u0301sente du 3 juillet au 2 septembre 1991 l'exposition: Ma\u0302itres suisses et franc\u0327ais des XIXe et XXe sie\u0300cles: huiles, aquarelles.</em> Lausanne, 991.", "page_number": "Reproduced: no. 89", "url": ""}, {"citation": "Salomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan, Italy: Skira, 2003.", "page_number": "Reproduced: Vol. II, P. 587, no. VII-93", "url": null}, {"citation": "Groom, Gloria. \"Edouard Vuillard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 76-101. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 98-99; Mentioned: p. 273-274", "url": ""}], "url": "https://clevelandart.org/art/2020.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.120/2020.120_web.jpg", "width": "900", "height": "676", "filesize": "286084", "filename": "2020.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.120/2020.120_print.jpg", "width": "3400", "height": "2554", "filesize": "3161156", "filename": "2020.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.120/2020.120_full.tif", "width": "10220", "height": "7678", "filesize": "235433680", "filename": "2020.120_full.tif"}}, "alternate_images": [{"date_created": "2020-02-11T09:54:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.120/2020.120_alt0_web.jpg", "width": "900", "height": "603", "filesize": "276645"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.120/2020.120_alt0_print.jpg", "width": "3400", "height": "2278", "filesize": "2493023"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.120/2020.120_alt0_full.tif", "width": "12504", "height": "8378", "filesize": "314303076"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 85861, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:37.954000"}, {"id": 437876, "accession_number": "2021.6", "share_license_status": "CC0", "tombstone": "Self-Portrait at Easel, 1897. Hippolyte Petitjean (French, 1854\u20131929). Cont\u00e9 crayon with charcoal on laid paper; sheet: 62 x 47.7 cm (24 7/16 x 18 3/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2021.6", "current_location": null, "title": "Self-Portrait at Easel", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["France"], "technique": "cont\u00e9 crayon with charcoal on laid paper", "support_materials": [{"description": "laid paper", "watermarks": ["ED & Cie. / PL BAS"]}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 62 x 47.7 cm (24 7/16 x 18 3/4 in.)", "dimensions": {"sheet": {"height": 0.62, "width": 0.477}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, upper right, in cont\u00e9 crayon: HP [artist\u2019s monogram] / 1897; watermark, bottom center: ED & Cie. / PL BAS", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>De Vallotton \u00e0 Desnos</em>. Mus\u00e9e des Beaux-Arts, Vevey (July 24\u2013October 3, 1965).", "opening_date": "1965-10-03T00:00:00"}, {"description": "<em>Les Ind\u00e9pendants \u00e0 la Belle \u00c9poque: Ni jury ni r\u00e9compenses</em>. Grand Palais, Paris (March 25\u2013April 17, 1966).", "opening_date": "1966-04-17T00:00:00"}, {"description": "<em>Hippolyte Petitjean, 1854\u20131929</em>. Mus\u00e9es de M\u00e2con (October 10, 2015\u2013January 31, 2016).", "opening_date": "2015-10-10T00:00:00"}]}, "provenance": [{"description": "(sale, Hotel Drouot, Paris, June 26, 1964)", "citations": [], "footnotes": null, "date": "1964", "sortorder": 1}, {"description": "Oscar Ghez [1905-1998], Geneva, Switzerland", "citations": [], "footnotes": null, "date": "presumably 1964-1998", "sortorder": 2}, {"description": "by descent to Claude Ghez, New York, NY", "citations": [], "footnotes": null, "date": "1998-?", "sortorder": 3}, {"description": "Petit Palais, Geneva Switzerland (Ghez Collection)", "citations": [], "footnotes": null, "date": "2015-2019", "sortorder": 4}, {"description": "(sale, Ader, Paris, November 8, 2019, no. 105, sold to De Bayser, Paris)", "citations": [], "footnotes": null, "date": "2019", "sortorder": 5}, {"description": "(De Bayser, Paris, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2019-2021", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hippolyte Petitjean met the artist Georges Seurat in 1884, and the two worked closely on a distinctive style of drawing using waxy black cont\u00e9 crayon.", "description": "In this self-portrait, Hippolyte Petitjean depicted himself standing before an easel while gazing directly at the viewer. The drawing is one of five representations of himself that the artist created late in his career based on his admiration for Rembrandt van Rijn. Petitjean was deeply influenced by the anarchist writer Charles-Albert, who argued for the utopian potential of artmaking, suggesting that the work was meant as a broader statement about the place of the artist within contemporary society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246627"], "internet_archive": ["https://archive.org/details/clevelandart-2021.6-self-portrait-at-eas"]}, "citations": [{"citation": "<em>De Vallotton \u00e0 Desnos</em>. Exh. cat. Vevey: Mus\u00e9e des Beaux-Arts de Vevey, 1965.", "page_number": "Mentioned and reproduced: no. 88.", "url": ""}, {"citation": "<em>Les Ind\u00e9pendants \u00e0 la Belle \u00c9poque: Ni jury ni r\u00e9compenses</em>. Exh. cat. Paris: Grand Palais, 1966.", "page_number": "Reproduced: n.p.", "url": ""}, {"citation": "Sutter, Jean. <em>The Neo-Impressionists</em>. Greenwich, CT: New York Graphic Society Ltd., 1970.", "page_number": "Reproduced: p. 143", "url": ""}, {"citation": "Lapalus, Marie. <em>Hippolyte Petitjean, 1854\u20131929</em>. Exh. cat. M\u00e2con: Mus\u00e9es de M\u00e2con, 2015.", "page_number": "Mentioned and reproduced: p. 49", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 182-183, no. 38", "url": ""}], "url": "https://clevelandart.org/art/2021.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.6/2021.6_web.jpg", "width": "696", "height": "900", "filesize": "429748", "filename": "2021.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.6/2021.6_print.jpg", "width": "2631", "height": "3400", "filesize": "6314333", "filename": "2021.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.6/2021.6_full.tif", "width": "9683", "height": "12514", "filesize": "363547480", "filename": "2021.6_full.tif"}}, "alternate_images": [], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 437876, "creators": [{"id": 437873, "description": "Hippolyte Petitjean (French, 1854\u20131929)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, 1854-1929", "name_in_original_language": null, "birth_year": "1854", "death_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-03-01T00:00:00-05:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:49.597000"}, {"id": 108356, "accession_number": "1925.987", "share_license_status": "CC0", "tombstone": "Noa Noa: Maruru (Offerings of Gratitude), 1893\u201394. Paul Gauguin (French, 1848\u20131903). Woodcut on pink paper; sheet: 20.6 x 36 cm (8 1/8 x 14 3/16 in.); image: 20.3 x 35.5 cm (8 x 14 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1925.987", "current_location": null, "title": "Maruru (Offerings of Gratitude)", "series": "Noa Noa", "creation_date": "1893\u201394", "creation_date_earliest": 1893, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "woodcut on pink paper", "support_materials": [{"description": "rose paper", "watermarks": []}], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 20.6 x 36 cm (8 1/8 x 14 3/16 in.); Image: 20.3 x 35.5 cm (8 x 14 in.)", "dimensions": {"sheet": {"height": 0.206, "width": 0.36}, "image": {"height": 0.203, "width": 0.355}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"id": 174870, "title": "Gauguin: Metamorphoses", "description": "<i>Gauguin: Metamorphoses</i>. The Museum of Modern Art, New York, NY (organizer) (March 8-June 8, 2014).", "opening_date": "2014-03-08T00:00:00"}, {"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": "(Maurice Gobin, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": null, "date": "after 1894-1925", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1925", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1925-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The majority of prints from <em>Noa Noa</em> were printed by the master printer Louis Roy or, later, by Paul Gauguin's son Pola, making this impression particularly rare.", "description": "In 1891 Paul Gauguin traveled to Tahiti, seeking a more authentic style of art making than the conservatism he rejected in Western culture. After returning to Paris in 1893, he began working on <em>Noa Noa,</em> an illustrated book that explained and illustrated his experiences abroad. Although the project was never completed, this print is one of its illustrations. Gauguin depicted a lush landscape by chiseling roughly into a woodblock, a technique meant to suggest relief sculpture he viewed in Tahiti. This style is emphasized by the irregularly applied ink of <em>Maruru</em>\u2014one of only a few impressions Gauguin printed himself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60740057"], "internet_archive": ["https://archive.org/details/clevelandart-1925.987-maruru-offerings-of"]}, "citations": [], "catalogue_raisonne": "G.24; M/K/J 22", "url": "https://clevelandart.org/art/1925.987", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.987/1925.987_web.jpg", "width": "1263", "height": "730", "filesize": "914511", "filename": "1925.987_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.987/1925.987_print.jpg", "width": "3400", "height": "1965", "filesize": "5435551", "filename": "1925.987_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.987/1925.987_full.tif", "width": "5649", "height": "3264", "filesize": "55348256", "filename": "1925.987_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108356, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-30T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u201394", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:20.091000"}, {"id": 122918, "accession_number": "1943.177", "share_license_status": "CC0", "tombstone": "Odalisque, 1825. Jean-Auguste-Dominique Ingres (French, 1780\u20131867). Lithograph; sheet: 26.7 x 34.8 cm (10 1/2 x 13 11/16 in.); image: 13 x 20.9 cm (5 1/8 x 8 1/4 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1943.177", "current_location": null, "title": "Odalisque", "creation_date": "1825", "creation_date_earliest": 1825, "creation_date_latest": 1825, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 26.7 x 34.8 cm (10 1/2 x 13 11/16 in.); Image: 13 x 20.9 cm (5 1/8 x 8 1/4 in.)", "dimensions": {"sheet": {"height": 0.267, "width": 0.348}, "image": {"height": 0.13, "width": 0.209}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 355313, "title": "Exhibition of the Month: Ways of Drawing Nudes", "description": "<i>Exhibition of the Month: Ways of Drawing Nudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-June 6, 1945).", "opening_date": "1945-01-30T04:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 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": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The female nude seen here represented Ingres's conception of ideal beauty.", "description": "Ingres executed this lithograph to reproduce and publicize an important picture that he had previously painted. However, the lithograph also represents experimentation with an unfamiliar medium, but the artist's assured draftsmanship makes the print successful.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80019456"], "internet_archive": ["https://archive.org/details/clevelandart-1943.177-odalisque"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949.", "page_number": "Mentioned: p. 43", "url": "https://archive.org/details/Lithography/page/n50"}], "catalogue_raisonne": "Delteil v.III, no.9", "url": "https://clevelandart.org/art/1943.177", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.177/1943.177_web.jpg", "width": "1189", "height": "893", "filesize": "808196", "filename": "1943.177_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.177/1943.177_print.jpg", "width": "3400", "height": "2554", "filesize": "6149276", "filename": "1943.177_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.177/1943.177_full.tif", "width": "5053", "height": "3795", "filesize": "57559328", "filename": "1943.177_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 122918, "creators": [{"id": 1685, "description": "Jean-Auguste-Dominique Ingres (French, 1780\u20131867)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leading exponent of French neoclassicism and the academic tradition, Jean-Auguste-Dominique Ingres was born in Montauban in 1780. At the age of ten he began studying art and music in Toulouse. In 1797 he entered the Paris studio of David (q.v.), where he became a favorite pupil and assistant. Barely a year later a dispute prompted Ingres to leave the studio and enroll in the \u00c9cole des Beaux-Arts. In 1801 he won the Prix de Rome, but lack of funds prevented him from departing for Italy until 1806. During fourteen years in Rome and four in Florence, Ingres painted romantic troubadour themes and became an admirer of Raphael. In 1824 he returned to Paris and exhibited at the Salon, where a fierce debate erupted between his supporters and those of Delacroix (q.v.). The controversial Salon of 1824 signaled Ingres's emergence as the leader of the neoclassical movement in France. At that point he effectively assumed the role of his former teacher David, now in exile. In 1833 the French government appointed Ingres vice president of the \u00c9cole des Beaux-Arts and president the following year. In 1834 he accepted the directorship of the French Academy in Rome and spent the next seven years painting and studying antique art in Italy. In 1841 he returned to Paris, where his paintings were greeted with thunderous critical acclaim. A major retrospective at the Exposition Universelle of 1855 confirmed his reputation but also aroused the hostility of young artists opposed to academic rules and conventions. During his later years Ingres continued his bitter rivalry with Delacroix, successfully blocking the latter's admission to the academy until 1857. Ingres died in 1867, leaving behind a circle of followers and a remarkable drawing style that was to inspire later artists, including Degas (q.v.) and Pablo Picasso (1881-1973).", "name_in_original_language": null, "birth_year": "1780", "death_year": "1867", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-04-26T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "1825", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:58.037000"}, {"id": 129201, "accession_number": "1952.10", "share_license_status": "CC0", "tombstone": "May Milton, 1895. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph; sheet: 79.5 x 61.5 cm (31 5/16 x 24 3/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1952.10", "current_location": null, "title": "May Milton", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 79.5 x 61.5 cm (31 5/16 x 24 3/16 in.)", "dimensions": {"sheet": {"height": 0.795, "width": 0.615}}, "state_of_the_work": "D. II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301359, "title": "The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review", "description": "<i>The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review</i>. The Cleveland Museum of Art, Cleveland, OH (January 14-March 31, 1970).", "opening_date": "1970-01-14T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}, {"id": 311461, "title": "Generous Donors: A Tribute to The Print Club of Cleveland", "description": "<i>Generous Donors: A Tribute to The Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "May Milton was the romantic partner of May Belfort, another performer whom Toulouse-Lautrec frequently depicted.", "description": "Posters grew in popularity after 1881, when many restrictions on their placement were lifted and it became unlawful to remove or destroy them. The first exhibition of posters took place in 1884, and they were soon accepted as a legitimate art form. Lautrec, a gifted draftsman, excelled at designing arresting lithographs. <em>May Milton</em>, one of his boldest compositions, illustrates Lautrec's innovative style based on a dynamic pattern of flat, simplified, brightly colored shapes and dramatic silhouettes. Lautrec, an astute observer of character and physical features, captured the life of a decadent era in his radically concise, vigorous representations. May Milton was an English dancer who appeared at the Moulin Rouge, one of Paris's most popular caf\u00e9-concerts. This poster was made to advertise her tour of the United States.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909943"], "internet_archive": ["https://archive.org/details/clevelandart-1952.10-may-milton"]}, "citations": [{"citation": "Glaubinger, Jane. \"Inventive Impressions.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 41, no. 6 (Summer 2001): 8-9.", "page_number": "Mentioned and reproduced: p. 9", "url": "https://archive.org/details/CMAMM2001-06/page/n7/mode/2up"}], "catalogue_raisonne": "Wittrock Vol.II.P17,b ; Delteil 356", "url": "https://clevelandart.org/art/1952.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.10/1952.10_web.jpg", "width": "682", "height": "900", "filesize": "201540", "filename": "1952.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.10/1952.10_print.jpg", "width": "2577", "height": "3400", "filesize": "2586664", "filename": "1952.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.10/1952.10_full.tif", "width": "4590", "height": "6055", "filesize": "83409836", "filename": "1952.10_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. 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Fran\u00e7ois Aubertin (French, 1773\u20131882), after Jean-Baptiste Isabey (French, 1767\u20131855). Aquatint, etching, and stipple; image: 26.7 x 20.9 cm (10 1/2 x 8 1/4 in.); platemark: 32 x 24.4 cm (12 5/8 x 9 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1967.180", "current_location": null, "title": "The Painter Jacques-Luc Barbier-Walbonne", "creation_date": "1804", "creation_date_earliest": 1804, "creation_date_latest": 1804, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "aquatint, etching, and stipple", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "measurements": "Image: 26.7 x 20.9 cm (10 1/2 x 8 1/4 in.); Platemark: 32 x 24.4 cm (12 5/8 x 9 5/8 in.)", "dimensions": {"image": {"height": 0.267, "width": 0.209}, "platemark": {"height": 0.32, "width": 0.244}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 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": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 282301, "title": "Elegance and Intrigue: French Society in 18th-century Prints and Drawings", "description": "<i>Elegance and Intrigue: French Society in 18th-century Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 6, 2016).", "opening_date": "2016-07-16T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before taking up printmaking, Fran\u00e7ois Aubertin had a career as a soldier.", "description": "Aubertin masterfully combined aquatint and tooled stipple\u2014two techniques used to create granular tone\u2014to emulate the meticulous shading and velvety surface of Isabey\u2019s original drawing. A close look at the print, especially in the areas of the shirt, the jacket, and its lapels, reveals the diverse variety of textures Aubertin achieved. When displayed in the 1804 salon, the print was titled <em>The Little Smoker.</em> This impression is printed on handmade \u201cwove\u201d paper, a modern, smoother kind of paper developed in England during the mid to late 1700s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043603"], "internet_archive": ["https://archive.org/details/clevelandart-1967.180-the-painter-jacques"]}, "citations": [{"citation": "Le\u0301cosse, Cyril. <em>Jean-Baptiste Isabey: petits portraits et grands desseins</em>. Paris : CTHS : Institut national d\u2019histoire de l\u2019art, 2018.", "page_number": "Mentioned and reproduced: p. 108. pl. I", "url": null}], "catalogue_raisonne": "Le Blanc 7", "url": "https://clevelandart.org/art/1967.180", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.180/1967.180_web.jpg", "width": "660", "height": "893", "filesize": "422169", "filename": "1967.180_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.180/1967.180_print.jpg", "width": "2512", "height": "3400", "filesize": "6663934", "filename": "1967.180_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.180/1967.180_full.tif", "width": "3816", "height": "5164", "filesize": "59147644", "filename": "1967.180_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. 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Lucien Pissarro (British, 1863\u20131944). Bound volume with color wood-engraved illustrations; overall: 19.2 x 13.3 cm (7 9/16 x 5 1/4 in.). The Cleveland Museum of Art, Gift of Henry H. Hawley for the fiftieth anniversary of The Print Club of Cleveland, 1970.50", "current_location": null, "title": "The Queen of the Fishes", "creation_date": "1894", "creation_date_earliest": 1894, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "Bound volume with color wood-engraved illustrations", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Bound Volume", "measurements": "Overall: 19.2 x 13.3 cm (7 9/16 x 5 1/4 in.)", "dimensions": {"overall": {"height": 0.192, "width": 0.133}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 309853, "title": "Two Hundred Years of British Prints", "description": "<i>Two Hundred Years of British Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 1984-February 3, 1985).", "opening_date": "1984-10-09T04:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}, {"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": 543573, "title": "Fairy Tales and Fables: Illustration and Storytelling in Art", "description": "<i>Fairy Tales and Fables: Illustration and Storytelling in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-September 8, 2024).", "opening_date": "2024-05-04T04:00:00"}], "legacy": []}, "provenance": [{"description": "John Quin", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lucian Pissarro was a son of Impressionist painter Camille Pissarro.", "description": "\u201cThe Queen of the Fishes\u201d is a French fairy tale about two mistreated children who turn into a fish and an oak tree. This edition was the first book published by the Eragny Press, the private firm of Lucien Pissarro, son of impressionist painter Camille Pissarro. Following the example of William Morris, Lucien wanted to return to the careful design and high-quality materials of early printed books. He and his wife, Esther Bensusan Pissarro, made this publication almost entirely by hand, including designing and engraving all the illustrations and ornaments.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79923255"], "internet_archive": ["https://archive.org/details/clevelandart-1970.50-the-queen-of-the-fis"]}, "citations": [{"citation": "Montan\u0303\u00e9s-lleras, Susana. \u201cOf Technology and Fantasy: fairy tales, fables, and the transformation of illustration in the long 19th century.\u201d <em>Gramarye : The Journal of the Sussex Centre for Folklore, Fairy Tales and Fantasy</em> 28 (Winter 2025): 51-65.", "page_number": "Reproduced p. 61, fig. 8, Mentioned: p. 63-64.", "url": ""}], "url": "https://clevelandart.org/art/1970.50", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1970.50/1970.50_web.jpg", "width": "643", "height": "900", "filesize": "199232", "filename": "1970.50_web.jpg"}, "print": {"url": 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Hawley for the fiftieth anniversary of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145217, "creators": [{"id": 27482, "description": "Lucien Pissarro (British, 1863\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-05-06T00:00:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "1894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:01.925000"}, {"id": 148689, "accession_number": "1976.143", "share_license_status": "CC0", "tombstone": "Pinning the Hat, 1898. Pierre-Auguste Renoir (French, 1841\u20131919). Color lithograph; image: 61.5 x 49.5 cm (24 3/16 x 19 1/2 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1976.143", "current_location": null, "title": "Pinning the Hat", "creation_date": "1898", "creation_date_earliest": 1893, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 61.5 x 49.5 cm (24 3/16 x 19 1/2 in.)", "dimensions": {"image": {"height": 0.615, "width": 0.495}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"id": 214137, "title": "Degas, Impressionism & the Paris Millinery Trade", "description": "<i>Degas, Impressionism & the Paris Millinery Trade</i>. Saint Louis Art Museum, St. Louis, MO (organizer) (February 12-May 7, 2017); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (June 24-September 24, 2017).", "opening_date": "2017-02-12T00:00:00"}], "legacy": []}, "provenance": [{"description": "Leona E. Prasse [1896-1984], Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1976", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 9, 1976", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Auguste Clot, the master printer of this lithograph, worked with many of the artists of Auguste Renoir's time, including Edgar Degas and Pierre Bonnard.", "description": "<em>Pinning the Hat</em> was a favorite subject for Auguste Renoir, and several versions exist including an 1893 painting and later variations in pastel, etching, and lithography. Renoir's models were Julie Morisot (daughter of Impressionist painter Berthe Morisot [1841-1895]) and her cousin. To produce the range of colors in this print, Renoir worked with the master printer Auguste Clot. The artist drew a design on a lithographic stone and then colored a proof impression as guidance for Clot, who then printed each tone separately.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60747366", "https://www.wikidata.org/wiki/Q19859060"], "internet_archive": ["https://archive.org/details/clevelandart-1976.143-pinning-the-hat"]}, "citations": [{"citation": "Kelly, Simon, and Esther Bell. <em>Degas, Impressionism, and the Paris Millinery Trade.</em> Exh. Cat. San Francisco: Fine Arts Museums of San Francisco, 2017.", "page_number": "Mentioned and reproduced: p. 240-241, no. 86", "url": null}], "catalogue_raisonne": "Stella 30", "url": "https://clevelandart.org/art/1976.143", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.143/1976.143_web.jpg", "width": "717", "height": "893", "filesize": "511711", "filename": "1976.143_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.143/1976.143_print.jpg", "width": "2728", "height": "3400", "filesize": "7350562", "filename": "1976.143_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.143/1976.143_full.tif", "width": "3720", "height": "4637", "filesize": "51781404", "filename": "1976.143_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148689, "creators": [{"id": 1765, "description": "Pierre-Auguste Renoir (French, 1841\u20131919)", "extent": null, "qualifier": null, "role": "artist", "biography": "Renoir's parents, a tailor and a dressmaker, moved their family to Paris in 1844. At age thirteen Renoir apprenticed with the porcelain decorators Levy Fr\u00e8res &amp; Cie. He earned money by painting fans, blinds, and murals for caf\u00e9s. In 1860 he registered to copy Old Master paintings in the Louvre and, the following year, entered the studio of Charles Gleyre (1806-1874), where he met Fr\u00e9d\u00e9ric Bazille (1841-1870), Monet (q.v.), and Sisley (q.v.). In 1862 he was also accepted at the \u00c9cole des Beaux-Arts. With his friends from Gleyre's studio, he began working en plein air and, during a visit to the forest of Fontainebleau, was introduced to Diaz de la Pe\u00f1a (q.v.). After a failed attempt in 1863, Renoir's first painting was accepted at the Salon of 1864, the same year he painted Cleveland's portrait of Romaine Lacaux. More typical of this early period, however, is the painting Diana the Huntress (1867, National Gallery of Art, Washington, D.C.), which reveals Courbet's (q.v.) influence. Around 1867 Renoir shared a studio with Bazille and Monet, the latter becoming an important influence on his art. Renoir and Monet's comparable impressionist style during this period is evident in two paintings each made at La grenouill\u00e8re (all four titled La grenouill\u00e8re, 1869: Nationalmuseum, Stockholm, and Pushkin Museum, Moscow [Renoir]; National Gallery, London, and Metropolitan Museum of Art, New York [Monet]),1 a bathing establishment on the Seine. After Renoir's military service during the Franco-Prussian War (1870-71), Monet introduced him to the dealer Durand-Ruel, who began purchasing his works. Renoir's submissions to the Salon were regularly refused, which encouraged him to participate in the first impressionist exhibition in 1874 and the 1875 auction at H\u00f4tel Drouot, where his works were ridiculed by the critics. At the third impressionist exhibition in 1877, he showed Ball at the Moulin de la Galette (1876, Mus\u00e9e d'Orsay, Paris), in which he addressed a subject of modern life, one of his most characteristic impressionist paintings on a grand scale, with a rich pattern of light and shadow. In 1878 he returned to the Salon and became quite successful, establishing his reputation as a portraitist (1878, Mme Charpentier and her Children, Metropolitan Museum of Art, New York). He continued to use this official venue for the next several years, declining to exhibit with the impressionists. This decision was partly generated by the fact that his newfound clientele would be more appreciative of his participating in the Salon. He was supported by his patrons, particularly the Charpentiers, owners of a publishing house, whose journal La vie moderne furthered Renoir's reputation. After a trip to North Africa and Italy in 1881, he joined C\u00e9zanne at L'Estaque. Throughout the 1880s and 1890s Renoir traveled extensively through Brittany, Normandy, Provence, and Spain. In the mid-1880s he began to experiment with more linear contours, the application of thinner paint layers, and smoother brush strokes. This so-called Ingresque period, which had a very mixed reception, lasted for about six years. He then reflected upon the achievements of the Old Masters and favored a more fluid style, after which he returned to using broader brush strokes and more vibrant colors. In 1886 he was given a one-man show by Durand-Ruel. By 1900 Renoir was an established artist: he became Chevalier of the Legion of Honor in 1900 and four years later was honored at the Salon d'Automne with a gallery devoted to his works. Beginning in 1912 he suffered from rheumatism and began using a wheelchair, yet he continued to work until the end of his life. He now often stayed in southern France, where he owned property in Cagnes-sur-Mer. Renoir regularly exhibited his works at the Durand-Ruel and Bernheim-Jeune galleries in Paris, as well as elsewhere in Europe and in the United States.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1976-12-09T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1898", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:59.597000"}, {"id": 154075, "accession_number": "1988.191", "share_license_status": "CC0", "tombstone": "Sky Study, Paris, 1856\u201357. Charles Marville (French, 1813\u20131879). Albumen print from wet collodion negative; image: 15.3 x 21.4 cm (6 x 8 7/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, John L. Severance Fund, 1988.191", "current_location": null, "title": "Sky Study, Paris", "creation_date": "1856\u201357", "creation_date_earliest": 1856, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "albumen print from wet collodion negative", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 15.3 x 21.4 cm (6 x 8 7/16 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)", "dimensions": {"image": {"height": 0.153, "width": 0.214}, "matted": {"height": 0.406, "width": 0.508}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on recto: \"1 [circled] 1 / no5 [boxed] / F [circled]\"; in pencil on verso: \"5 [circled]\"; \"#301\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 178867, "title": "Drawn with Light: Pioneering French Photography from the Cleveland Museum of Art", "description": "<i>Drawn with Light: Pioneering French Photography from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 26-June 16, 2005).", "opening_date": "2005-02-26T00:00:00"}, {"id": 197576, "title": "France at the Dawn of Photography", "description": "<i>France at the Dawn of Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 24, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "<em>The World Seen Anew: English and French Photographs of the 1850s. </em>The Cleveland Museum of Art, Cleveland, OH (June 29-August 26, 1990).", "opening_date": "1990-06-29T00:00:00"}, {"description": "<em>Etudes de Ciels. </em>Galerie Octant, Paris, France (November 3-December 22, 1978).", "opening_date": "1978-11-03T00:00:00"}]}, "provenance": [{"description": "Alain Paviot, Paris, France", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Charles Isaacs Photographs, Inc., New York, NY)", "citations": [], "footnotes": null, "date": "?-1989", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 29, 1989", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Charles Marville made a series of views of the skies over Paris, some from various rooftops and others from his apartment window.", "description": "Here Marville framed the city so that the dome at Les Invalides\u2014a retirement home and hospital for military veterans\u2014dominates the skyline. Below lie dark, dense neighborhoods where individual buildings are barely discernable. Photographing skies in landscapes was challenging in the 1850s: the light-sensitive coatings were incapable of properly exposing both earth and the heavens in a single shot. There is no doubt that Marville\u2019s interest here was the sky\u2014the magnificent massing of clouds that momentarily eclipses the sun. The scale, drama, and majesty of this short-lived natural spectacle overwhelms human achievements.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781200"], "internet_archive": ["https://archive.org/details/clevelandart-1988.191-sky-study-paris"]}, "citations": [{"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 231", "url": ""}], "url": "https://clevelandart.org/art/1988.191", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.191/1988.191_web.jpg", "width": "1247", "height": "893", "filesize": "656338", "filename": "1988.191_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.191/1988.191_print.jpg", "width": "3400", "height": "2434", "filesize": "4922606", "filename": "1988.191_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.191/1988.191_full.tif", "width": "5976", "height": "4278", "filesize": "76727452", "filename": "1988.191_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154075, "creators": [{"id": 635, "description": "Charles Marville (French, 1813\u20131879)", "extent": null, "qualifier": null, "role": "artist", "biography": "At the invitation of the city of Paris, photographer Charles Marville was among the first to document the ancient quarters of his birthplace. His views, taken in the late 1850s, were intended to record the many buildings and neighborhoods ultimately destroyed by Baron Georges-Eug\u00e8ne Haussmann's urban planning project that would create the boulevards and open spaces of modern Paris. While Marville's survey of the city, extensive and thorough in scope, prefigured other important efforts of its kind, it is distinguished by its emotional accessibility. His work beautifully reveals a Paris that has long disappeared. Originally trained as a painter and illustrator, Marville worked with both calotype and glass plate negatives. He photographed in France, Italy, Germany, and Algeria, becoming most well known for his architectural imagery but also producing acclaimed landscapes and studies of trees. Many of Marville's early views, often considered his best, were included in the albums of Louis-D\u00e9sir\u00e9 Blanquart-\u00c9vrard before the printer's establishment in Lille closed in 1855. Named official photographer of Paris in 1862, Marville also served as photographer to the Imperial Museum of the Louvre and to King Vittorio Emmanuelle of Italy. T.W.F.", "name_in_original_language": null, "birth_year": "1813", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-06-29T00:00:00", "sortable_date": 1856, "date_added_to_oa": null, "date_text": "1856\u201357", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Untitled (Cloud Study with Les Invalides)"], "is_highlight": false, "updated_at": "2026-03-27 16:32:39.517000"}, {"id": 128316, "accession_number": "1951.299.a", "share_license_status": "CC0", "tombstone": "Vase, c. 1850. Josiah Wedgwood and Sons (British, Staffordshire, est. 1759). Jasper ware with relief decoration; overall: 29.9 cm (11 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. John Sherwin, 1951.299.a", "current_location": "221 19th Century Decorative Arts", "title": "Vase", "creation_date": "c. 1850", "creation_date_earliest": 1845, "creation_date_latest": 1855, "artists_tags": [], "culture": ["England, Staffordshire"], "technique": "jasper ware with relief decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 29.9 cm (11 3/4 in.)", "dimensions": {"overall": {"height": 0.299}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "See cover record.", "description": "Wedgwood's tricolor jasperware first became popular in the 1770s during a period of fascination with neoclassical decoration. This vase was probably made around 1850 during the period when this type of decoration was revived. The relief medallions depict two versions of the Greek god Apollo, the god of music, next to his harp or lyre.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779036"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1951.299.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.299.a/1951.299.a_web.jpg", "width": "765", "height": "900", "filesize": "168070", "filename": "1951.299.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.299.a/1951.299.a_print.jpg", "width": "2889", "height": "3400", "filesize": "974764", "filename": "1951.299.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.299.a/1951.299.a_full.tif", "width": "6225", "height": "7327", "filesize": "136857424", "filename": "1951.299.a_full.tif"}}, "alternate_images": [{"date_created": "2021-11-01T21:30:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.a/1951.299.a_alt0_web.jpg", "width": "900", "height": "847", "filesize": "196571"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.a/1951.299.a_alt0_print.jpg", "width": "3400", "height": "3200", "filesize": "1320988"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.a/1951.299.a_alt0_full.tif", "width": "4996", "height": "4702", "filesize": "70500472"}}, {"date_created": "2021-11-01T21:38:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.a/1951.299.a_alt1_web.jpg", "width": "825", "height": "900", "filesize": "178416"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.a/1951.299.a_alt1_print.jpg", "width": "3117", "height": "3400", "filesize": "1128349"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.a/1951.299.a_alt1_full.tif", "width": "4755", "height": "5187", "filesize": "74018632"}}], "creditline": "Gift of Mrs. John Sherwin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128316, "creators": [{"id": 392759, "description": "Josiah Wedgwood and Sons (British, Staffordshire, est. 1759)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "c. 1850", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.299", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:33.839000"}, {"id": 128317, "accession_number": "1951.299.b", "share_license_status": "CC0", "tombstone": "Cover for a Vase, c. 1850. Josiah Wedgwood and Sons (British, Staffordshire, est. 1759). Jasper ware with relief decoration; overall: 29.9 cm (11 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. John Sherwin, 1951.299.b", "current_location": "221 19th Century Decorative Arts", "title": "Cover for a Vase", "creation_date": "c. 1850", "creation_date_earliest": 1845, "creation_date_latest": 1855, "artists_tags": [], "culture": ["England, Staffordshire"], "technique": "jasper ware with relief decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 29.9 cm (11 3/4 in.)", "dimensions": {"overall": {"height": 0.299}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "See cover record.", "description": "Wedgwood's tricolor jasperware first became popular in the 1770s during a period of fascination with neoclassical decoration. This vase was probably made around 1850 during the period when this type of decoration was revived. The relief medallions depict two versions of the Greek god Apollo, the god of music, next to his harp or lyre.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60742353"], "internet_archive": []}, "citations": [], "url": "https://clevelandart.org/art/1951.299.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.299.b/1951.299.b_web.jpg", "width": "900", "height": "831", "filesize": "236228", "filename": "1951.299.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.299.b/1951.299.b_print.jpg", "width": "3400", "height": "3140", "filesize": "1587803", "filename": "1951.299.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.299.b/1951.299.b_full.tif", "width": "4192", "height": "3871", "filesize": "48709192", "filename": "1951.299.b_full.tif"}}, "alternate_images": [{"date_created": "2021-11-01T21:51:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.b/1951.299.b_alt0_web.jpg", "width": "900", "height": "834", "filesize": "192803"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.b/1951.299.b_alt0_print.jpg", "width": "3400", "height": "3150", "filesize": "1388274"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.299.b/1951.299.b_alt0_full.tif", "width": "3978", "height": "3686", "filesize": "44014424"}}], "creditline": "Gift of Mrs. John Sherwin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128317, "creators": [{"id": 392759, "description": "Josiah Wedgwood and Sons (British, Staffordshire, est. 1759)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1951-07-26T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "c. 1850", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.299", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:18.566000"}, {"id": 130310, "accession_number": "1952.85", "share_license_status": "CC0", "tombstone": "Pendant, 1900s. Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith. Gold; overall: 3.6 x 7.7 cm (1 7/16 x 3 1/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1952.85", "current_location": "108C African Jewelry and Metalwork", "title": "Pendant", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1951, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, probably Baule-style goldsmith"], "technique": "Gold", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 3.6 x 7.7 cm (1 7/16 x 3 1/16 in.)", "dimensions": {"overall": {"height": 0.036, "width": 0.077}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Sir Cecil Hamilton Armitage", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "(Heeramaneck Galleries, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131952", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1952\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The crescent-shaped scarification on the forehead of this piece is called <em>ngwa</em>, or \u201cmoon.\u201d", "description": "Gold objects, always cast using the lost-wax method, are the only Baule art forms associated with ancestor spirits. Usually hidden in pots or suitcases, gold adornments are displayed on important occasions such as funerals. They are laid out around the corpse before burial. A widow will wear them on a chain around her neck or attached to her hair at the ceremony signaling the end of mourning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746988"], "internet_archive": ["https://archive.org/details/clevelandart-1952.85-pendant"]}, "citations": [], "url": "https://clevelandart.org/art/1952.85", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.85/1952.85_web.jpg", "width": "1183", "height": "893", "filesize": "643947", "filename": "1952.85_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.85/1952.85_print.jpg", "width": "3400", "height": "2567", "filesize": "1266438", "filename": "1952.85_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.85/1952.85_full.tif", "width": "3560", "height": "2688", "filesize": "28726492", "filename": "1952.85_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130310, "creators": [], "legal_status": "accessioned", "accession_date": "1952-02-13T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:49.413000"}, {"id": 136303, "accession_number": "1960.186", "share_license_status": "CC0", "tombstone": "Vase, c. 1900\u20131902. Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Favrile glass; overall: 16.5 x 8.3 cm (6 1/2 x 3 1/4 in.). The Cleveland Museum of Art, Gift of Mrs. Arthur L. Brockway, 1960.186", "current_location": "209 Tiffany", "title": "Vase", "creation_date": "c. 1900\u20131902", "creation_date_earliest": 1900, "creation_date_latest": 1902, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "favrile glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Overall: 16.5 x 8.3 cm (6 1/2 x 3 1/4 in.)", "dimensions": {"overall": {"height": 0.165, "width": 0.083}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "etched on base:  \"L.C. Tiffany\" and \"4548E.\"  Scratched on base \"8169.\" ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Mrs. Virginia Brockway [1891-1976], Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1960", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1960-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Introducing various chemicals into the molten glass within the furnace produced multicolored iridescence on the surface when this vase was blown and cooled.", "description": "This small vase is made of Louis Comfort Tiffany's signature Favrile glass. 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Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Favrile glass; diameter: 13.1 cm (5 3/16 in.). The Cleveland Museum of Art, Gift of William Ellery Greene, 1970.127.a", "current_location": "209 Tiffany", "title": "Box", "creation_date": "1898\u20131901", "creation_date_earliest": 1898, "creation_date_latest": 1901, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "Favrile glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Diameter: 13.1 cm (5 3/16 in.)", "dimensions": {"diameter": {"width": 0.131}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on bottom:  129 Louis C. Tiffany Favrile.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "William Ellery Greene [1914-1985], Bronxville, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131970", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fanciful dressing table accessory likely contained dusting powder and a feather puff.", "description": "By 1900 Tiffany had expanded his empire by increasing the firm\u2019s production of \u201cfancy goods,\u201d including inkstands, candlesticks, clocks, small boxes, desk sets, tea screens, and other functional objects. 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Louis Comfort Tiffany (American, 1848\u20131933), Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Enamel on copper; diameter: 13.1 cm (5 3/16 in.). The Cleveland Museum of Art, Gift of William Ellery Greene, 1970.127.b", "current_location": "209 Tiffany", "title": "Cover for a Box", "creation_date": "1898\u20131901", "creation_date_earliest": 1898, "creation_date_latest": 1901, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "enamel on copper", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "Diameter: 13.1 cm (5 3/16 in.)", "dimensions": {"diameter": {"width": 0.131}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "on bottom of glass box:  129 Louis C. Tiffany Favrile.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "William Ellery Greene [1914-1985], Bronxville, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131970", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1970-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Tiffany's artisans excelled at creating elaborate enameled patterns for luxurious accessories.", "description": "By 1900 Tiffany had expanded his empire by increasing the firm\u2019s production of \u201cfancy goods,\u201d including inkstands, candlesticks, clocks, small boxes, desk sets, tea screens, and other functional objects. 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Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Bronze and Favrile glass mosaic; overall: 32.1 x 33 x 18.6 cm (12 5/8 x 13 x 7 5/16 in.). The Cleveland Museum of Art, Gift of Dr. and Mrs. Robert L. Tannenbaum in memory Mr. and Mrs. Nathan Robb, 1977.168", "current_location": "209 Tiffany", "title": "Dressing Table Mirror", "creation_date": "c. 1900\u20131902", "creation_date_earliest": 1900, "creation_date_latest": 1902, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "bronze and Favrile glass mosaic", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Furniture and woodwork", "measurements": "Overall: 32.1 x 33 x 18.6 cm (12 5/8 x 13 x 7 5/16 in.)", "dimensions": {"overall": {"height": 0.321, "width": 0.33, "depth": 0.186}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped on underside: TGD Co. and illegible number [9292?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Dr. and Mrs. Robert L. Tannenbaum, Pepper Pike, Ohio", "citations": [], "footnotes": null, "date": "?-1977", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1977-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The peacock, with its brilliantly colored iridescent plumage, was a favorite motif of Louis Comfort Tiffany, appearing in almost every genre of his artistic production.", "description": "By 1900 Louis Comfort Tiffany had expanded his empire by increasing the firm\u2019s production of \u201cfancy goods,\u201d including inkstands, candlesticks, clocks, small boxes, desk sets, tea screens, and other functional objects, such as this dressing table mirror. These smaller, more affordable luxury items were designed with as much thought to artistry as the great stained glass windows and lamps through which the firm enjoyed unrivaled success.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929732"], "internet_archive": ["https://archive.org/details/clevelandart-1977.168-dressing-table-mirro"]}, "citations": [], "url": "https://clevelandart.org/art/1977.168", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.168/1977.168_web.jpg", "width": "1025", "height": "893", "filesize": "453991", "filename": "1977.168_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.168/1977.168_print.jpg", "width": "3400", "height": "2963", "filesize": "4991277", "filename": "1977.168_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.168/1977.168_full.tif", "width": "5277", "height": "4598", "filesize": "72832620", "filename": "1977.168_full.tif"}}, "alternate_images": [{"date_created": "2008-02-12T13:37:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.168/1977.168_alt0_web.jpg", "width": "1016", "height": "893", "filesize": "536573"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.168/1977.168_alt0_print.jpg", "width": "3400", "height": "2987", "filesize": "6133417"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.168/1977.168_alt0_full.tif", "width": "5049", "height": "4436", "filesize": "67226228"}}], "creditline": "Gift of Dr. and Mrs. Robert L. Tannenbaum in memory Mr. and Mrs. Nathan Robb", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149015, "creators": [{"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-12-15T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "c. 1900\u20131902", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:46.566000"}, {"id": 161710, "accession_number": "2000.72.1", "share_license_status": "CC0", "tombstone": "Sideboard, c. 1840. Firm of Duncan Phyfe and Son (American, 1768\u20131854). Chiefly rosewood veneer with pine and poplar secondary woods; overall: 99 x 168.9 x 59.7 cm (39 x 66 1/2 x 23 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 2000.72.1", "current_location": "205 Federal American", "title": "Sideboard", "creation_date": "c. 1840", "creation_date_earliest": 1835, "creation_date_latest": 1845, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "chiefly rosewood veneer with pine and poplar secondary woods", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 99 x 168.9 x 59.7 cm (39 x 66 1/2 x 23 1/2 in.)", "dimensions": {"overall": {"height": 0.99, "width": 1.689, "depth": 0.597}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Hirschl & Adler Galleries, Inc., NY)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This sideboard and cellarette would have graced a 19th-century room. Notice the keyholes on the drawers of both pieces. Expensive silver utensils were stored in the sideboard and wine was kept under lock and key in the cellarette.", "description": "Easily the most famous American furniture maker, Duncan Phyfe (born Scotland, 1768-1854) gave his name to New York furniture that is similar to English Sheraton pieces of the early 19th century-characterized by simple designs, straight lines, thin legs, and classical ornamentation. Despite the fashionable success enjoyed by his work, Phyfe responded to stylistic changes, and by the 1830s had evolved a more severe mode that has been termed the \"Grecian plain style.\" This sideboard and its cellarette (a cabinet for storing wine or liquor) are superb examples of that taste, relying for their effect on relatively simple structural forms with ornamentation largely limited to the use of boldly patterned rosewood veneers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60747454"], "internet_archive": ["https://archive.org/details/clevelandart-2000.72.1-sideboard"]}, "citations": [], "url": "https://clevelandart.org/art/2000.72.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2000.72.1/2000.72.1_web.jpg", "width": "1263", "height": "808", "filesize": "434267", "filename": "2000.72.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2000.72.1/2000.72.1_print.jpg", "width": "3400", "height": "2175", "filesize": "3332369", "filename": "2000.72.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2000.72.1/2000.72.1_full.tif", "width": "6198", "height": "3964", "filesize": "73762372", "filename": "2000.72.1_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 161710, "creators": [{"id": 39089, "description": "Duncan Phyfe and Son (American, 1768\u20131854)", "extent": null, "qualifier": "firm of", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1768", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-09-18T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "c. 1840", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2000.72", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:48.237000"}, {"id": 163350, "accession_number": "2004.17", "share_license_status": "CC0", "tombstone": "Self-Portrait, 1824. Fran\u00e7ois LePage (French, 1796\u20131871). Oil on canvas; framed: 51 x 42 x 4.5 cm (20 1/16 x 16 9/16 x 1 3/4 in.); unframed: 41.3 x 32.8 cm (16 1/4 x 12 15/16 in.). The Cleveland Museum of Art, Gift of Dr. and Mrs. Sherman E. Lee in honor of Henry Hawley, 2004.17", "current_location": "202 French Neoclassical Decorative Arts", "title": "Self-Portrait", "creation_date": "1824", "creation_date_earliest": 1824, "creation_date_latest": 1824, "artists_tags": ["male"], "culture": ["France, School of Lyon, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 51 x 42 x 4.5 cm (20 1/16 x 16 9/16 x 1 3/4 in.); Unframed: 41.3 x 32.8 cm (16 1/4 x 12 15/16 in.)", "dimensions": {"framed": {"height": 0.51, "width": 0.42, "depth": 0.045}, "unframed": {"height": 0.413, "width": 0.328}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Heim Gallery, London, 1972);", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Dr. and Mrs. Sherman E. Lee, by gift to the Cleveland Museum of Art, 2004.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In this self-portrait, Le Page is painting his specialty: flowers.", "description": "Fran\u00e7ois LePage belonged to a family of flower painters and worked in the French city of Lyon, which was famous for producing silk, particularly fabric with flower motifs. Flower painting was a specialty associated with the Lyon school of painting, and is a subject that requires both delicacy and dexterity, both of which are highlighted in this small self-portrait.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480257"], "internet_archive": ["https://archive.org/details/clevelandart-2004.17-self-portrait"]}, "citations": [], "url": "https://clevelandart.org/art/2004.17", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.17/2004.17_web.jpg", "width": "708", "height": "893", "filesize": "397907", "filename": "2004.17_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.17/2004.17_print.jpg", "width": "2694", "height": "3400", "filesize": "4876381", "filename": "2004.17_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.17/2004.17_full.tif", "width": "3527", "height": "4452", "filesize": "47132528", "filename": "2004.17_full.tif"}}, "alternate_images": [{"date_created": "2007-11-26T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.17/2004.17_alt0_web.jpg", "width": "750", "height": "893", "filesize": "516375"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.17/2004.17_alt0_print.jpg", "width": "2505", "height": "2982", "filesize": "5320330"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.17/2004.17_alt0_full.tif", "width": "2505", "height": "2982", "filesize": "22451572"}}], "creditline": "Gift of Dr. and Mrs. Sherman E. Lee in honor of Henry Hawley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 163350, "creators": [{"id": 47729, "description": "Fran\u00e7ois LePage (French, 1796\u20131871)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1796", "death_year": "1871", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-03-01T00:00:00", "sortable_date": 1824, "date_added_to_oa": null, "date_text": "1824", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:41.901000"}, {"id": 168486, "accession_number": "2010.238", "share_license_status": "CC0", "tombstone": "Cabinet Plate, 1883. Made by W. T. Copeland & Sons (British), retailed by Tiffany & Co. (America, New York, est. 1837). Porcelain with enamel p\u00e2te-sure-p\u00e2te and gilt decoration; overall: 2.5 x 22.8 cm (1 x 9 in.). The Cleveland Museum of Art, Gift of Charles Phillips, 2010.238", "current_location": "221 19th Century Decorative Arts", "title": "Cabinet Plate", "creation_date": "1883", "creation_date_earliest": 1883, "creation_date_latest": 1883, "artists_tags": ["male", "gender unknown"], "culture": ["America, New York"], "technique": "porcelain with enamel p\u00e2te-sure-p\u00e2te and gilt decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 2.5 x 22.8 cm (1 x 9 in.)", "dimensions": {"overall": {"height": 0.025, "width": 0.228}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Steven Levine Antiques, Alexandria, Virginia (from the 2010 Hawken Antiques Show, Chesterland, Ohio)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "W. T. Copeland was a British businessman and politician who served as Lord Mayor of London and a Member of Parliament.", "description": "Pate sur pate or 'paste on paste' is a decorative technique for porcelain that involves painting primarily white clay slips on a dark background. After each layer has dried, successive layers are applied before being scraped and carved back to form the decoration in low relief.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781194"], "internet_archive": ["https://archive.org/details/clevelandart-2010.238-cabinet-plate"]}, "citations": [], "url": "https://clevelandart.org/art/2010.238", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.238/2010.238_web.jpg", "width": "1000", "height": "893", "filesize": "725929", "filename": "2010.238_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.238/2010.238_print.jpg", "width": "3400", "height": "3037", "filesize": "8558913", "filename": "2010.238_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.238/2010.238_full.tif", "width": "5518", "height": "4930", "filesize": "81642732", "filename": "2010.238_full.tif"}}, "alternate_images": [{"date_created": "2010-09-27T18:52:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.238/2010.238_alt0_web.jpg", "width": "932", "height": "893", "filesize": "278077"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.238/2010.238_alt0_print.jpg", "width": "3400", "height": "3257", "filesize": "5208939"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.238/2010.238_alt0_full.tif", "width": "5122", "height": "4908", "filesize": "75441616"}}], "creditline": "Gift of Charles Phillips", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168486, "creators": [{"id": 59836, "description": "W. T. Copeland & Sons (British)", "extent": "made by", "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 7431, "description": "Tiffany & Co. (America, New York, est. 1837)", "extent": "retailed by", "qualifier": null, "role": "retailer", "biography": null, "name_in_original_language": null, "birth_year": "1837", "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1883, "date_added_to_oa": null, "date_text": "1883", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:02.456000"}, {"id": 79366, "accession_number": "2018.226", "share_license_status": "CC0", "tombstone": "Parasol Handle, c. 1886\u20131903. Michael Evlampievich Perchin (Russian, 1860\u20131903), House of Faberg\u00e9 (Russian, 1842\u20131918). Gold, enamel, diamonds, and platinum filigree; 8.5 cm (3 3/8 in.); diameter: 3.2 cm (1 1/4 in.). The Cleveland Museum of Art, Bequest of John B. Black, 2018.226", "current_location": "211 Faberg\u00e9", "title": "Parasol Handle", "creation_date": "c. 1886\u20131903", "creation_date_earliest": 1886, "creation_date_latest": 1903, "artists_tags": ["male", "gender unknown"], "culture": ["Russia, St. Petersburg"], "technique": "Gold, enamel, diamonds, and platinum filigree", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "8.5 cm (3 3/8 in.); Diameter: 3.2 cm (1 1/4 in.)", "dimensions": {"No Extent Specified": {"height": 0.085}, "diameter": {"width": 0.032}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "From the collection of John Baxter Black [1924-2014], Mansfield, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-2018", "sortorder": 1}, {"description": "The Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2018-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A wealthy lady around 1900 could unscrew her jeweled parasol handle and take it with her for safekeeping or swap it for another color.", "description": "Women devised many methods to protect themselves from the sun when strolling outside at the end of the nineteenth century. One constant barrier from the harsh rays was the daytime parasol which looked like an umbrella but was used strictly for shade. The House of Faberg\u00e9 specialized in providing fashionable wealthy ladies with bejeweled handles such as this example, which could be screwed directly into the end of the parasol shaft when a more formal look was desired.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60762517"], "internet_archive": ["https://archive.org/details/clevelandart-2018.226-parasol-handle"]}, "citations": [], "url": "https://clevelandart.org/art/2018.226", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.226/2018.226_web.jpg", "width": "782", "height": "900", "filesize": "218749", "filename": "2018.226_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.226/2018.226_print.jpg", "width": "2953", "height": "3400", "filesize": "1960681", "filename": "2018.226_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.226/2018.226_full.tif", "width": "3921", "height": "4514", "filesize": "53123576", "filename": "2018.226_full.tif"}}, "alternate_images": [{"date_created": "2019-12-02T19:28:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt0_web.jpg", "width": "776", "height": "900", "filesize": "215990"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt0_print.jpg", "width": "2931", "height": "3400", "filesize": "1991769"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt0_full.tif", "width": "3921", "height": "4548", "filesize": "53523612"}}, {"date_created": "2019-12-02T19:28:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt1_web.jpg", "width": "797", "height": "900", "filesize": "225792"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt1_print.jpg", "width": "3009", "height": "3400", "filesize": "2023153"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt1_full.tif", "width": "3921", "height": "4430", "filesize": "52135516"}}, {"date_created": "2019-12-02T19:30:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt2_web.jpg", "width": "900", "height": "821", "filesize": "224663"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt2_print.jpg", "width": "3183", "height": "2905", "filesize": "2705815"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt2_full.tif", "width": "3183", "height": "2905", "filesize": "27765572"}}, {"date_created": "2019-12-02T19:30:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt3_web.jpg", "width": "900", "height": "800", "filesize": "218144"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt3_print.jpg", "width": "2875", "height": "2557", "filesize": "1774599"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt3_full.tif", "width": "2875", "height": "2557", "filesize": "22080488"}}, {"date_created": "2019-12-02T19:33:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt4_web.jpg", "width": "900", "height": "757", "filesize": "282603"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt4_print.jpg", "width": "2567", "height": "2158", "filesize": "1573300"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.226/2018.226_alt4_full.tif", "width": "2567", "height": "2158", "filesize": "16646752"}}], "creditline": "Bequest of John B. Black", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 79366, "creators": [{"id": 55089, "description": "Michael Evlampievich Perchin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": "Goldsmith. Worked for Faberg\u00e9.", "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55332, "description": "House of Faberg\u00e9 (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": "Peter Carl Faberge (1846-1920) took over the House of Faberge in 1870 from his father Carl Gustav Faberge who had founded the firm in 1842. Until 1881, the firm manufactured primarily jewelry for Saint Petersburg's aristocrats and wealthy elite. In 1885 the firm was awarded the coveted imperial warrant as goldsmith to the tsar and began to produce elaborate presentation Easter eggs as a gift for the tsarina from her husband every year. They also produced luxurious accessories, jewelry, and hardstone sculptures. At one point, Faberge employed over 300 workers including 22 workmasters who oversaw the production of the firm's jewelry and precious objects. A branch of the firm opened in Moscow in 1887, specializing in neo-Russian and pan-Slavic motifs in jewelry, silver, and enamel. Other branches followed in Kiev, London, and Odessa as well as new premises in Saint Petersburg. At the onset of the Russian Revolution, Peter Carl Faberge fled the country to Paris then Switzerland, where he died in 1920. His firm was nationalized by the Bolsheviks in 1918.", "name_in_original_language": null, "birth_year": "1842", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2018-09-04T00:00:00-04:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "c. 1886\u20131903", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:14.681000"}, {"id": 172939, "accession_number": "2018.287", "share_license_status": "CC0", "tombstone": "Turtleback Reading Lamp, c. 1895\u20131902. Tiffany Glass & Decorating Company (America, New York, 1892\u20131902). Favrile glass, bronze; overall: 35.6 cm (14 in.); diameter of top: 35.6 x 21.6 cm (14 x 8 1/2 in.); diameter of base: 35.6 x 15.2 cm (14 x 6 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.287", "current_location": "209 Tiffany", "title": "Turtleback Reading Lamp", "creation_date": "c. 1895\u20131902", "creation_date_earliest": 1895, "creation_date_latest": 1902, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "Favrile glass, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Lamp", "measurements": "Overall: 35.6 cm (14 in.); Diameter of top: 35.6 x 21.6 cm (14 x 8 1/2 in.); Diameter of base: 35.6 x 15.2 cm (14 x 6 in.)", "dimensions": {"overall": {"height": 0.356}, "diameter of top": {"height": 0.356, "width": 0.216}, "diameter of base": {"height": 0.356, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "stamped on underside: TGD Co/Tiffany Studios/New York/D545", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Charles Maurer [1929-2016], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20132018", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Louis Comfort Tiffany called the large pieces of cast glass with irregular shapes \"turtleback,\" because they resemble the craggy shapes of a turtle's shell.", "description": "By 1900 Louis Comfort Tiffany had expanded his empire by increasing the firm\u2019s production of \u201cfancy goods,\u201d including inkstands, candlesticks, clocks, small boxes, desk sets, tea screens, and other functional objects, such as this small reading lamp for a desk. These smaller, more affordable luxury items were designed with as much thought to artistry as the great stained glass windows and table lamps through which the firm enjoyed unrivaled success.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874461"], "internet_archive": ["https://archive.org/details/clevelandart-2018.287-turtleback-reading-l"]}, "citations": [], "url": "https://clevelandart.org/art/2018.287", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.287/2018.287_web.jpg", "width": "738", "height": "893", "filesize": "310265", "filename": "2018.287_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.287/2018.287_print.jpg", "width": "2811", "height": "3400", "filesize": "4981408", "filename": "2018.287_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.287/2018.287_full.tif", "width": "4211", "height": "5094", "filesize": "64388052", "filename": "2018.287_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172939, "creators": [{"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1895\u20131902", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:13.852000"}, {"id": 375050, "accession_number": "2022.111", "share_license_status": "CC0", "tombstone": "Miniature Compote, 1896. House of Faberg\u00e9 (Russian, 1842\u20131918). Silver, aventurine quartz; overall: 15.2 cm (6 in.). The Cleveland Museum of Art, Gift of the Hiller-Borneman Collection, 2022.111", "current_location": "211 Faberg\u00e9", "title": "Miniature Compote", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["gender unknown"], "culture": ["Russia"], "technique": "silver, aventurine quartz", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Overall: 15.2 cm (6 in.)", "dimensions": {"overall": {"height": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Stamped: Faberg\u00e9 (in Cyrillic) surmounted by double-headed eagle (imperial warrant); 1896, surmounted by tester's initials for Lev Oleks (active 1895-8), 84, Saint George [three punch assay mark for Moscow]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Scratched: 7796", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "(Wartski Ltd, London, sold to J. 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Below, a diamond pattern evokes another royal symbol, the leopard. The projections are reinforced with small pieces of wood. 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Museo Nacional Thyssen-Bornemisza, Madrid, Spain (organizer) (March 8-June 12, 2011).", "opening_date": "2011-03-08T00:00:00"}], "legacy": [{"description": "Paris, Palais des Champs-\u00c9lys\u00e9es. Salon (1857), no. 327, Arion sur un cheval marin, no. 328, Bacchante sur une panth\u00e8re.", "opening_date": null}, {"description": "New York Cultural Center. William Adolphe Bouguereau (1974-75), 20.", "opening_date": "1974-01-01T00:00:00"}, {"description": "Museo Thyssen-Bornemisza, Madrid (3/8/2011 - 6/12/2011):  \"Heroines\"", "opening_date": "2011-03-08T00:00:00"}]}, "provenance": [{"description": "Commissioned by Anatole Bartholoni, Paris. Paris sale, Drouot, 27 April 1933 (lot 32), Arion chevauchant un monstre marin (lot 33), Bacchante sur une panth\u00e8re (repr.), Shepherd Gallery, New York, 1972. Christopher Gibbs Ltd., London, 1973. London sale, Sotheby's, 30 November 1977 (lot 208), Arion sur un dauphin; Bacchante sur une panth\u00e8re (repr.), \u00a36500. Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1980.239"], "did_you_know": null, "description": "Part of a series of six paintings that decorated Etienne Bartholony's house in Paris, these paintings emulate ancient Roman designs. Crisp, cut out forms are set against a gold background painted in imitation of mosaic. Arion was an ancient Greek poet who escaped death by riding away on the back of a sea creature who had been attracted by the poet's song. In the companion picture, a bacchante\u2014a female worshipper of the wine god Bacchus\u2014rides on a panther, the god's symbolic animal. These works were shown at the 1857 Paris Salon exhibition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474468"], "internet_archive": []}, "citations": [{"citation": "Jullian, Philippe. \"The Symbolists.\" <em>Architectural Digest </em>31 (January/February 1975): 58-63.", "page_number": "Reproduced: P. 59", "url": ""}, {"citation": "Wissman, Fronia E. <em>Bouguereau</em>. San Francisco: Pomegranate Artbooks, 1996.", "page_number": "Mentioned and reproduced: P. 22-24, pl. 5", "url": ""}, {"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: P. 76-79, cat. no. 30", "url": ""}, {"citation": "Bartoli, Damien, and Frederick C. Ross. <em>William Bouguereau.</em> Woodbridge Suffolk: Antique Collectors' Club in cooperation with the Art Renewal Center, 2010.", "page_number": "Mentioned and reproduced: Vol. II, p. 41, no. 1855/03B", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: P. 182, 211, no. 27", "url": "http://www.jstor.org/stable/25159730"}], "url": "https://clevelandart.org/art/1980.238.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.238.2/1980.238.2_web.jpg", "width": "1263", "height": "821", "filesize": "637653", "filename": "1980.238.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.238.2/1980.238.2_print.jpg", "width": "3400", "height": "2210", "filesize": "4702845", "filename": "1980.238.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.238.2/1980.238.2_full.tif", "width": "6148", "height": "3997", "filesize": "73753036", "filename": "1980.238.2_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.238.2/1980.238.2_alt0_web.jpg", "width": "1263", "height": "821", "filesize": "703587"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.238.2/1980.238.2_alt0_print.jpg", "width": "3400", "height": "2210", "filesize": "5054033"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.238.2/1980.238.2_alt0_full.tif", "width": "6148", "height": "3997", "filesize": "73752824"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 150024, "creators": [{"id": 1571, "description": "William Adolphe Bouguereau (French, 1825\u20131905)", "extent": null, "qualifier": null, "role": "artist", "biography": "William Adolphe Bouguereau started drawing at an early age but did not take lessons until 1834, his first year in college in Pons, where his instructor was Louis Sage, who had been a pupil of Ingres (q.v.). In 1841 Bouguereau's father, a wine merchant, moved the family to Bordeaux. The following year he was allowed to attend the \u00c9cole Municipale de Dessin et de Peinture, where he studied under Jean-Paul Alaux. Bouguereau became a bookkeeper for another wine merchant in order to meet the cost of the school. By 1844 he had won the first prize for figure painting, which further encouraged him to pursue his art career. He lived with his uncle in Mortagne from 1845 until 1846, painted portraits of the local landowners, and saved enough money to move to Paris. In 1846 he entered the \u00c9cole des Beaux-Arts and studied under Fran\u00e7ois-\u00c9douard Picot (1786-1868). After several attempts, he finally won the Premier Grand Prix de Rome in 1850. He lived at the Villa Medici in Rome and studied Raphael, Andrea del Sarto, Giotto's Paduan frescos, and those at San Francesco in Assisi. The impact of these works appeared in Bouguereau's oeuvre in the form of classical poses, restraint, and a high degree of finish. After his return to France, Bouguereau exhibited regularly at the Salon, concentrating on classical, genre, and religious themes. In 1858 he was commissioned to decorate his first public building-the Chapel of St. Louis in St. Clotilde Church in Paris. Other public commissions followed, including the chapels of St. Pierre-Paul and St. Jean-Baptiste at St. Augustin Church in Paris, the cupola decorations in the cathedral in La Rochelle, and the ceiling of the Grand Theater of Bordeaux. Bouguereau remained in France during the Franco-Prussian War (1870-71), fighting in the National Guard. Afterward he taught at the Acad\u00e9mie Julian in Paris. In 1876 he fulfilled a lifelong goal, being elected to the Acad\u00e9mie des Beaux-Arts de l'Institut de France. He received the Legion of Honor in 1878 and was a professor at the \u00c9cole des Beaux-Arts in Paris in 1888. Bouguereau's support of the academy and his interest in classicism caused a fall in his popularity at the end of his life. Nevertheless, he died a successful, wealthy artist.", "name_in_original_language": null, "birth_year": "1825", "death_year": "1905", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1980.238", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:09.626000"}, {"id": 167577, "accession_number": "2009.314", "share_license_status": "CC0", "tombstone": "A Seated Shepherdess, c. 1836. Jules Dupr\u00e9 (French, 1811\u20131889). Black chalk with white heightening and white pastel on brown paper laid down on board; sheet: 61.1 x 47.6 cm (24 1/16 x 18 3/4 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2009.314", "current_location": null, "title": "A Seated Shepherdess", "creation_date": "c. 1836", "creation_date_earliest": 1831, "creation_date_latest": 1841, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk with white heightening and white pastel on brown paper laid down on board", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 61.1 x 47.6 cm (24 1/16 x 18 3/4 in.)", "dimensions": {"sheet": {"height": 0.611, "width": 0.476}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, lower right, in black chalk:  Jules Dupre", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>French Nineteenth Century Drawings, Pastels, Watercolors</em>. Shepherd Gallery, New York (November 1977\u2013February 1978).", "opening_date": "1977-11-01T00:00:00"}]}, "provenance": [{"description": "Estate of the artist", "citations": [], "footnotes": null, "date": "1889 - 1890", "sortorder": 1}, {"description": "(his posthumous sale, H\u00f4tel Drouot, Paris, January 30, 1890, probably no. 126)", "citations": [], "footnotes": null, "date": "1890", "sortorder": 2}, {"description": "(sale, H\u00f4tel Drouot, Paris, January 31, 1929, no. 13)", "citations": [], "footnotes": null, "date": "1929", "sortorder": 3}, {"description": "(sale, Christie, Manson & Woods, New York, May 26, 1977, no. 29, sold to Shepherd Gallery, New York)", "citations": [], "footnotes": null, "date": "1977", "sortorder": 4}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "1977", "sortorder": 5}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-2008", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2009-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dupr\u00e9 was known for his evocative skies reflecting different atmospheric conditions.", "description": "Unique for Jules Dupr\u00e9, who mostly recorded landscapes, this sheet features a woman holding a crook for herding sheep. Many middle-class collectors at the time were eager for images of rural life while cities grew and factories proliferated. Cleveland\u2019s drawing forms a pair with a similar depiction of a male shepherd, also created using wetted and burnished white pastel on earthy brown paper. It is one of numerous objects in these galleries formerly owned by Clevelander Muriel Butkin, a passionate scholar and collector of French art from the 1800s who bequeathed nearly 300 drawings to the museum.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79999600"], "internet_archive": ["https://archive.org/details/clevelandart-2009.314-a-seated-shepherdess"]}, "citations": [{"citation": "<em>Catalogue des tableaux et dessins provenant de l\u2019atelier Jules Dupr\u00e9</em>. Paris: Hotel Drouot, 1890.", "page_number": "Mentioned: p. 43, probably no. 126", "url": ""}, {"citation": "<em>Catalogue des tableaux modernes </em>[. . .] <em>appartenant \u00e0 divers</em>. Paris: H\u00f4tel Drouot, 1929.", "page_number": "Mentioned: p. 7, no. 13", "url": null}, {"citation": "Lang, L.-Maurice. <em>La Cote des tableaux, ou Annuaire des ventes </em>[. . .] <em>guide du marchand, de l\u2019amateur</em>, 11:91. Paris: L.-Maurice Lang, 1929.", "page_number": "Mentioned: vol. 11, p. 91", "url": null}, {"citation": "Aubrun, Marie-Madeleine. <em>Jules Dupre\u0301, 1811\u20131889: Catalogue raisonne\u0301 de l\u2019\u0153uvre peint, dessine\u0301, et grave\u0301</em>. Paris: L. Laget, 1974.", "page_number": "Mentioned: p. 376, no. D219", "url": null}, {"citation": "<em>Fine Nineteenth Century European Paintings</em>. New York: Christie, Manson and Woods, 1977.", "page_number": "Mentioned: p. 16, no. 29", "url": null}, {"citation": "Rohowsky, Peter S. <em>French Nineteenth Century Drawings, Pastels, Watercolors</em>. Exh. cat. New York: Shepherd Gallery, 1977.", "page_number": "Mentioned and reproduced: no. 33", "url": null}, {"citation": "Aubrun, Marie-Madeleine. <em>Jules Dupre\u0301, 1811\u20131889: Catalogue raisonne\u0301 de l\u2019\u0153uvre, supple\u0301ment</em>. Paris: M.-M. Aubrun, 1982.", "page_number": "Mentioned: p.191, no. D219; Reproduced: p. 196", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 92-95, no. 8", "url": ""}], "catalogue_raisonne": "Abrun D.219", "url": "https://clevelandart.org/art/2009.314", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.314/2009.314_web.jpg", "width": "713", "height": "893", "filesize": "500377", "filename": "2009.314_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.314/2009.314_print.jpg", "width": "2716", "height": "3400", "filesize": "8860052", "filename": "2009.314_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.314/2009.314_full.tif", "width": "4510", "height": "5645", "filesize": "76404676", "filename": "2009.314_full.tif"}}, "alternate_images": [{"date_created": "2013-03-11T18:11:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.314/2009.314_alt0_web.jpg", "width": "701", "height": "893", "filesize": "116516"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.314/2009.314_alt0_print.jpg", "width": "2669", "height": "3400", "filesize": "2100103"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2009.314/2009.314_alt0_full.tif", "width": "4748", "height": "6048", "filesize": "86172228"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 167577, "creators": [{"id": 16976, "description": "Jules Dupr\u00e9 (French, 1811\u20131889)", "extent": null, "qualifier": null, "role": "artist", "biography": "Like other members of the Barbizon School, Dupr\u00e9 began his career as a porcelain painter, working in the factory of his father Fran\u00e7ois Dupr\u00e9. Gradually becoming more influenced by naturalistic landscape painting, he took lessons from Jean-Michel Di\u00e9bolt, and began making sojourns to paint natural settings in the provinces. Dupr\u00e9's work differed from others' in the Barbizon School because he did not strictly associate himself with the area around the Forest of Fontainebleau, instead preferring the village of L'Isle d'Adam north of Paris, and his work tended to be more romantic. Like many of his Barbizon contemporaries, Dupr\u00e9e was influential with the Impressionists.", "name_in_original_language": null, "birth_year": "1811", "death_year": "1889", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-09-14T00:00:00", "sortable_date": 1831, "date_added_to_oa": null, "date_text": "c. 1836", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:16.693000"}, {"id": 150046, "accession_number": "1980.258", "share_license_status": "CC0", "tombstone": "Expulsion of Adam and Eve, 1880s. John Faed (Scottish, 1820\u20131902). Oil on fabric; unframed: 91.3 x 70.7 cm (35 15/16 x 27 13/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.258", "current_location": null, "title": "Expulsion of Adam and Eve", "creation_date": "1880s", "creation_date_earliest": 1880, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["Scotland"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 91.3 x 70.7 cm (35 15/16 x 27 13/16 in.)", "dimensions": {"unframed": {"height": 0.913, "width": 0.707}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: JJF.aed [JF in monogram]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": [{"description": "The Fine Art Society LTD. March 1967.", "opening_date": "1967-03-01T00:00:00"}]}, "provenance": [{"description": "Private collector, consigned to Sotheby\u2019s", "citations": [], "footnotes": ["<div><!--block-->Prior to its ownership by this collector, the painting may have been sold in 1913 at an as yet unidentified Edinburgh auction.</div>", ""], "date": "Until 1967", "sortorder": 1}, {"description": "(Sale, Sotheby\u2019s, London, Jan. 11, 1967, lot 6, sold to the Fine Art Society, Ltd.)", "citations": [], "footnotes": null, "date": "1967", "sortorder": 2}, {"description": "(Fine Art Society, Ltd., London, sold to R. John Rickett)", "citations": [], "footnotes": null, "date": "1967", "sortorder": 3}, {"description": "R. John Rickett [1930-1970], London, to his wife, Mrs. John Rickett", "citations": [], "footnotes": ["<div><!--block-->Rickett was a paintings expert at Sotheby's.&nbsp;</div>"], "date": "1967-1970", "sortorder": 4}, {"description": "Mrs. John Rickett, consigned to Sotheby\u2019s Belgravia", "citations": [], "footnotes": null, "date": "1970-1975", "sortorder": 5}, {"description": "(Sale, Sotheby's Belgravia, London, Nov. 11, 1975, lot 87)", "citations": [], "footnotes": null, "date": "1975", "sortorder": 6}, {"description": "(Barry Friedman, Ltd., New York, sold to Shepherd Gallery)", "citations": [], "footnotes": null, "date": "c. 1975-1976", "sortorder": 7}, {"description": "(Shepherd Gallery, New York, sold to Noah L. and Muriel S. Butkin)", "citations": [], "footnotes": null, "date": "Until February 1977", "sortorder": 8}, {"description": "Noah L. and Muriel S. Butkin, Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin", "citations": [], "footnotes": null, "date": "1977-1980", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1980-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A renewed interest in religious art in mid-19th-century Britain led John Faed to visit Palestine in 1857.", "description": "John Milton's epic poem <em>Paradise Lost</em> (1667) was the principal literary source for John Faed's depiction of the expulsion of Adam and Eve. The archangel Michael directs the couple away from the lush gardens and heavenly radiance of Eden, while Satan in the form of a snake appears in the right foreground. In most representations of the subject, Michael guards the gates of Paradise with a fiery sword, as prescribed in both Genesis and <em>Paradise Lost</em>. Faed, on the other hand, has him brandishing a compass, an instrument traditionally employed by God the Father in his act of creating the world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474576"], "internet_archive": ["https://archive.org/details/clevelandart-1980.258-expulsion-of-adam-an"]}, "citations": [{"citation": "Robert Kashey (Shepherd Gallery), email to Victoria Sears Goldman, Nov. 25, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "Robert Kashey (Shepherd Gallery), email to Victoria Sears Goldman, Nov. 25, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Robert Kashey (Shepherd Gallery), email to Victoria Sears Goldman, Nov. 25, 2014, in CMA curatorial file.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Sotheby's Belgravia (Firm). <em>Fine Victorian Paintings, Drawings and Watercolours</em>. 1975.", "page_number": null, "url": null}, {"citation": "Simon Taylor, letter to Linda Jackson, June 7, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Simon Taylor, letter to Linda Jackson, June 7, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Andrew McIntosh Patrick, letter to Linda Jackson, May 17, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Andrew McIntosh Patrick, letter to Linda Jackson, May 17, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sotheby &amp; Co. (London, England). <em>Eighteenth and Nineteenth Century Paintings</em>. London: Sotheby's, 1967.", "page_number": null, "url": null}, {"citation": "Sotheby &amp; Co. (London, England). <em>Eighteenth and Nineteenth Century Paintings</em>. London: Sotheby's, 1967.", "page_number": null, "url": null}, {"citation": "Julia Rickmeyer, email to Victoria Sears Goldman, Sept. 25, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 168; Mentioned: p.212, no. 48", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 259-261, Vol. I, no. 94", "url": ""}], "url": "https://clevelandart.org/art/1980.258", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.258/1980.258_web.jpg", "width": "695", "height": "893", "filesize": "392985", "filename": "1980.258_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.258/1980.258_print.jpg", "width": "2645", "height": "3400", "filesize": "4868425", "filename": "1980.258_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.258/1980.258_full.tif", "width": "3901", "height": "5014", "filesize": "58711048", "filename": "1980.258_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150046, "creators": [{"id": 2949, "description": "John Faed (Scottish, 1820\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": "Essentially self-taught, John Faed was the oldest of three brothers, all of whom achieved distinction in the fine arts. In the 1840s Faed exhibited portraits in miniature and in oils at the Royal Scottish Academy, Edinburgh. Following his election as academician in 1851, his repertoire expanded to include genre subjects and literary illustrations with Sir Walter Scott and Robert Burns, his cherished sources of inspiration. His most famous painting, The Wappenschaw (1861, National Trust for Scotland, Edinburgh), is a vast contemporary history painting in the tradition of Sir David Wilkie (1785-1841). Between 1864 and 1869 Faed lived with his brother Thomas in London and began exhibiting annually at the Royal Academy. Historical subjects constitute the most interesting of his later pictures.", "name_in_original_language": null, "birth_year": "1820", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880s", "collapse_artists": false, "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": "2026-03-27 00:07:50.880000"}, {"id": 124814, "accession_number": "1946.293", "share_license_status": "CC0", "tombstone": "The Patio, 1908. John Singer Sargent (American, born Italy, 1856\u20131925). Watercolor with traces of gouache over graphite; sheet: 53.2 x 34.6 cm (20 15/16 x 13 5/8 in.). The Cleveland Museum of Art, In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer, 1946.293", "current_location": null, "title": "The Patio", "creation_date": "1908", "creation_date_earliest": 1869, "creation_date_latest": 1869, "artists_tags": ["male"], "culture": ["America, late 19th-early 20th Century"], "technique": "watercolor with traces of gouache over graphite", "support_materials": [{"description": "cream(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 53.2 x 34.6 cm (20 15/16 x 13 5/8 in.)", "dimensions": {"sheet": {"height": 0.532, "width": 0.346}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VERSO, center, in orange crayon: 5/3 ; lower left, in black chalk: 4072 [circled, sideways]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 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": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; 4/19/98 - 7/12/98.  \"American Drawings from the Permanent Collection.\"", "opening_date": "1998-04-19T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Sargent was born in Italy, studied in France, and worked chiefly in England, but he never renounced his American citizenship. As a young man, Sargent achieved fame and wealth as a portraitist, but he gradually tired of painting wealthy, superficial aristocrats. In his later years he focused increasingly on watercolor. Along with Winslow Homer, Sargent was the major artist to develop a spontaneous approach toward watercolor. Rather than carefully layering his pigments, he dashed off his paintings in a single sitting, allowing the colors to freely blend together.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79902824"], "internet_archive": []}, "citations": [{"citation": "Milliken, William M. \u201cGift in Memory of Ralph King.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 34, no. 2 (February 1947): 22\u201327.", "page_number": "Reproduced: p. 22", "url": "http://www.jstor.org/stable/25141338"}], "url": "https://clevelandart.org/art/1946.293", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.293/1946.293_web.jpg", "width": "589", "height": "893", "filesize": "127018", "filename": "1946.293_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.293/1946.293_print.jpg", "width": "2243", "height": "3400", "filesize": "1812871", "filename": "1946.293_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1946.293/1946.293_full.tif", "width": "3885", "height": "5888", "filesize": "68649348", "filename": "1946.293_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.293/1946.293_alt0_web.jpg", "width": "609", "height": "893", "filesize": "492168"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.293/1946.293_alt0_print.jpg", "width": "1397", "height": "2048", "filesize": "2640808"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.293/1946.293_alt0_full.tif", "width": "1397", "height": "2048", "filesize": "8586628"}}], "creditline": "In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124814, "creators": [{"id": 2559, "description": "John Singer Sargent (American, born Italy, 1856\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1856", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-11-25T00:00:00", "sortable_date": 1869, "date_added_to_oa": null, "date_text": "1908", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Majorca: Terrace with flowering plants"], "is_highlight": false, "updated_at": "2026-03-27 00:09:34.658000"}, {"id": 107215, "accession_number": "1925.1204.2", "share_license_status": "CC0", "tombstone": "Elles: The Seated Clown, Mlle Cha-u-Ka-o\r\n, 1896. Henri de Toulouse-Lautrec (French, 1864-1901), printed by Auguste Clot. Color lithograph; sheet: 52.6 x 40.3 cm (20 11/16 x 15 7/8 in.). The Cleveland Museum of Art, Gift of Ralph King, 1925.1204.2", "current_location": null, "title": "Elles: The Seated Clown, Mlle Cha-u-Ka-o\r\n", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 52.6 x 40.3 cm (20 11/16 x 15 7/8 in.)", "dimensions": {"sheet": {"height": 0.526, "width": 0.403}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301701, "title": "The Artist and the Theater", "description": "<i>The Artist and the Theater</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 5-September 12, 1960).", "opening_date": "1960-04-05T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 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": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "CMA 1996:  Sets and Series:  Five Centuries of Master Prints, February 20-May 5, 1996, no cat.", "opening_date": "1996-02-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1925.1205"], "did_you_know": "This print belongs to a portfolio published by the dealer Gustave Pellet, who created a special luxury paper that featured a watermark of his initials.", "description": "The French publisher Gustave Pellet, hoping to attract new customers, persuaded Lautrec to make a series of ten prints, plus frontispiece and cover, depicting brothels. Although it was not unusual to see prostitutes pictured in the popular press, Lautrec was the first well-known, successful artist to tackle this subject. The set was a commercial failure when it first appeared, perhaps because the scenes are not erotic. Lautrec had said that \"they are women to my liking\", and between 1892 and 1895 he often lived in various Parisian brothels for weeks at a time. This allowed him to witness the daily lives of the women, including the intimate acts of sleeping and bathing, and to sense their suffering. The result is that only two of the scenes show prostitutes as desirable temptresses. The remainder depict the mundane routine of the women's private world, their caring for each other, their boredom, and, living on the periphery of society, their sense of isolation. Lautrec did not take a direct moral stand. He portrayed the women sympathetically, restoring to them their humanity. One scene shows Juliette Baron, whose life of vice has led to premature aging, bringing her daughter Paulette breakfast. Other images depict the women at private moments, bathing or combing their hair in natural, relaxed poses, unaware of being observed. The beauty of the drawing and use of color makes this set one of the masterpieces of late nineteenth-century French color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894756"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204.2-elles-the-seated-clo"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: La Clownesse assise (Mlle. Cha-u-ka-o).", "page_number": "Mentioned: p. 66", "url": "https://archive.org/details/Lithography/page/n73"}, {"citation": "Kretzschmar, Sabine, \"Sets and Series\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 02, February 1996", "page_number": "Mentioned and reproduced: p. 8", "url": "https://archive.org/details/CMAMM1996-02/page/8"}], "catalogue_raisonne": "Wittrock Vol.I.156 ; Delteil 180", "url": "https://clevelandart.org/art/1925.1204.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.2/1925.1204.2_web.jpg", "width": "697", "height": "900", "filesize": "276340", "filename": "1925.1204.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.2/1925.1204.2_print.jpg", "width": "2633", "height": "3400", "filesize": "3694416", "filename": "1925.1204.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.2/1925.1204.2_full.tif", "width": "4510", "height": "5824", "filesize": "78829100", "filename": "1925.1204.2_full.tif"}}, "alternate_images": [{"date_created": "2012-11-06T16:10:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.2/1925.1204.2_alt0_web.jpg", "width": "688", "height": "893", "filesize": "163533"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.2/1925.1204.2_alt0_print.jpg", "width": "2619", "height": "3400", "filesize": "2799456"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.2/1925.1204.2_alt0_full.tif", "width": "4773", "height": "6195", "filesize": "88730228"}}], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107215, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864-1901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68882, "description": "printed by Auguste Clot", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1925.1204", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Elles: La Clownesse assise (Mlle. Cha-u-ka-o)", "La Clownesse assise (Mlle. Cha-u-ka-o)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:45.665000"}, {"id": 114196, "accession_number": "1933.444", "share_license_status": "CC0", "tombstone": "Noa Noa: Nave Nave Fenua (Fragrant Isle), 1893\u201394. Paul Gauguin (French, 1848\u20131903). Color woodcut; sheet: 38.5 x 22.8 cm (15 3/16 x 9 in.); platemark: 35.7 x 20.5 cm (14 1/16 x 8 1/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1933.444", "current_location": null, "title": "Nave Nave Fenua (Fragrant Isle)", "series": "Noa Noa", "creation_date": "1893\u201394", "creation_date_earliest": 1893, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color woodcut", "support_materials": [], "department": "Prints", "collection": "PR - Woodcut", "type": "Print", "measurements": "Sheet: 38.5 x 22.8 cm (15 3/16 x 9 in.); Platemark: 35.7 x 20.5 cm (14 1/16 x 8 1/16 in.)", "dimensions": {"sheet": {"height": 0.385, "width": 0.228}, "platemark": {"height": 0.357, "width": 0.205}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 356832, "title": "Recent Accessions of Prints, 1933-34", "description": "<i>Recent Accessions of Prints, 1933-34</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20-March 13, 1935).", "opening_date": "1935-02-20T05:00:00"}, {"id": 301501, "title": "40th Anniversary Exhibition of the Print Club of Cleveland", "description": "<i>40th Anniversary Exhibition of the Print Club of Cleveland</i>. The Cleveland Museum of Art, Cleveland, OH (December 3, 1959-January 20, 1960).", "opening_date": "1959-12-03T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}, {"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"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": "?-1933", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1933-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Paul Gauguin printed the woodblocks for <em>Noa Noa</em> using a variety of inks and papers.", "description": "In 1891 Paul Gauguin traveled to Tahiti, seeking a more authentic style of art making than the conservatism he rejected in Western culture. After returning to Paris in 1893, he began working on <em>Noa Noa,</em> an illustrated book that explained and illustrated his experiences abroad. Although the project was never completed, this print is one of its illustrations. Gauguin depicted a lush landscape by chiseling roughly into a woodblock, a technique meant to suggest relief sculpture he viewed in Tahiti.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755419"], "internet_archive": ["https://archive.org/details/clevelandart-1933.444-nave-nave-fenua-frag"]}, "citations": [{"citation": "Francis, Henry. \"A Woodcut by Gauguin.\" <em>The Bulletin of the Cleveland Museum of Art </em>21, no. 6 (June 1934): 96-98.", "page_number": "Mentioned: p. 97", "url": "jstor.org/stable/25137628"}, {"citation": "Broude, Norma. <em>Gauguin's Challenge: New Perspectives After Postmodernism</em>. New York : Bloomsbury Visual Arts, 2018.", "page_number": "Reproduced and mentioned: pp. 167-169, fig. 6.5", "url": null}], "catalogue_raisonne": "G.29; M/K/J 14", "url": "https://clevelandart.org/art/1933.444", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1933.444/1933.444_web.jpg", "width": "525", "height": "893", "filesize": "443143", "filename": "1933.444_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1933.444/1933.444_print.jpg", "width": "2000", "height": "3400", "filesize": "5075862", "filename": "1933.444_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1933.444/1933.444_full.tif", "width": "3471", "height": "5901", "filesize": "61480008", "filename": "1933.444_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114196, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1933-12-28T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u201394", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Tahitian Series:  Land of Delights"], "is_highlight": false, "updated_at": "2026-03-27 00:02:21.245000"}, {"id": 142754, "accession_number": "1966.458.2", "share_license_status": "CC0", "tombstone": "Imperial Framed Miniature of Grand Duchess Olga Nicolaievna, 1896. Johannes Zehngraf (Russian, 1857\u20131908), Mikhail Evlampievich Perkhin (Russian, 1860\u20131903), House of Faberg\u00e9, (Russian, 1842\u20131918). Jade, gold, rubies, gouache, ivory, glass; overall: 15.3 x 5 x 5 cm (6 x 1 15/16 x 1 15/16 in.). The Cleveland Museum of Art, The India Early Minshall Collection, 1966.458.2", "current_location": null, "title": "Imperial Framed Miniature of Grand Duchess Olga Nicolaievna", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["Russia, St. Petersburg"], "technique": "jade, gold, rubies, gouache, ivory, glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Portrait Miniature", "measurements": "Overall: 15.3 x 5 x 5 cm (6 x 1 15/16 x 1 15/16 in.)", "dimensions": {"overall": {"height": 0.153, "width": 0.05, "depth": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "miniature inscribed:  Zehngraf.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Marks underneath base: 56, crossed anchors [assay mark for St. Petersburg, 1882-96]; hallmark for workmaster Mikhail Perkhin (in Cyrillic); FABERGE (in Cyrillic); scratched 54471.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 208794, "title": "Faberg\u00e9 in America", "description": "<i>Faberg\u00e9 in America</i>. The Metropolitan Museum of Art (February 12-May 5, 1996); Fine Arts Museums of San Francisco (organizer) (May 25-July 28, 1996); Virginia Museum of Fine Arts (August 24-November 2, 1996); New Orleans Museum of Art (December 7, 1996-February 8, 1997); The Cleveland Museum of Art, Cleveland, OH (March 12-May 11, 1997).", "opening_date": "1996-02-12T00:00:00"}, {"id": 230886, "title": "Faberg\u00e9 Loan", "description": "<i>Faberg\u00e9 Loan</i>. Cheekwood Botanical Garden and Museum of Art, Nashville, TN (organizer) (September 15, 2008-June 30, 2009).", "opening_date": "2008-09-15T00:00:00"}, {"id": 402955, "title": "Faberg\u00e9: Romance to Revolution", "description": "<i>Faberg\u00e9: Romance to Revolution</i>. Victoria and Albert Museum, London, United Kingdom of Great Britain and Northern Ireland (organizer) (November 20, 2021-May 8, 2022) https://www.vam.ac.uk/exhibitions/faberge.", "opening_date": "2021-11-20T05:00:00"}], "legacy": [{"description": "<em>Charity Exhibition of Faberg\u00e9 Artistic Objects, Old Miniatures, and Snuff Boxes (\u0412\u044b\u0441\u0442\u0430\u0432\u043a\u0430 \u0445\u0443\u0434\u043e\u0436\u0435\u0441\u0442\u0432\u0435\u043d\u043d\u044b\u0445 \u043f\u0440\u043e\u0438\u0437\u0432\u0435\u0434\u0435\u043d\u0438\u0439 \u041a. \u0424\u0430\u0431\u0435\u0440\u0436\u0435 \u0432 \u043e\u0441\u043e\u0431\u043d\u044f\u043a\u0435 \u041f.\u041f. \u0444\u043e\u043d \u0414\u0435\u0440\u0432\u0438\u0437\u0430, \u0421\u0430\u043d\u043a\u0442-\u041f\u0435\u0442\u0435\u0440\u0431\u0443\u0440\u0433). </em>Baron von Dervis Mansion, Saint Petersburg, Russia (March 1902).", "opening_date": "1902-03-01T00:00:00"}]}, "provenance": [{"description": "Tsar Nicholas II [1868-1918] and Tsarina Alexandra Feodorovna [1872-1918], purchased from the maker, December 18, 1896 (by tsar), Alexander Palace, Tsarskoye Selo, Russia", "citations": [], "footnotes": ["<div><!--block-->Imperial provenance discovered in Russian state ledgers by Kieran McCarthy, Wartski, London, 2019.</div>"], "date": "1896-1918", "sortorder": null}, {"description": "Provisional Russian Government, Kremlin, Moscow", "citations": [], "footnotes": [], "date": "1918-1922", "sortorder": 2}, {"description": "(The Schaffer Collection of Russian Imperial Art Treasures [A La Vielle Russie], New York, NY)", "citations": [], "footnotes": [], "date": "?-1948", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1966-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": ["66.459", "1966.458.1"], "did_you_know": "This painted miniature is one of two miniatures that were personal gifts from the tsar and tsarina to one another in 1896, a year after the birth of their firstborn child, Grand Duchess Olga Nicolaievna. The tsar gave the miniature of himself to the tsarina, and she gave the one of the child to the tsar.", "description": "The giving of miniatures had long been a common practice among wealthy and aristocratic families by the time Faberge began combining portraits with his richly decorated frames. The Russian imperial family delighted in having these personal mementos and commissioned many different miniatures to place around their private apartments, providing a warm family atmosphere in an otherwise highly formal existence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758654"], "internet_archive": ["https://archive.org/details/clevelandart-1966.458.2-imperial-framed-mini"]}, "citations": [{"citation": "Hawley, Henry H. <em>Faberge\u0301 and His Contemporaries: The India Early Minshall Collection of the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art, 1967.", "page_number": "Mentioned and reproduced: pp. 24-5, cat. 8", "url": "https://ingallslibrary.on.worldcat.org/oclc/836254532"}, {"citation": "Habsburg, Ge\u0301za von, and David Park Curry. <em>Faberge\u0301 in America</em>. New York: Thames and Hudson, 1996.", "page_number": "Mentioned and reproduced: p. 107, cat. 83", "url": "https://ingallslibrary.on.worldcat.org/oclc/34433639"}], "url": "https://clevelandart.org/art/1966.458.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.458.2/1966.458.2_web.jpg", "width": "543", "height": "900", "filesize": "146683", "filename": "1966.458.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.458.2/1966.458.2_print.jpg", "width": "2052", "height": "3400", "filesize": "846330", "filename": "1966.458.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.458.2/1966.458.2_full.tif", "width": "4576", "height": "7581", "filesize": "104096100", "filename": "1966.458.2_full.tif"}}, "alternate_images": [{"date_created": "2008-06-04T18:54:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.2/1966.458.2_alt0_web.jpg", "width": "421", 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"https://openaccess-cdn.clevelandart.org/alternate/1966.458.2/1966.458.2_alt5_full.tif", "width": "4906", "height": "4331", "filesize": "63769120"}}, {"date_created": "2021-02-23T14:46:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.2/1966.458.2_alt6_web.jpg", "width": "900", "height": "846", "filesize": "332102"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.2/1966.458.2_alt6_print.jpg", "width": "2992", "height": "2811", "filesize": "2701708"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.458.2/1966.458.2_alt6_full.tif", "width": "2992", "height": "2811", "filesize": "25257404"}}], "creditline": "The India Early Minshall Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142754, "creators": [{"id": 8917, "description": "Johannes Zehngraf (Russian, 1857\u20131908)", "extent": null, "qualifier": null, "role": "miniaturist", "biography": null, "name_in_original_language": null, "birth_year": "1857", "death_year": "1908", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 8914, "description": "Mikhail Evlampievich Perkhin (Russian, 1860\u20131903)", "extent": null, "qualifier": null, "role": "workmaster", "biography": null, "name_in_original_language": null, "birth_year": "1860", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 313609, "description": "House of Faberg\u00e9, (Russian, 1842\u20131918)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1966.458", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:33.446000"}, {"id": 143299, "accession_number": "1967.234", "share_license_status": "CC0", "tombstone": "The Jockey, 1899. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph. The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1967.234", "current_location": null, "title": "The Jockey", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "W. II/II ", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 351228, "title": "Mr. and Mrs. Charles G. Prasse Collection", "description": "<i>Mr. and Mrs. Charles G. Prasse Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 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": 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": 309881, "title": "Leona E. Prasse, Connoisseur and Curator", "description": "<i>Leona E. Prasse, Connoisseur and Curator</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-August 25, 1985).", "opening_date": "1985-05-28T04:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; May 13 - July 13, 2003.  \" Object in Focus:  Degas' Jockeys \"", "opening_date": "2003-05-13T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Henri de Toulouse-Lautrec set this print at an identifiable race track, at Longchamps in Paris's Bois de Boulougne.", "description": "Motivated by the popularity of the races, Henri de Toulouse-Lautrec executed this lithograph both in color, seen here, and in black and white. He intended to publish the color version in a portfolio of horse-racing subjects, but the project never came to fruition and <em>Jockey</em> was published alone. The artist's admiration for Edgar Degas's horse-racing pictures is clear in <em>Jockey</em>, and he shared Degas's appreciation of Japanese ukiyo-e woodblock prints. Particular elements of the lithograph reveal the influence of the Japanese woodcut: the overall flatness; the daring cropping\u2014particularly of the background horse whose head and hindquarters have been omitted; the pale green hue of the grass and the blue-violet sky; and the dramatic, rushing perspective of the horses galloping into the distance. However, the younger artist incorporated the Japanese aesthetic into his own visual language in an entirely original way. Unlike Degas, Toulouse-Lautrec ignored Eadweard Muybridge's photographs and depicted his horse and rider in the physically impossible \"flying-gallop\" position.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80043789"], "internet_archive": ["https://archive.org/details/clevelandart-1967.234-the-jockey"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 222", "url": "https://archive.org/details/CMAHandbook1978/page/n242"}], "catalogue_raisonne": "Wittrock Vol.II.308 ; Delteil 279", "url": "https://clevelandart.org/art/1967.234", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.234/1967.234_web.jpg", "width": "637", "height": "900", "filesize": "252410", "filename": "1967.234_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.234/1967.234_print.jpg", "width": "2407", "height": "3400", "filesize": "3127759", "filename": "1967.234_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.234/1967.234_full.tif", "width": "4039", "height": "5706", "filesize": "69172468", "filename": "1967.234_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143299, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1968-01-12T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:46.305000"}, {"id": 149998, "accession_number": "1980.218", "share_license_status": "CC0", "tombstone": "Outer Staircase of a Gothic Ruin, 1830. Domenico Quaglio (German, 1787\u20131837). Gray and brown wash and framing lines in pen and black ink; sheet: 24.1 x 16.8 cm (9 1/2 x 6 5/8 in.); image: 23.2 x 15.2 cm (9 1/8 x 6 in.). The Cleveland Museum of Art, Anonymous gift in honor of Leona E. Prasse, 1980.218", "current_location": null, "title": "Outer Staircase of a Gothic Ruin", "creation_date": "1830", "creation_date_earliest": 1830, "creation_date_latest": 1830, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "gray and brown wash and framing lines in pen and black ink", "support_materials": [{"description": "cream wove paper", "watermarks": ["Whatman/Turkey Mill"]}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 24.1 x 16.8 cm (9 1/2 x 6 5/8 in.); Image: 23.2 x 15.2 cm (9 1/8 x 6 in.)", "dimensions": {"sheet": {"height": 0.241, "width": 0.168}, "image": {"height": 0.232, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, on verso, at lower right, in graphite: D. Quaglio f. in Decbr. 1830; inscribed, at lower left, in graphite: Domenico Quaglio d. F. [paraph: ey?] / 1786-1837; inscribed, at lower center, in graphite: Ansicht einer Ruine in / Meillerie Villaneuve des / gez. Dez. 1830; inscribed, at lower right, in graphite: Linken Ufer des Genfer see", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 309859, "title": "Eastward from the Rhine: Romanticism to Abstraction, 1800-1925", "description": "<i>Eastward from the Rhine: Romanticism to Abstraction, 1800-1925</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-September 9, 1984).", "opening_date": "1984-06-12T04:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gothic architecture, the type seen in this drawing, was associated with Germany based on a false assumption that a Germanic tribe, the Goths, had originated the style.", "description": "Rejecting the preference for the landscape and architecture of Italy, as seen in the work of many of his contemporaries, Domenico Quaglio portrayed the buildings of his native Germany. Here, Quaglio depicted a man, woman, and child who are dwarfed by the immense scale of a Gothic cathedral\u2019s ruined arch, within which the figures appear. Overrun by vines and set within a dense forest, the architecture signifies the magnitude of God in the Christian faith and the smallness of mankind.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79931950"], "internet_archive": ["https://archive.org/details/clevelandart-1980.218-outer-staircase-of-a"]}, "citations": [{"citation": "Trost, Brigitte. <em>Domenico Quaglio, 1787-1837: Monographie und Werkverzeichnis</em>. Munich: Prestel, 1973.", "page_number": "Mentioned: p. 138, no. 195b; Reproduced: p. 55, pl. VII", "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 195; Mentioned: p. 217, no. 228", "url": "http://www.jstor.org/stable/25159730"}], "catalogue_raisonne": "Trost 195", "url": "https://clevelandart.org/art/1980.218", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.218/1980.218_web.jpg", "width": "620", "height": "893", "filesize": "114310", "filename": "1980.218_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.218/1980.218_print.jpg", "width": "2360", "height": "3400", "filesize": "1558952", "filename": "1980.218_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.218/1980.218_full.tif", "width": "3676", "height": "5295", "filesize": "58418584", "filename": "1980.218_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.218/1980.218_alt0_web.jpg", "width": "624", "height": "893", "filesize": "426927"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.218/1980.218_alt0_print.jpg", "width": "1430", "height": "2048", "filesize": "2238298"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.218/1980.218_alt0_full.tif", "width": "1430", "height": "2048", "filesize": "8789380"}}], "creditline": "Anonymous gift in honor of Leona E. Prasse", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149998, "creators": [{"id": 12740, "description": "Domenico Quaglio (German, 1787\u20131837)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1787", "death_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "1830", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Outer Staircase of a Gothic Ruin"], "is_highlight": false, "updated_at": "2026-03-27 00:07:59.166000"}, {"id": 153706, "accession_number": "1987.218", "share_license_status": "CC0", "tombstone": "Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajeshvara Temple), plate 12 from Photographic Views of Tanjore and Trivady (Madras: Madras Presidency), 1857. Captain Linnaeus Tripe (British, 1822\u20131902). Salted paper print from calotype negative; image: 27.2 x 38 cm (10 11/16 x 14 15/16 in.); paper: 28 x 39.1 cm (11 x 15 3/8 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.218", "current_location": null, "title": "Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajeshvara Temple), plate 12 from Photographic Views of Tanjore and Trivady (Madras: Madras Presidency)", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["England"], "technique": "salted paper print from calotype negative", "support_materials": [], "department": "Photography", "collection": "PH - British 19th Century", "type": "Photograph", "measurements": "Image: 27.2 x 38 cm (10 11/16 x 14 15/16 in.); Paper: 28 x 39.1 cm (11 x 15 3/8 in.); Matted: 50.8 x 61 cm (20 x 24 in.)", "dimensions": {"image": {"height": 0.272, "width": 0.38}, "paper": {"height": 0.28, "width": 0.391}, "matted": {"height": 0.508, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in pencil on verso: \"The Great Bull of Tangore\"; \"IC25\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310231, "title": "The Year in Review for 1987", "description": "<i>The Year in Review for 1987</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).", "opening_date": "1988-02-24T05:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 184303, "title": "Travel Photography: Early Images of India", "description": "<i>Travel Photography: Early Images of India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 2-July 17, 2002).", "opening_date": "2002-03-02T00:00:00"}, {"id": 299790, "title": "Indian Gallery 242b Rotation \u2013 November 2017-April 2018", "description": "<i>Indian Gallery 242b Rotation \u2013 November 2017-April 2018</i>. The Cleveland Museum of Art (organizer) (November 10, 2017-April 16, 2018).", "opening_date": "2017-11-10T05:00:00"}, {"id": 674335, "title": "Temples and Worship in South Asia", "description": "<i>Temples and Worship in South Asia</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14, 2024-March 9, 2025).", "opening_date": "2024-09-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Stephen White Gallery of Photography, Los Angeles, CA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131987", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1987\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Active in Burma and India during the late 1850s, Linneaus Tripe was a professional soldier and official photographer for the Madras Presidency in India from 1856 to 1860.", "description": "In a pillared pavilion called a mandapa, a colossal stone sculpture of Nandi, the mount of the Hindu god Shiva, faces the doorway to the main temple sanctum. The inner wall and section of the great gateway leading into the sacred site can be seen in the background of Tripe\u2019s photograph.<br><br>As an active Indian temple, the plinth, or base, of the pavilion is painted with alternating red and white stripes. Tripe, however, opted not to include any living presence in the image, since humans and animals might move and create a blur, spoiling his clear photographic record of the monument.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939834"], "internet_archive": ["https://archive.org/details/clevelandart-1987.218-great-pagoda-great-b"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1986.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (February 1987): 38\u201379.", "page_number": "p. 67, no. 95", "url": "https://www.jstor.org/stable/25159974"}, {"citation": "Hinson, Tom E. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: p. 360", "url": ""}], "url": "https://clevelandart.org/art/1987.218", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.218/1987.218_web.jpg", "width": "1263", "height": "889", "filesize": "939884", "filename": "1987.218_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.218/1987.218_print.jpg", "width": "3400", "height": "2394", "filesize": "5877525", "filename": "1987.218_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.218/1987.218_full.tif", "width": "5460", "height": "3844", "filesize": "62999864", "filename": "1987.218_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153706, "creators": [{"id": 1026, "description": "Captain Linnaeus Tripe (British, 1822\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": "Captain Linnaeus Tripe British, 1822-1902\r\n\r\nBorn in Davenport, Linnaeus Tripe was an officer in the 12th Regiment Native Infantry at Bangalore who learned photography while on furlough in England between 1851-54. In 1855 he was appointed photographer to a British mission in Burma, where he produced more than 120 views subsequently published by the Madras Photographic Society in Bangalore (1857). For four years, beginning in 1856, he was government photographer to the Madras presidency. Six volumes with more than 100 images of various cities in Madras (now Tamil Nadu) were later published.\r\n\tLike other expeditionary photographers, Tripe documented the landscape, culture, and architecture he encountered. His particular views are valued not only for their factual content, but also for Tripe's soft, almost romantic interpretation of his subjects. Rising through the military ranks during his career, Tripe retired to England as an honorary major general in 1875. He continued to photograph for his own pleasure. T.W.F.", "name_in_original_language": null, "birth_year": "1822", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68594, "description": "Madras Presidency", "extent": "published by", "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1988-02-18T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Great Pagoda, Great Bull, Front View, Tanjore, India (Rajarajesvara Temple)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:52.457000"}, {"id": 80329, "accession_number": "2020.118", "share_license_status": "CC0", "tombstone": "Luncheon (Annette and Her Grandmother), 1899. \u00c9douard Vuillard (French, 1868\u20131940). Oil on board; unframed: 29.8 x 32.4 x 2.9 cm (11 3/4 x 12 3/4 x 1 1/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.118", "current_location": null, "title": "Luncheon (Annette and Her Grandmother)", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on board", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 29.8 x 32.4 x 2.9 cm (11 3/4 x 12 3/4 x 1 1/8 in.)", "dimensions": {"framed": {"height": 0.422, "width": 0.441, "depth": 0.057}, "unframed": {"height": 0.298, "width": 0.324, "depth": 0.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature:  upper left: E Vuillard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": [{"description": "<em>Oeuvres de Bonnard, Maurice Denis, Ibels, Aristide Maillol, Hermann-Paul, Ranson, Roussel, Serusier, Vallotoon, Vuillard</em>. Galerie Bernheim Jeune, Paris, France (April 2-22, 1900).", "opening_date": "1900-04-02T05:00:00Z"}, {"description": "<em>Exposition d\u2019oeuvres de Vuillard de 1890 \u00e0 1910.</em> Bernheim-Jeune, Paris, France (January 31\u2013February 25, 1938).", "opening_date": "1938-02-25T00:00:00"}]}, "provenance": [{"description": "Collection of the Artist", "citations": [], "footnotes": null, "date": "1900", "sortorder": 1}, {"description": "(Galerie Bernheim Jeune, Paris, France, March 28, 1900, acquired from the artist)", "citations": [], "footnotes": [], "date": "1900", "sortorder": 2}, {"description": "(Galerie Bernheim Jeune, Paris, France, November 26, 1900, sold to Georges Dusseuil)", "citations": [], "footnotes": null, "date": "1900", "sortorder": 3}, {"description": "Georges Dusseuil [1848-1926], Paris France", "citations": [], "footnotes": null, "date": "1900-1902", "sortorder": 4}, {"description": "(Galerie Bernheim Jeune, Paris, France, May 6, 1902, acquired from Georges Dusseuil)", "citations": [], "footnotes": [], "date": "1902-1903", "sortorder": 5}, {"description": "(Galerie Bernheim Jeune, Paris, France, April 29, 1903, sold to Olivier Sainsere)", "citations": [], "footnotes": ["<div><!--block-->According to Antoine Salomon, Guy Cogeval, and Mathias Chivot, <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em> (Milan: Skira, 2003), vol. II, cat. no. VII-54, pp. 569-270, ill.</div><div><!--block-->&nbsp;</div>"], "date": "1903", "sortorder": 6}, {"description": "Olivier Sainsere [1852-1923], Paris, France", "citations": [], "footnotes": [], "date": "1903\u2013?", "sortorder": 7}, {"description": "by descent to his daughter, Jeanne (Sains\u00e8re) Richet [1883\u20131972], Paris, France", "citations": [], "footnotes": null, "date": "by 1923", "sortorder": 8}, {"description": "by descent to her daughter, Jacqueline (Richet) Souch\u00e8re [1908\u20131984], Paris, France", "citations": [], "footnotes": null, "date": "by 1972", "sortorder": 9}, {"description": "by descent to her daughter, Jeanne (Souch\u00e8re) Gelin, Paris, France", "citations": [], "footnotes": null, "date": "by 1984", "sortorder": 10}, {"description": "Galerie Cazeau-B\u00e9raudi\u00e8re, Paris, France", "citations": [], "footnotes": ["<div><!--block-->According to documentation supplied by Galerie Cazeau-B\u00e9raudi\u00e8re, Paris, in the curatorial file.&nbsp;</div>"], "date": "before 2002", "sortorder": 11}, {"description": "(Galerie Hopkins-Custot, Paris, France, sold to Nancy F. and Joseph P. Keithley)", "citations": [], "footnotes": [], "date": "2002", "sortorder": 12}, {"description": "Nancy F. and Joseph P. Keithley, Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2002\u20132020", "sortorder": 13}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 14}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Vuillard began visiting his sister's home in the country more frequently and for extended periods of time after the birth of Annette, who was one year old at the time of this painting.", "description": "Vuillard depicted close family members in this intimate domestic scene. The woman at the lower right corner of the composition is his mother, Marie Vuillard. She is tending to a her grandchild, Annette Roussel, the daughter of Vuillard\u2019s sister and her husband, Ker-Xavier Roussel, who was also an artist. The two figures are in the apartment that Vuillard shared with his mother in Paris. Vuillard adopted a particularly steep angle of view in this painting, looking down upon the interaction of the figures. The viewer assumes the position of the artist himself, looking over his mother\u2019s shoulder as she lovingly feeds the baby.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480832"], "internet_archive": ["https://archive.org/details/clevelandart-2020.118-luncheon-annette-and"]}, "citations": [{"citation": "Solomon, Antoine, Guy Cogeval, and Mathias Chivot. <em>Vuillard, the Inexhaustible Glance: Critical Catalogue of Paintings and Pastels</em>. Milan, Italy: Skira, 2003.", "page_number": "Mentioned and Reproduced: Vol. II, P. 568-569, no. VII-54", "url": null}, {"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 43; Reproduced: P. 65, no. 8", "url": ""}, {"citation": "<em>\u0152uvres de Bonnard, Maurice Denis, Ibels, Aristide Maillol, Hermann Paul, Ranson, Roussel, Serusier, Vallotton, Vuillard: catalogue.</em> Paris: MM. Bernheim Jeune et fils, 1900.", "page_number": "Mentioned: Vuillard, no. 8", "url": ""}, {"citation": "Groom, Gloria. \"Edouard Vuillard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 76-101. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 82-83; Mentioned: p. 273-274", "url": ""}], "url": "https://clevelandart.org/art/2020.118", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.118/2020.118_web.jpg", "width": "900", "height": "835", "filesize": "437033", "filename": "2020.118_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.118/2020.118_print.jpg", "width": "3400", "height": "3154", "filesize": "5184038", "filename": "2020.118_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.118/2020.118_full.tif", "width": "7668", "height": "7113", "filesize": "163656480", "filename": "2020.118_full.tif"}}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 80329, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:10.628000"}, {"id": 146945, "accession_number": "1972.343", "share_license_status": "CC0", "tombstone": "Female Figure, late 1800s\u2013early 1900s. Africa, West Africa, C\u00f4te d'Ivoire, possibly Bondoukou region, unknown maker. Wood, paint, glass beads, and natural fiber; overall: 54.1 x 7.8 x 7.5 cm (21 5/16 x 3 1/16 x 2 15/16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1972.343", "current_location": null, "title": "Female Figure", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, possibly Bondoukou region, unknown maker"], "technique": "Wood, paint, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 54.1 x 7.8 x 7.5 cm (21 5/16 x 3 1/16 x 2 15/16 in.)", "dimensions": {"overall": {"height": 0.541, "width": 0.078, "depth": 0.075}}, "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"}], "legacy": [{"description": "CMA 1968: \"African Tribal Images: The Katherine White Reswick Collection,\" cat. no. 91, repr.", "opening_date": "1968-01-01T00:00:00"}, {"description": "CMA 1973: \"Year in Review 1972,\" CMA Bulletin LX (March, 1973), p. 106, no. 25, repr. p. 105", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "Henri Kamer", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20141972", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1034.68"], "did_you_know": "Artworks from different regions traveled across Africa; while found in Wenchi, Ghana, this figure was made in nearby C\u00f4te d'Ivoire.", "description": "An artistic melting pot, the Bondoukou region in northeastern C\u00f4te d\u2019Ivoire near the border with Ghana is inhabited by several ethnic groups whose cultures and artistic styles often intermingle. This figure\u2019s rounded shapes and delicate surface decoration\u2013\u2013which seem to imitate body scarifications\u2013\u2013closely resemble the style of Baule carvings. The figure\u2019s meaning and function remain a mystery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778986"], "internet_archive": ["https://archive.org/details/clevelandart-1972.343-female-figure"]}, "citations": [{"citation": "Fagg, William. <em>African Tribal Images; the Katherine White Reswick Collection</em>. Cleveland: Cleveland Museum of Art, 1968, no. 91.", "page_number": "No. 91.", "url": ""}, {"citation": "\u201cNew Acquisitions.\u201d <em>African Arts</em> 6, no. 4 (Summer 1973), p. 84-85.", "page_number": "Repr. p. 85.", "url": "https://www.jstor.org/stable/3334813"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of The Cleveland Museum of Art</em> 60, no. 3 (March 1973): 63-115.", "page_number": "Cat. 25.", "url": "https://www.jstor.org/stable/25093732"}, {"citation": "Petridis, Constantine. <em>South of the Sahara: Selected Works of African Art</em>. Cleveland: Cleveland Museum of Art; distributed by the University of Washington Press, 2003.", "page_number": "P. 49, color plate 9.", "url": ""}, {"citation": "Petridis, Constantine. \"A New Installation for African Art in Cleveland.\" <em>Tribal</em> 3, no. 36 (Autumn/Winter 2004): 68-73.", "page_number": "", "url": ""}, {"citation": "CMA 1973, \"1972 Year in Review.\" Bulletin of The Cleveland Museum of Art 60, no. 3, cat. 25.", "page_number": "", "url": ""}, {"citation": "https://www.theguardian.com/artanddesign/gallery/2022/jun/21/freedom-and-flares-west-africas-photographic-master-in-pictures-rachidi-bissiriou", "page_number": "Reproduced: cat. 9, p. 48 - 49", "url": ""}], "url": "https://clevelandart.org/art/1972.343", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.343/1972.343_web.jpg", "width": "488", "height": "900", "filesize": "65180", "filename": "1972.343_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.343/1972.343_print.jpg", "width": "1845", "height": "3400", "filesize": "602820", "filename": "1972.343_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.343/1972.343_full.tif", "width": "2992", "height": "5514", "filesize": "49516276", "filename": "1972.343_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt0_web.jpg", "width": "485", "height": "893", "filesize": "173674"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt0_print.jpg", "width": "1826", "height": "3400", "filesize": "2537987"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt0_full.tif", "width": "2686", "height": "5000", "filesize": "40300572"}}, {"date_created": "2009-11-02T18:29:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt1_web.jpg", "width": "455", "height": "893", "filesize": "175659"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt1_print.jpg", "width": "1732", "height": "3400", "filesize": "2912866"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt1_full.tif", "width": "2778", "height": "5452", "filesize": "45467960"}}, {"date_created": "2009-11-02T18:30:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt2_web.jpg", "width": "485", "height": "893", "filesize": "178455"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt2_print.jpg", "width": "1848", "height": "3400", "filesize": "2978378"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt2_full.tif", "width": "3088", "height": "5680", "filesize": "52650304"}}, {"date_created": "2009-11-02T18:28:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt3_web.jpg", "width": "440", "height": "893", "filesize": "174277"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt3_print.jpg", "width": "1676", "height": "3400", "filesize": "2811890"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt3_full.tif", "width": "2708", "height": "5494", "filesize": "44664216"}}, {"date_created": "2009-11-02T18:25:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt4_web.jpg", "width": "401", "height": "893", "filesize": "151892"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt4_print.jpg", "width": "1526", "height": "3400", "filesize": "2470921"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt4_full.tif", "width": "2511", "height": "5593", "filesize": "42162788"}}, {"date_created": "2009-11-02T18:27:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt5_web.jpg", "width": "453", "height": "893", "filesize": "185088"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt5_print.jpg", "width": "1724", "height": "3400", "filesize": "3063684"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.343/1972.343_alt5_full.tif", "width": "2790", "height": "5502", "filesize": "46082664"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146945, "creators": [], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:12.753000"}, {"id": 160458, "accession_number": "1998.286", "share_license_status": "CC0", "tombstone": "Painting of One Hundred Themes (\ubc31\ub0a9\ub3c4 [\u767d\u8872\u5716]), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk; overall: 117.7 x 335 cm (46 5/16 x 131 7/8 in.); painting only: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.). The Cleveland Museum of Art, Bequest of Gordon K. Mott, 1998.286", "current_location": null, "title": "Painting of One Hundred Themes", "title_in_original_language": "\ubc31\ub0a9\ub3c4 [\u767d\u8872\u5716]", "creation_date": "late 1800s", "creation_date_earliest": 1869, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 117.7 x 335 cm (46 5/16 x 131 7/8 in.); Painting only: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.)", "dimensions": {"overall": {"height": 1.177, "width": 3.35}, "painting only": {"height": 1.645, "width": 0.436}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 237)</em>. The Cleveland Museum of Art, Cleveland, OH (January 12-July 20, 2015).", "opening_date": "2015-01-12T00:00:00"}]}, "provenance": [{"description": "Collection in Pusan, Korea, to Gordon K. Mott", "citations": [], "footnotes": [], "date": "?\u20131955", "sortorder": 1}, {"description": "Gordon K. Mott [1914\u20131998], Lakewood, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1955\u20131998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1998\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The way of displaying small images of various subjects became one of the most popular type of painting toward the end of the 19th century.", "description": "The front of this screen features an assortment of subjects: birds and flowers, landscapes, and scenes of everyday life, mostly in monochromatic ink with light colors. The screen\u2019s reverse side conveys a number of classical poems about the fleeting beauty of the four seasons. Traditionally, only one side of a folding screen bears painted or embroidered images, since these were used as a background furnishing. In Korean houses by the 1800s and early 1900s, however, two-sided folding screens became noticeably popular, possibly inspired by Japanese double-sided folding screens, which mainly served as room dividers in Japanese households.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477615"], "internet_archive": ["https://archive.org/details/clevelandart-1998.286-painting-of-one-hund"]}, "citations": [{"citation": "Kim, Chwi-jeong. \"New Trends and Japhwabyung in the Period of Modernization [\uac1c\ud654\uae30 \ud654\ub2e8\uc758 \uc2e0\uacbd\ud5a5\uacfc \uc7a1\ud654\ubcd1].\" <em>Misulsa nondan </em>(2008): 253\u2013287.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01352894"}, {"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 83", "url": null}, {"citation": "An, Bo-ra. \"A Study of \u2018Baeknapdo byungpung\u2019 in the late Joseon Period: Focus on the Example in the collection of Boston Museum of Fine Arts [\uc870\uc120 \ub9d0\uae30\uc758 \u767e\u8872\u5716 \u5c5b\u98a8 \uc5f0\uad6c: \ubcf4\uc2a4\ud134\ubbf8\uc220\uad00 \uc18c\uc7a5\ubcf8\uc744 \uc911\uc2ec\uc73c\ub85c].\"<em> Misulsa yeongu </em>(2013): 323\u2013351.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE02344425"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Jeong, Eun-ju. \"A Study on the Ten Views of Hwallae-jeong Pavilion Painted by Chagang Park Gijeong [\ucc28\uac15 \ubc15\uae30\uc815\uc758 \u300a\ud65c\uc815\uc2ed\uacbd\ubc31\ub0a9\ub3c4\ubcd1\u300b \uc5f0\uad6c].\" <em>Jangseogak </em>(2018): 860\u2013120.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE07430863"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 204\u2013211, no. 120", "url": ""}], "url": "https://clevelandart.org/art/1998.286", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_web.jpg", "width": "900", "height": "679", "filesize": "317243", "filename": "1998.286_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_print.jpg", "width": "3400", "height": "2564", "filesize": "2750885", "filename": "1998.286_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.286/1998.286_full.tif", "width": "17673", "height": "13325", "filesize": "706512868", "filename": "1998.286_full.tif"}}, "alternate_images": [{"date_created": "2010-10-19T15:04:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286/1998.286_alt0_web.jpg", "width": "1263", "height": "473", 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"https://openaccess-cdn.clevelandart.org/alternate/1998.286/1998.286_alt18_web.jpg", "width": "1263", "height": "468", "filesize": "445057"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286/1998.286_alt18_print.jpg", "width": "3400", "height": "1261", "filesize": "3148677"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286/1998.286_alt18_full.tif", "width": "17833", "height": "6619", "filesize": "354143712"}}], "creditline": "Bequest of Gordon K. Mott", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160458, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1869, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-08 11:09:03.224000"}, {"id": 453030, "accession_number": "2022.1", "share_license_status": "CC0", "tombstone": "View across the Moat towards the Thomasschule and the Thomaskirche in Leipzig, 1817. Julius Schnorr von Carolsfeld (German, 1794\u20131872). Pen and black ink and graphite on ivory wove paper; support: 31 x 38.6 x 0.2 cm (12 3/16 x 15 3/16 x 1/16 in.); image: 15.7 x 23.8 cm (6 3/16 x 9 3/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2022.1", "current_location": null, "title": "View across the Moat towards the Thomasschule and the Thomaskirche in Leipzig", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "Pen and black ink and graphite on ivory wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Support: 31 x 38.6 x 0.2 cm (12 3/16 x 15 3/16 x 1/16 in.); Image: 15.7 x 23.8 cm (6 3/16 x 9 3/8 in.)", "dimensions": {"image": {"height": 0.157, "width": 0.238}, "support": {"height": 0.31, "width": 0.386, "depth": 0.002}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed and dated at lower left: Leipzig 1817 M. July", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "stamped at lower right on verso in blue ink: mark of Carl Heumann collection (Lugt 2841a)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "watermark: H * O S E R [unidentified]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Deutsche Landscaftskunst, 1750\u20131850: Zeichnungen und Aquarelle aus der Sammlung Heumann, Chemnitz</em>. Schlesisches Museum der Bildenden K\u00fcnste, Breslau, Poland (1933).", "opening_date": "1933-01-01T05:00:00Z"}, {"description": "<em>Zeichenkunst der deutschen Romantik</em>. Nassauisches Landesmusuem, Wiesbaden, Germany (May\u2013mid-July 1937)", "opening_date": "1937-05-01T04:00:00Z"}, {"description": "<em>Julius Schnorr von Carolsfeld, 1794\u20131872</em>. Museum der Bildenden K\u00fcnste, Leipzig (March 26\u2013May 23, 1994); Kunsthalle Bremen, Germany (June 5\u2013July 31, 1994).", "opening_date": "1994-03-26T05:00:00Z"}]}, "provenance": [{"description": "Eduard Cichorius [1819\u20131907], Dresden, Germany", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Professor Ludwig Schnorr von Carolsfeld [1877\u20131945], Berlin, the artist\u2019s grandson", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Carl Heumann [1886\u20131945], Chemnitz, Germany", "citations": [], "footnotes": null, "date": "?-1945", "sortorder": 3}, {"description": "Carl Heumann Estate", "citations": [], "footnotes": null, "date": "1945\u201357", "sortorder": 4}, {"description": "(Carl Heumann posthumous collection sale, Stuttgarter Kunstkabinett, no. 320, sold to Erhard G\u00f6pel), 1957", "citations": [], "footnotes": null, "date": "November 29, 1957", "sortorder": 5}, {"description": "Erhard G\u00f6pel [1906\u20131966], Munich, Germany", "citations": [], "footnotes": null, "date": "1957\u201366", "sortorder": 6}, {"description": "By descent to his wife, Barbara G\u00f6pel [1922\u20132017], Munich, Germany", "citations": [], "footnotes": null, "date": "1966-?", "sortorder": 7}, {"description": "Private Collection, Germany", "citations": [], "footnotes": null, "date": "1994-2019", "sortorder": 8}, {"description": "(Daxer & Marschall Kunsthandels, Munich, Germany, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2019\u201322", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH,", "citations": [], "footnotes": null, "date": "2022-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The landscape in this drawing is seen from the perspective of Schnorr von Carolsfeld\u2019s family home in Leipzig.", "description": "Julius Schnorr von Carolsfeld belonged to the Nazarenes, a group of artists who looked to early Northern Renaissance art for its simplicity and piety. The artist created this drawing during a visit to his native Leipzig en route to join the Nazarenes in Rome. He depicted the city\u2019s distinctive features, including the oldest German language school in Europe (of which he was an alumnus) and a church where Johann Sebastian Bach served as cantor during the 18th century. The artist himself appears in a self-portrait at right in the pair seen at lower left. He juxtaposed loosely sketched landscape with areas of profuse detail, created with a hard and sharpened pencil reinforced with pen and ink.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247166"], "internet_archive": ["https://archive.org/details/clevelandart-2022.1-view-across-the-moat"]}, "citations": [{"citation": "<em>Deutsche Landscaftskunst, 1750\u20131850: Zeichnungen und Aquarelle aus der Sammlung Heumann, Chemnitz</em>. Exh. Cat. Breslau: Schlesisches Museum der Bildenden K\u00fcnste, 1933.", "page_number": "Mentioned no. 135", "url": ""}, {"citation": "<em>Zeichenkunst der deutschen Romantik</em>. Exh. Cat. Wiesbaden: Nassauisches Landesmusuem, 1937.", "page_number": "Mentioned: 30, no. 282", "url": ""}, {"citation": "G\u00f6pel, Erhard. \u201cDeutsche K\u00fcnstler zeichnen in Leipzig.\u201d <em>Leipziger Jahrbuch </em>14 (1939).", "page_number": "Mentioned p. 134\u201336", "url": ""}, {"citation": "<em>Kunst des 18. und 19. Jahrhunderts: Sammlung Heumann, Chemnitz</em>. Stuttgart: Stuttgarter Kunstkabinetts, 1957.", "page_number": "Mentioned: p. 66, no. 320; Reproduced: pl. 18", "url": ""}, {"citation": "G\u00f6pel, Erhard. \u201cEine unbekannte Ansicht Leipzigs\u201d <em>Neue Lepipziger Zeitung</em> 249, no. 6 (September 6, 1933).", "page_number": "reproduced", "url": ""}, {"citation": "Mehnert, Karl Hein. \u201cEine wiederentdeckte Stadtansicht: Zur Ausstellung Julius Schnorr von Carolsfeld im Museum der bildenden K\u00fcnste.\u201d <em>Leipziger Blatter</em> 27 (Spring 1994).", "page_number": "Reproduced: p. 74; Mentioned: p. 75.", "url": ""}, {"citation": "<em>Julius Schnorr von Carolsfeld, 1794\u20131872</em>. Exh. Cat. Leipzig: Museum der Bildenden K\u00fcnste, 1994.", "page_number": "Mentioned: 197\u201398, no. 27; Reproduced: p. 97", "url": ""}], "url": "https://clevelandart.org/art/2022.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.1/2022.1_web.jpg", "width": "900", "height": "609", "filesize": "253850", "filename": "2022.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.1/2022.1_print.jpg", "width": "3400", "height": "2300", "filesize": "2833354", "filename": "2022.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.1/2022.1_full.tif", "width": "10916", "height": "7383", "filesize": "241806544", "filename": "2022.1_full.tif"}}, "alternate_images": [{"date_created": "2022-05-13T10:27:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.1/2022.1_alt0_web.jpg", "width": "900", "height": "603", "filesize": "276038"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.1/2022.1_alt0_print.jpg", "width": "3400", "height": "2277", "filesize": "3482810"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.1/2022.1_alt0_full.tif", "width": "11999", "height": "8036", "filesize": "289300616"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 453030, "creators": [{"id": 453023, "description": "Julius Schnorr von Carolsfeld (German, 1794\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": "German painter, 1794-1872", "name_in_original_language": null, "birth_year": "1794", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-03-07T05:00:00Z", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "For this work on wove paper, Schnorr von Carolsfeld established the composition as a line drawing using a pale silvery-gray graphite pencil. Then to shade and strengthen the wooded area at the center of the composition and the two figures in the left foreground, he went over the graphite with pen and gray-black ink using outline and a regimented system of hatching and crosshatching with a strong right-handed directional. Establishing two focal points with a second darker medium\u2014in this case one that resembles dark graphite\u2014does not, however, overwhelm the more delicately rendered elements, including the cursorily drawn landscape and trees on the left and detailed architecture representing the Thomasschule on the right. A sure and steady hand is evident in the detailed and complex architectural structures; it is also apparent that many of their rectilinear elements were gone over with a graphite line applied with the aid of a straight edge. The figure bearing a likeness to the artist in his youth shows numerous corrections in graphite to the proper left arm, leg, and foot. <br><br>Several observations bring up the possibility that Schnorr von Carolsfeld made this drawing with the aid of a camera lucida, an optical drawing instrument recommended for mastering perspective and topographical accuracy in landscape, as well as capturing likenesses for portraiture. (Sir William Hyde Wollaston\u2019s popular prism camera lucida was invented in 1807.) With this instrument an initial sketch is made by tracing a virtual image reflected on paper. (The camera obscura, an earlier optical drawing aid still in use at this time, works by casting a real image onto a surface which then can be traced.) <br><br>When working with the camera lucida artists often drew over the initial sketch with a second linear medium to correct, reinforce, and realize a more finished drawing, but in doing so many of the subtle and quirky clues inherent to the camera lucida line were lost. Clearly a good portion of this composition was gone over, aligning with this practice.<br><br>Therefore, it is the unmodified line seen in the tree growth in the left background and defining the middle grassy bank that arguably bears the most compelling evidence of the use of a camera lucida. This portion of the composition captures the habit of a traced line\u2014specifically a line tracing a tenuous reflected image\u2014to meander falteringly through a view with awkward starts and stops and illogical transitions.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:43.882000"}, {"id": 123992, "accession_number": "1944.488", "share_license_status": "CC0", "tombstone": "Bottle, c. 1900. Europe. Glass with enameled and gilded decoration. The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1944.488", "current_location": "116 Islamic", "title": "Bottle", "creation_date": "c. 1900", "creation_date_earliest": 1875, "creation_date_latest": 1910, "artists_tags": [], "culture": ["Europe"], "technique": "glass with enameled and gilded decoration", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Glass", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "The inscription translates: \"Glory to our lord, the sultan, the king, the victorious, the protector of the world and the religion, Muhammed.\"", "inscription_translation": null, "inscription_remark": "The inscription refers to Mamluk ruler Muhammad ibn Qala\u2019un (1285\u20131341).", "sortorder": null}], "exhibitions": {"current": [{"id": 312146, "title": "Islamic Art", "description": "<i>Islamic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3, 1944-February 2, 1945).", "opening_date": "1944-11-03T04:00:00"}, {"id": 312068, "title": "For Modern America from the Ancient Near East", "description": "<i>For Modern America from the Ancient Near East</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-March 21, 1948).", "opening_date": "1948-02-24T05:00:00"}, {"id": 396857, "title": "Art of the Islamic World (Islamic art rotation)", "description": "<i>Art of the Islamic World (Islamic art rotation)</i>. The Cleveland Museum of Art (organizer) (May 21, 2021-May 31, 2022).", "opening_date": "2021-05-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Hagop Kevorkian [1872\u20131962], New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1944", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1944-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The bold inscription on the body of the bottle translates: \u201cGlory to our lord, the sultan, the king, the victorious, the protector of the world and the religion, Muhammad.\u201d The sultan referred to here is the Mamluk ruler Muhammad ibn Qala\u2019un (1285\u20131341), who is also referenced on the nearby mosque lamp. <br><br>This bottle, as with the mosque lamp <a href=\"https://www.clevelandart.org/art/1981.10\">CMA 1981.10</a>, is representative of reproductions of Mamluk glass that were prominent in the late 1800s in Europe during a period of resurgence of interest in Islamic art. At this time, collectors and artists revived the techniques of enameling and gilding that are hallmarks of Mamluk glass.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79901555"], "internet_archive": ["https://archive.org/details/clevelandart-1944.488-bottle"]}, "citations": [{"citation": "<em>Islamic Art: Selected Examples from the Loan Exhibition of Islamic Art at the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1944.", "page_number": "Reproduced: p. 38", "url": "https://archive.org/details/IslamicArtCMA/page/n48"}, {"citation": "\"Part II. Annual Report Issue for the Year 1944.\" <em>The Bulletin of the Cleveland Museum of Art</em> 32, no. 6 (1945): 103-30.", "page_number": "Mentioned: p. 107", "url": "https://www.jstor.org/stable/25141221"}, {"citation": "Hollis, Howard. \"Two Examples of Arabic Enameled Glass.\" <em>The Bulletin of the Cleveland Museum of Art </em>32, no. 10 (December 1945): 179-181.", "page_number": "Reproduced: cover; Mentioned: p. 179", "url": "https://www.jstor.org/stable/25141241"}, {"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. 714", "url": "https://archive.org/details/CMAHandbook1958/page/n130"}, {"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. 210", "url": "https://archive.org/details/CMAHandbook1966/page/n234"}, {"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. 210", "url": "https://archive.org/details/CMAHandbook1969/page/n234"}, {"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. 266", "url": "https://archive.org/details/CMAHandbook1978/page/n286"}], "url": "https://clevelandart.org/art/1944.488", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.488/1944.488_web.jpg", "width": "668", "height": "893", "filesize": "242335", "filename": "1944.488_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.488/1944.488_print.jpg", "width": "2545", "height": "3400", "filesize": "4260055", "filename": "1944.488_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.488/1944.488_full.tif", "width": "4992", "height": "6668", "filesize": "99886036", "filename": "1944.488_full.tif"}}, "alternate_images": [{"date_created": "2010-11-16T19:06:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt0_web.jpg", "width": "668", "height": "893", "filesize": "242342"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt0_print.jpg", "width": "2545", "height": "3400", "filesize": "4259473"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt0_full.tif", "width": "4992", "height": "6668", "filesize": "99886640"}}, {"date_created": "2010-11-16T19:10:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt1_web.jpg", "width": "668", "height": "893", "filesize": "241982"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "4258319"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt1_full.tif", "width": "4992", "height": "6668", "filesize": "99885960"}}, {"date_created": "2010-11-16T19:21:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt2_web.jpg", "width": "697", "height": "893", "filesize": "370718"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt2_print.jpg", "width": "2652", "height": "3400", "filesize": "5198087"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt2_full.tif", "width": "3732", "height": "4783", "filesize": "53578408"}}, {"date_created": "2010-11-16T19:36:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt3_web.jpg", "width": "1057", "height": "893", "filesize": "704351"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt3_print.jpg", "width": "3400", "height": "2872", "filesize": "6604710"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1944.488/1944.488_alt3_full.tif", "width": "3431", "height": "2899", "filesize": "29870056"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123992, "creators": [], "legal_status": "accessioned", "accession_date": "1944-12-15T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:11.087000"}, {"id": 173480, "accession_number": "1915.687", "share_license_status": "CC0", "tombstone": "Apple Blossoms, 1873. Martin Johnson Heade (American, 1819\u20131904). Oil on canvas; unframed: 35.8 x 30.7 cm (14 1/8 x 12 1/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.687", "current_location": null, "title": "Apple Blossoms", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 35.8 x 30.7 cm (14 1/8 x 12 1/16 in.)", "dimensions": {"unframed": {"height": 0.358, "width": 0.307}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  MJ Heade 1873", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 355660, "title": "Exhibition of the Month: Flowers in Art", "description": "<i>Exhibition of the Month: Flowers in Art</i>. 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Hurlbut, Cleveland, OH, by 1878; his bequest to CMA, 1915.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["411.1915"], "did_you_know": "The artist was very fond of flowers and took pleasure in gathering and arranging bouquets, especially for his breakfast table.", "description": "Martin Johnson Heade painted approximately 150 floral still life compositions during his long career. 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New York: Pantheon Press, 1948.", "page_number": "Mentioned: p. 34, p. 61", "url": null}, {"citation": "Stebbins, Theodore E. <em>The Life and Works of Martin Johnson Heade</em>. New Haven: Yale University Press, 1975.", "page_number": "Reproduced: cat. 214", "url": null}, {"citation": "Stebbins, Theodore E., with the assistance of Janet L. Comey and Karen E. Quinn. <em>The Life and Work of Martin Johnson Heade: A Critical Analysis and Catalogue Raisonne\u0301</em>. Revised edition. New Haven: Yale University Press, 2000.", "page_number": "Reproduced: p. 211, 311; fig. 442", "url": null}, {"citation": "Chong, Alan. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, OH: Cleveland Museum of Art, 1993.", "page_number": "Reproduced: p. 103", "url": null}], "url": "https://clevelandart.org/art/1915.687", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.687/1915.687_web.jpg", "width": "766", "height": "893", "filesize": "500873", "filename": "1915.687_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.687/1915.687_print.jpg", "width": "2916", "height": "3400", "filesize": "7947140", "filename": "1915.687_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.687/1915.687_full.tif", "width": "4408", "height": "5139", "filesize": "67986224", "filename": "1915.687_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.687/1915.687_alt0_web.jpg", "width": "765", "height": "893", "filesize": "522623"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.687/1915.687_alt0_print.jpg", "width": "1536", "height": "1794", "filesize": "2168575"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.687/1915.687_alt0_full.tif", "width": "1536", "height": "1794", "filesize": "8269804"}}, {"date_created": "2010-11-10T18:19:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.687/1915.687_alt1_web.jpg", "width": "779", "height": "893", "filesize": "546341"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.687/1915.687_alt1_print.jpg", "width": "2965", "height": "3400", "filesize": "8868561"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.687/1915.687_alt1_full.tif", "width": "4684", "height": "5371", "filesize": "75500588"}}], "creditline": "Hinman B. 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Korea, Joseon dynasty (1392\u20131910). Lacquer with mother-of-pearl inlay; diameter: 33.1 cm (13 1/16 in.); overall: 9.6 cm (3 3/4 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1987.42", "current_location": null, "title": "Tray for Sewing Tools with Mother-of-Pearl Inlay", "title_in_original_language": "\ub098\uc804 \uce60\uae30 \ubc18\uc9c7\uadf8\ub987 (\u87ba\u923f\u6f06\u5668\u7bb1\u5b50)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "lacquer with mother-of-pearl inlay", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Lacquer", "measurements": "Diameter: 33.1 cm (13 1/16 in.); Overall: 9.6 cm (3 3/4 in.)", "dimensions": {"diameter": {"width": 0.331}, "overall": {"height": 0.096}}, "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": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 373312, "title": "Gold Needles: Embroidery Arts from Korea", "description": "<i>Gold Needles: Embroidery Arts from Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 7-October 25, 2020).", "opening_date": "2020-03-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Masaaki Yoshida, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1987", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1987-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Many thin layers of lacquer were applied to the tray's leather core. The design was cut into the dry lacquer and then the mother-of-pearl was inserted.", "description": "This mother-of-pearl lacquer tray is decorated with various scenes of animals interacting with their natural surroundings. Its flat circular base depicts a pond where a leaping carp and a small school of fish swim below the boughs of a cherry tree. The tray\u2019s exterior wall is densely decorated with various animals paired with plants symbolizing wishful thoughts of longevity, marital happiness, and prosperity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939933"], "internet_archive": ["https://archive.org/details/clevelandart-1987.42-tray-for-sewing-tool"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1987.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 2 (February 1988): 30\u201371.", "page_number": "Mentioned and reproduced: p. 71, no. 197", "url": "http://www.jstor.org/stable/25160017"}, {"citation": "Hwang, Ji-hyeon and Sadamu Kawada<em>. Korean Lacquerware Inlaid with Mother-of-Pearl: the Everlasting Beauty</em>. Seoul: National Museum of Korea: 2010.", "page_number": null, "url": null}, {"citation": "<em>Korean Lacquer Art: Aesthetic Perfection, </em>Munich: Hirmer Publishers, 2013.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "McCormick, Sooa Im. \"Stitches empowered: Korean embroidery arts form the Joseon Dynasty\"<em> Orientations</em> 51, no. 1 (2020): 60-67.", "page_number": "Reproduced: p. 63, fig. 5", "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 232-233, no. 128", "url": ""}], "url": "https://clevelandart.org/art/1987.42", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.42/1987.42_web.jpg", "width": "1263", "height": "701", "filesize": "91033", "filename": "1987.42_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.42/1987.42_print.jpg", "width": "3400", "height": "1888", "filesize": "492342", "filename": "1987.42_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.42/1987.42_full.tif", "width": "5615", "height": "3118", "filesize": "52549192", "filename": "1987.42_full.tif"}}, "alternate_images": [{"date_created": "2012-04-19T12:54:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt0_web.jpg", "width": "1263", "height": "680", "filesize": "88662"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt0_print.jpg", "width": "3400", "height": "1830", "filesize": "504899"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt0_full.tif", "width": "5766", "height": "3104", "filesize": "53719524"}}, {"date_created": "2012-04-19T13:00:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt1_web.jpg", "width": "1263", "height": "694", "filesize": "84755"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt1_print.jpg", "width": "3400", "height": "1867", "filesize": "478775"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt1_full.tif", "width": "5812", "height": "3192", "filesize": "55681436"}}, {"date_created": "2012-04-19T13:05:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt2_web.jpg", "width": "1263", "height": "682", "filesize": "84827"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt2_print.jpg", "width": "3400", "height": "1836", "filesize": "489213"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt2_full.tif", "width": "5959", "height": "3219", "filesize": "57573960"}}, {"date_created": "2012-04-18T19:51:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt3_web.jpg", "width": "969", "height": "893", "filesize": "122027"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt3_print.jpg", "width": "3400", "height": "3134", "filesize": "1102916"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt3_full.tif", "width": "4874", "height": "4493", "filesize": "65724400"}}, {"date_created": "2012-04-19T13:14:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt4_web.jpg", "width": "1017", "height": "893", "filesize": "82961"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt4_print.jpg", "width": "3400", "height": "2986", "filesize": "1042772"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.42/1987.42_alt4_full.tif", "width": "5091", "height": "4472", "filesize": "68329848"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153738, "creators": [], "legal_status": "accessioned", "accession_date": "1987-06-10T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Box with Fish and Animal Design"], "is_highlight": false, "updated_at": "2026-03-27 20:30:34.095000"}, {"id": 154494, "accession_number": "1989.14", "share_license_status": "CC0", "tombstone": "Budding Sycamore, c. 1876. John Ruskin (British, 1819\u20131900). Black and gray wash, gouache, and graphite; sheet: 34.8 x 44.8 cm (13 11/16 x 17 5/8 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1989.14", "current_location": null, "title": "Budding Sycamore", "creation_date": "c. 1876", "creation_date_earliest": 1871, "creation_date_latest": 1881, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "black and gray wash, gouache, and graphite", "support_materials": [{"description": "thick, moderately textured cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 34.8 x 44.8 cm (13 11/16 x 17 5/8 in.)", "dimensions": {"sheet": {"height": 0.348, "width": 0.448}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and inscribed, in brown ink, at lower right: 1875 / Budding Sycamore / Sketched at Greta Bridge / 1875 / J. Ruskin", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "G.R. Roxburgh", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Artemis Fine Arts, London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1989", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1989-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was used as an illustration in John Ruskin's manual on drawing, <em>Rudimentary Studies</em>.", "description": "The most influential art critic in Britain during the 19th century, John Ruskin was also an amateur artist for whom drawing was the cornerstone of artistic practice. Since his early youth, a keen perception of the world and obsessive desire to capture nature in all of its details found expression in his drawings. In this study of a leafing sycamore in early spring, Ruskin combined exquisite detail with atmospheric rendering of space, leaving the edges of the drawing unresolved. This sheet exemplifies his belief that drawn fragments, if sensitively observed, were capable of suggesting the profound mysteries of the natural world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941494"], "internet_archive": ["https://archive.org/details/clevelandart-1989.14-budding-sycamore"]}, "citations": [{"citation": "Cook, Edward Tyas and Alexander Wedderburn. <em>The Works of John Ruskin</em>. London: George Allen, 1906.", "page_number": "Mentioned and reproduced: vol. 21, pp. 291-92, vol. 38, p. 285, no. 1629", "url": null}, {"citation": "Turner, Evan H. \"The Year in Review: Selections 1989.\" <em>The Bulletin of the Cleveland Museum of Art</em> 77, no. 2 (1990): 38-78.", "page_number": "Mentioned and reproduced: p. 59, no. 181", "url": "www.jstor.org/stable/25160106"}, {"citation": "<em>Artemis 88-89: Consolidated Audited Annual Report</em>. Annual General Meeting (January 26, 1990).", "page_number": "Mentioned: p. 32, no. 13", "url": null}, {"citation": "Lemonedes, Heather, \"Visible Spirit\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 44 no. 07, September 2004", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2004-07/page/n5"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 126-27, 148, no. 42; Reproduced: p. 147", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 163", "url": ""}], "url": "https://clevelandart.org/art/1989.14", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1989.14/1989.14_web.jpg", "width": "1142", "height": "893", "filesize": "155985", "filename": "1989.14_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1989.14/1989.14_print.jpg", "width": "3400", "height": "2659", "filesize": "1465590", "filename": "1989.14_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1989.14/1989.14_full.tif", "width": "6081", "height": "4756", "filesize": "86810172", "filename": "1989.14_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.14/1989.14_alt0_web.jpg", "width": "1135", "height": "893", "filesize": "721420"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.14/1989.14_alt0_print.jpg", "width": "1953", "height": "1536", "filesize": "2194657"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.14/1989.14_alt0_full.tif", "width": "1953", "height": "1536", "filesize": "9002676"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154494, "creators": [{"id": 1277, "description": "John Ruskin (British, 1819\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1819", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-02-24T00:00:00", "sortable_date": 1871, "date_added_to_oa": null, "date_text": "c. 1876", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:37.891000"}, {"id": 106785, "accession_number": "1924.809", "share_license_status": "CC0", "tombstone": "Rue Transnonain, April 15, 1834, 1834. Honor\u00e9 Daumier (French, 1808\u20131879). Lithograph; sheet: 36.5 x 55 cm (14 3/8 x 21 5/8 in.); image: 28.6 x 44 cm (11 1/4 x 17 5/16 in.). The Cleveland Museum of Art, Gift of Ralph King, 1924.809", "current_location": null, "title": "Rue Transnonain, April 15, 1834", "creation_date": "1834", "creation_date_earliest": 1834, "creation_date_latest": 1834, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "chine colle on cream wove support", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 36.5 x 55 cm (14 3/8 x 21 5/8 in.); Image: 28.6 x 44 cm (11 1/4 x 17 5/16 in.)", "dimensions": {"sheet": {"height": 0.365, "width": 0.55}, "image": {"height": 0.286, "width": 0.44}}, "state_of_the_work": "only state", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Below image: RUE TRANSNONAIN, LE 15 AVRIL 1834.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Upper margin, printed: 24e Dessin de la Lithographie Mensuelle. ; \nlower margin, printed: Au bureau, galerie vero dodat. / Litho de Delaunois ; \nlower margin, in pencil: Superb proof on india / 450", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 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": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "?-1924", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1924-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although government censors approved publication of this print, they seized it upon its exhibition in a Parisian print shop.", "description": "Although it supported the French middle class, the government of Louis-Philippe (1773\u20131850) oppressed workers. The rebellion of the silk weavers of Lyon, who toiled 18 hours a day for a pittance, touched off a sympathetic revolt in Paris. During the uprising, sniper fire directed toward government troops emanated from a house on the Rue Transnonain. In retaliation, the soldiers indiscriminately massacred residents, including old men, women, and children. In this haunting image, Daumier focused attention on the human suffering and loss of life, emphasizing the innocence of the victims and the violence of their deaths. Between 1830 and 1835 censorship laws had been suspended, allowing Charles Philipon (1806\u20131862) to publish a number of periodicals like <em>L'Association Mensuelle</em>, where <em>Rue Transnonain</em> appeared. Daumier, one of the most accomplished and prolific lithographers of the 19th century, often provided caricatures criticizing contemporary political abuses or satirizing French society.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79893759"], "internet_archive": ["https://archive.org/details/clevelandart-1924.809-rue-transnonain-apri"]}, "citations": [{"citation": "Freedman, Leonard, and Gibson A. Danes. Looking at Modern Painting. New York: Norton, 1961.", "page_number": "p. 45", "url": ""}, {"citation": "\u201cLists of Objects in the Exhibition.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 16, no. 9 (1929): 159\u201375.", "page_number": "Mentioned: p. 161", "url": "http://www.jstor.org/stable/25137248."}, {"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Rue Transnonain, Le 15 Avril 1834", "page_number": "Mentioned: p. 27", "url": "https://archive.org/details/Lithography/page/n34"}], "catalogue_raisonne": "Daumier Register / Delteil 135 ; Hazard-Delteil 310", "url": "https://clevelandart.org/art/1924.809", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.809/1924.809_web.jpg", "width": "1263", "height": "890", "filesize": "842132", "filename": "1924.809_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.809/1924.809_print.jpg", "width": "3400", "height": "2396", "filesize": "7060892", "filename": "1924.809_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.809/1924.809_full.tif", "width": "5545", "height": "3908", "filesize": "65043488", "filename": "1924.809_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 106785, "creators": [{"id": 1638, "description": "Honor\u00e9 Daumier (French, 1808\u20131879)", "extent": null, "qualifier": null, "role": "artist", "biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1924-10-17T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Rue Transnonain, Le 15 Avril 1834"], "is_highlight": false, "updated_at": "2026-03-27 00:02:51.137000"}, {"id": 149397, "accession_number": "1978.52", "share_license_status": "CC0", "tombstone": "Trees and Undergrowth, 1885. Garden William Fraser (British, 1856\u20131921). Watercolor with gouache; sheet: 19 x 26.8 cm (7 1/2 x 10 9/16 in.). The Cleveland Museum of Art, The A. W. Ellenberger, Sr., Endowment Fund, 1978.52", "current_location": null, "title": "Trees and Undergrowth", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with gouache", "support_materials": [{"description": "thick, moderately textured cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 19 x 26.8 cm (7 1/2 x 10 9/16 in.)", "dimensions": {"sheet": {"height": 0.19, "width": 0.268}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in brown watercolor, at lower right: 1885 / W.F. Garden", "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": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Christopher Wood, London)", "citations": [], "footnotes": null, "date": "?-before 1978", "sortorder": 1}, {"description": "(Shepherd Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1978", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1978-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although William Fraser Garden received critical recognition for his watercolors early in his career, he lived and worked in relative obscurity and was plagued by financial troubles for most of his life.", "description": "William Fraser Garden\u2019s work was based on the rendering of minute detail with painstaking brushwork and handling of color. Here, he describes an insignificant corner of the Bedford landscape: a tangled thicket in which dry grasses and saplings commingle. Bare branches stretch across a bright blue sky, creating a pattern as intricate as a spider\u2019s web. This may have been the drawing that Garden exhibited at the Royal Academy in 1885 with the title <em>Early Spring in the Woods</em>. A pale green haze in the grass, the azure sky, and scattered wildflowers suggest the promise of spring.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930591"], "internet_archive": ["https://archive.org/details/clevelandart-1978.52-trees-and-undergrowt"]}, "citations": [{"citation": "<em>English Nineteenth Century Paintings, Watercolors, Drawing</em>s. Exh. Cat. New York: Shepherd Gallery, 1978.", "page_number": "Mentioned and reproduced: no. 84", "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1978.\" <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 1 (1979): 3-47.", "page_number": "Mentioned and reproduced: p. 22", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 130-1, 146, no. 44; Reproduced: p. 131", "url": null}], "url": "https://clevelandart.org/art/1978.52", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.52/1978.52_web.jpg", "width": "1231", "height": "893", "filesize": "1039871", "filename": "1978.52_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.52/1978.52_print.jpg", "width": "3400", "height": "2466", "filesize": "7453814", "filename": "1978.52_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.52/1978.52_full.tif", "width": "5949", "height": "4314", "filesize": "77028264", "filename": "1978.52_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.52/1978.52_alt0_web.jpg", "width": "1247", "height": "893", "filesize": "1108928"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.52/1978.52_alt0_print.jpg", "width": "3400", "height": "2435", "filesize": "7770642"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.52/1978.52_alt0_full.tif", "width": "5000", "height": "3581", "filesize": "53751116"}}], "creditline": "The A. W. Ellenberger, Sr., Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149397, "creators": [{"id": 1521, "description": "Garden William Fraser (British, 1856\u20131921)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1856", "death_year": "1921", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:02.842000"}, {"id": 150463, "accession_number": "1981.29", "share_license_status": "CC0", "tombstone": "A Portrait of Welby Sherman Asleep in a Chair, 1828. George Richmond (British, 1809\u20131896). Graphite with touches of watercolor; sheet: 16 x 13.2 cm (6 5/16 x 5 3/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Edward B. Greene by exchange, 1981.29", "current_location": null, "title": "A Portrait of Welby Sherman Asleep in a Chair", "creation_date": "1828", "creation_date_earliest": 1828, "creation_date_latest": 1828, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite with touches of watercolor", "support_materials": [{"description": "vellum", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 16 x 13.2 cm (6 5/16 x 5 3/16 in.)", "dimensions": {"sheet": {"height": 0.16, "width": 0.132}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in graphite, at lower margin: Welby Sherman / May 16th as he may be seen after dniner / 1828; inscribed in graphite, on verso, upper half of sheet: From Mrs. Hartley's Scrap-Book", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304599, "title": "The Year in Review for 1981", "description": "<i>The Year in Review for 1981</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Miriam Hartley (great-great-grandaughter of the artist)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Colnaghi & Co. Ltd., London)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Shaunagh Fitzgerald, Ltd., London)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "Mr. and Mrs. Edward B. Greene, Cleveland, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1981", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Both George Richmond and Welby Sherman belonged to a group of artists who called themselves the Ancients, who looked to the Middle Ages for inspiration and celebrated the divine in nature.", "description": "George Richmond\u2019s study of his friend, the dozing artist, Welby Sherman, was endearingly inscribed, \"As he may be seen after dinner.\" Dressed in a cravat and jacket and seated in a hard-backed chair, Sherman has momentarily drifted off, perhaps during a lull in friendly conversation. Minute touches of black wash define the bridge of his nose, eyelashes, and brow, and exquisitely subtle graphite hatching expresses the soft curves of the youthful sitter\u2019s features. Touches of pink wash on the lips and cheek breathe life into the figure.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932934"], "internet_archive": ["https://archive.org/details/clevelandart-1981.29-a-portrait-of-welby"]}, "citations": [{"citation": "Lister, Raymond. <em>George Richmond: A Critical Biography</em>. London: Robin Garton, 1981.", "page_number": "Mentioned and reproduced: pp. 17-18, no. 7", "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1981.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 2 (February 1982): 39\u201382.", "page_number": "Reproduced: p. 53; Mentioned: p. 82, no. 107", "url": "http://www.jstor.org/stable/25159758"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 74-75, 148, no. 23; Reproduced: p. 75", "url": null}], "url": "https://clevelandart.org/art/1981.29", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1981.29/1981.29_web.jpg", "width": "746", "height": "893", "filesize": "441357", "filename": "1981.29_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1981.29/1981.29_print.jpg", "width": "2842", "height": "3400", "filesize": "7091123", "filename": "1981.29_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1981.29/1981.29_full.tif", "width": "4474", "height": "5352", "filesize": "71862004", "filename": "1981.29_full.tif"}}, "alternate_images": [{"date_created": "2007-08-20T17:56:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.29/1981.29_alt0_web.jpg", "width": "755", "height": "893", "filesize": "478521"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.29/1981.29_alt0_print.jpg", "width": "2876", "height": "3400", "filesize": "7561604"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1981.29/1981.29_alt0_full.tif", "width": "3962", "height": "4684", "filesize": "55705416"}}], "creditline": "Gift of Mr. and Mrs. Edward B. Greene by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150463, "creators": [{"id": 1477, "description": "George Richmond (British, 1809\u20131896)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1809", "death_year": "1896", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1981-08-19T00:00:00", "sortable_date": 1828, "date_added_to_oa": null, "date_text": "1828", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:54.895000"}, {"id": 168425, "accession_number": "2010.204", "share_license_status": "CC0", "tombstone": "Staff, 1800s\u20131900s. The Baboon Master (probably Tsonga peoples). Wood; overall: 120.7 cm (47 1/2 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.204", "current_location": null, "title": "Staff", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": ["male"], "culture": ["Africa, South Africa, South Africa or Mozambique, probably Tsonga peoples"], "technique": "Wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 120.7 cm (47 1/2 in.)", "dimensions": {"overall": {"height": 1.207}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}, {"id": 287107, "title": "African Master Carvers: Known and Famous", "description": "<i>African Master Carvers: Known and Famous</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 55", "opening_date": "2011-04-16T00:00:00"}, {"description": "The Cleveland Museum of Art (3/26/2017-7/16/2017); \u201cAfrican Master Carvers: Known and Famous\u201d.", "opening_date": "2017-03-26T00:00:00"}]}, "provenance": [{"description": "Private collection, United Kingdom", "citations": [], "footnotes": null, "date": "?\u20132005 latest", "sortorder": null}, {"description": "(Sotheby's New York, NY, November 11, 2005, lot 161)", "citations": [], "footnotes": null, "date": "2005", "sortorder": 2}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Artists working on the African continent often moved from place to place; the artist nicknamed The Baboon Master was of the Tsonga culture and worked in the Zulu kingdom.", "description": "Arguably the finest surviving carving of the Baboon Master in a Western collection, this staff features exceptionally sophisticated articulation and detailing. The circular pokerwork motif on one side\u2014which echoes the treatment of the ears on the male heads supporting the baboon\u2014may represent a shield or a leaf. The heads feature the characteristic ornament that signifies maturity and marriage; covered with a mixture of gum, charcoal, and oil, this hairdo, called <em>isicoco,</em> employed a fiber or sinew ring into which the wearer\u2019s hair was woven.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80074285"], "internet_archive": ["https://archive.org/details/clevelandart-2010.204-staff"]}, "citations": [{"citation": "Sotheby's. \"African and Oceanic Art.\" New York, Nov. 11, 2005, lot 161 and frontispiece.", "page_number": "", "url": ""}, {"citation": "Franklin, David and C. Griffith Mann. Treasures from the Cleveland Museum of Art. Cleveland: The Cleveland Museum of Art; London: Scala Publishers Ltd, 2012. Pg 246-7.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. \"African Master Carvers.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>57, no. 2 (March/April 2017): 32-33.", "page_number": "Mentioned and reproduced: p. 32-33", "url": "https://archive.org/details/CMAMM2017-02/page/n15/mode/2up"}], "url": "https://clevelandart.org/art/2010.204", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.204/2010.204_web.jpg", "width": "522", "height": "893", "filesize": "139529", "filename": "2010.204_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.204/2010.204_print.jpg", "width": "1987", "height": "3400", "filesize": "3052245", "filename": "2010.204_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.204/2010.204_full.tif", "width": "3839", "height": "6567", "filesize": "75656608", "filename": "2010.204_full.tif"}}, "alternate_images": [{"date_created": "2010-08-20T12:40:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt0_web.jpg", "width": "510", "height": "893", "filesize": "137724"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt0_print.jpg", "width": "1942", "height": "3400", "filesize": "2997793"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt0_full.tif", "width": "3718", "height": "6507", "filesize": "72603172"}}, {"date_created": "2010-08-20T13:59:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt1_web.jpg", "width": "668", "height": "893", "filesize": "192519"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "4054061"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt1_full.tif", "width": "4992", "height": "6668", "filesize": "99885064"}}, {"date_created": "2010-08-20T14:12:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt2_web.jpg", "width": "668", "height": "893", "filesize": "197548"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt2_print.jpg", "width": "2545", "height": "3400", "filesize": "4059044"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt2_full.tif", "width": "4992", "height": "6668", "filesize": "99885368"}}, {"date_created": "2010-08-20T14:39:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt3_web.jpg", "width": "668", "height": "893", "filesize": "233641"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt3_print.jpg", "width": "2545", "height": "3400", "filesize": "4594831"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt3_full.tif", "width": "4992", "height": "6668", "filesize": "99886012"}}, {"date_created": "2010-08-20T14:50:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt4_web.jpg", "width": "668", "height": "893", "filesize": "231256"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt4_print.jpg", "width": "2545", "height": "3400", "filesize": "4444699"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt4_full.tif", "width": "4992", "height": "6668", "filesize": "99885656"}}, {"date_created": "2010-08-20T14:59:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt5_web.jpg", "width": "668", "height": "893", "filesize": "240448"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt5_print.jpg", "width": "2545", "height": "3400", "filesize": "4572777"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt5_full.tif", "width": "4992", "height": "6668", "filesize": "99886060"}}, {"date_created": "2010-08-20T15:33:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt6_web.jpg", "width": "668", "height": "893", "filesize": "201117"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt6_print.jpg", "width": "2545", "height": "3400", "filesize": "4194793"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.204/2010.204_alt6_full.tif", "width": "4992", "height": "6668", "filesize": "99885064"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168425, "creators": [{"id": 60267, "description": "The Baboon Master (probably Tsonga peoples)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:40.479000"}, {"id": 127224, "accession_number": "1949.541", "share_license_status": "CC0", "tombstone": "Mount Vesuvius at Midnight, 1868. Albert Bierstadt (American, born Prussia [now Germany], 1830\u20131902). Oil on canvas; framed: 62 x 77 x 9 cm (24 7/16 x 30 5/16 x 3 9/16 in.); unframed: 42.6 x 60.7 cm (16 3/4 x 23 7/8 in.). The Cleveland Museum of Art, Gift of S. Livingstone Mather, Philip Richard Mather, Katherine Hoyt (Mather) Cross, Katherine Mather McLean and Constance Mather Bishop, 1949.541", "current_location": null, "title": "Mount Vesuvius at Midnight", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 62 x 77 x 9 cm (24 7/16 x 30 5/16 x 3 9/16 in.); Unframed: 42.6 x 60.7 cm (16 3/4 x 23 7/8 in.)", "dimensions": {"framed": {"height": 0.62, "width": 0.77, "depth": 0.09}, "unframed": {"height": 0.426, "width": 0.607}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  ABierstadt / 68 [AB in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 443182, "title": "Visions of Vesuvius", "description": "<i>Visions of Vesuvius</i>. Museum of Fine Arts, Boston, Boston, MA (organizer) (April 14-July 15, 1978).", "opening_date": "1978-04-14T05:00:00"}, {"id": 198256, "title": "The Last Days of Pompeii: Decadence, Apocalypse, Resurrection", "description": "<i>The Last Days of Pompeii: Decadence, Apocalypse, Resurrection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-July 7, 2013).", "opening_date": "2012-09-03T00:00:00"}], "legacy": [{"description": "Santa Barbara, Santa Barbara Museum of Art, A Retrospective Exhibition: Albert Bierstadt 1830-1902 (5 August-13 September 1964), cat. no. 45, illus. as Mount Aetna.", "opening_date": "1964-08-05T00:00:00"}, {"description": "Boston, Museum of Fine Arts, Visions of Vesuvius (15 April-16 July 1978), no cat. number, listed p. 15, not illustrated.", "opening_date": "1978-04-15T00:00:00"}, {"description": "Boston, Museum of Fine Arts, The Lure of Italy: American Artists and The Italian Experience, 1760-1914 (16 September-13 December 1992); traveled to Cleveland, The Cleveland Museum of Art (3 February-11 April 1993); to Houston, Museum of Fine Arts (23 May-8 August 1993), cat. no. 53, pp. 213, 229, 276-277, illus. p. 277.", "opening_date": "1992-09-16T00:00:00"}, {"description": "The Cleveland Museum of Art (09/ 12/2012 - 01/07/2013 Getty Villa Malibu, CA; 02/24/2013 - 07/07/2013 Cleveland Museum of Art); \"The Last Days of Pompeii: Decadence, Apocalypse, Resurrection\"", "opening_date": "2013-01-07T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting is a smaller version of a much larger canvas that is now lost.", "description": "For centuries, artists and tourists have been attracted to Mount Vesuvius, a volcano near Naples. While living in London in 1868, Albert Bierstadt heard that the volcano was active once again, and rushed immediately to Italy. It is not certain that he actually saw an eruption, although the resultant painting presents a convincing image of spewing lava and ash.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515700"], "internet_archive": ["https://archive.org/details/clevelandart-1949.541-mount-vesuvius-at-mi"]}, "citations": [], "url": "https://clevelandart.org/art/1949.541", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.541/1949.541_web.jpg", "width": "1263", "height": "889", "filesize": "853276", "filename": "1949.541_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.541/1949.541_print.jpg", "width": "3400", "height": "2394", "filesize": "5947518", "filename": "1949.541_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.541/1949.541_full.tif", "width": "4780", "height": "3366", "filesize": "48303364", "filename": "1949.541_full.tif"}}, "alternate_images": [], "creditline": "Gift of S. Livingstone Mather, Philip Richard Mather, Katherine Hoyt (Mather) Cross, Katherine Mather McLean and Constance Mather Bishop", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 127224, "creators": [{"id": 3011, "description": "Albert Bierstadt (American, born Prussia [now Germany], 1830\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1830", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1949-12-23T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:04.520000"}, {"id": 145107, "accession_number": "1970.285", "share_license_status": "CC0", "tombstone": "After the Bath (Large Version), 1891\u201392. Edgar Degas (French, 1834\u20131917). Transfer lithograph; image: 30.4 x 32.4 cm (11 15/16 x 12 3/4 in.); sheet: 40.3 x 46.8 cm (15 7/8 x 18 7/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Richard B. King for the fiftieth anniversary of The Print Club of Cleveland, 1970.285", "current_location": null, "title": "After the Bath (Large Version)", "creation_date": "1891\u201392", "creation_date_earliest": 1891, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "transfer lithograph", "support_materials": [{"description": "beige (1) heavy laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 30.4 x 32.4 cm (11 15/16 x 12 3/4 in.); Sheet: 40.3 x 46.8 cm (15 7/8 x 18 7/16 in.)", "dimensions": {"sheet": {"height": 0.403, "width": 0.468}, "image": {"height": 0.304, "width": 0.324}}, "state_of_the_work": "V/V", "edition_of_the_work": "Approximately 20, according to Reed & Shapiro", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301391, "title": "Year in Review: 1970", "description": "<i>Year in Review: 1970</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-March 7, 1971).", "opening_date": "1971-02-10T05:00:00"}, {"id": 302106, "title": "Japonisme: Japanese Influence on French Art, 1854 - 1910", "description": "<i>Japonisme: Japanese Influence on French Art, 1854 - 1910</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 9-August 31, 1975); Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (October 4-November 16, 1975); Walters Art Gallery, Baltimore, MD (December 10, 1975-January 26, 1976).", "opening_date": "1975-07-09T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"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": "Mr. and Mrs. Richard B. King, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1970", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1970-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "When Edgar Degas made this print, transfer lithography was a relatively new technique for artistic use.", "description": "Edgar Degas made many works depicting a woman stepping out of a bath as a maid waits with a large towel or robe. He revised this image throughout several prints over the course of two years, using transfer paper to vary its cropping and scale. The process of copying the image resulted in a distinctly grainy texture in tonal areas, such as the woman\u2019s back. Degas\u2019s technique was experimental and highly unusual, pushing the boundaries of lithography at the time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922980"], "internet_archive": ["https://archive.org/details/clevelandart-1970.285-after-the-bath-large"]}, "citations": [], "catalogue_raisonne": "Reed and Shapiro 66", "url": "https://clevelandart.org/art/1970.285", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1970.285/1970.285_web.jpg", "width": "975", "height": "893", "filesize": "752115", "filename": "1970.285_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1970.285/1970.285_print.jpg", "width": "3400", "height": "3113", "filesize": "9773754", "filename": "1970.285_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1970.285/1970.285_full.tif", "width": "4624", "height": "4234", "filesize": "58768424", "filename": "1970.285_full.tif"}}, "alternate_images": [{"date_created": "2006-05-18T14:31:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.285/1970.285_alt0_web.jpg", "width": "954", "height": "893", "filesize": "718293"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.285/1970.285_alt0_print.jpg", "width": "3400", "height": "3182", "filesize": "8644232"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1970.285/1970.285_alt0_full.tif", "width": "4250", "height": "3978", "filesize": "50751720"}}], "creditline": "Gift of Mr. and Mrs. Richard B. King for the fiftieth anniversary of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 145107, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1970-12-18T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891\u201392", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:15.756000"}, {"id": 146909, "accession_number": "1972.312", "share_license_status": "CC0", "tombstone": "Hermine Gallia, c. 1904. Gustav Klimt (Austrian, 1862\u20131918). Black chalk with graphite on light brown laid paper; sheet: 45.6 x 31.2 cm (17 15/16 x 12 5/16 in.). The Cleveland Museum of Art, Gift of Henry H. Hawley, 1972.312", "current_location": null, "title": "Hermine Gallia", "creation_date": "c. 1904", "creation_date_earliest": 1899, "creation_date_latest": 1909, "artists_tags": ["male"], "culture": ["Austria"], "technique": "black chalk with graphite on light brown laid paper", "support_materials": [{"description": "light brown modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - Austrian", "type": "Drawing", "measurements": "Sheet: 45.6 x 31.2 cm (17 15/16 x 12 5/16 in.)", "dimensions": {"sheet": {"height": 0.456, "width": 0.312}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in graphite: 9 ; VERSO, lower center, in graphite: A7558 [underlined] ; lower left, in graphite: H3", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 304508, "title": "German Drawings of the 18th, 19th, and 20th Centuries", "description": "<i>German Drawings of the 18th, 19th, and 20th Centuries</i>. The Cleveland Museum of Art (April 1-July 13, 1980).", "opening_date": "1980-04-01T05:00:00"}, {"id": 309859, "title": "Eastward from the Rhine: Romanticism to Abstraction, 1800-1925", "description": "<i>Eastward from the Rhine: Romanticism to Abstraction, 1800-1925</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 12-September 9, 1984).", "opening_date": "1984-06-12T04:00:00"}, {"id": 311433, "title": "Directions in Drawing: 1750-1988", "description": "<i>Directions in Drawing: 1750-1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 2-August 4, 1991).", "opening_date": "1991-04-02T05:00:00"}, {"id": 311557, "title": "The German Tradition", "description": "<i>The German Tradition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 27-June 27, 1993).", "opening_date": "1993-04-27T04:00:00"}], "legacy": []}, "provenance": [{"description": "(private dealer, Munich, sold to Mr. Henry H. Hawley)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": null}, {"description": "Mr. Henry H. Hawley [1934-2019], Chagrin Falls, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1972", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1972-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of about 40 drawings made by Gustav Klimt for his painted portrait of Hermine Gallia.", "description": "Gustav Klimt created this drawing in preparation for a painted portrait, now in the collection of the National Gallery, London. Both depict Hermine Gallia, n\u00e9e Hamburger, who belonged to a wealthy Jewish family in Vienna. Through vanguard circles in the city, she met the artist and commissioned a canvas of her own likeness. This sheet may have been drawn from life, given its loose and sketchlike facture, seemingly meant to quickly record Gallia's form on the elaborate white dress in which she posed.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925652"], "internet_archive": ["https://archive.org/details/clevelandart-1972.312-hermine-gallia"]}, "citations": [], "url": "https://clevelandart.org/art/1972.312", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.312/1972.312_web.jpg", "width": "627", "height": "893", "filesize": "85841", "filename": "1972.312_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.312/1972.312_print.jpg", "width": "2389", "height": "3400", "filesize": "1444267", "filename": "1972.312_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.312/1972.312_full.tif", "width": "3619", "height": "5150", "filesize": "55937572", "filename": "1972.312_full.tif"}}, "alternate_images": [], "creditline": "Gift of Henry H. Hawley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146909, "creators": [{"id": 12470, "description": "Gustav Klimt (Austrian, 1862\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1862", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-02-12T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "c. 1904", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:36.637000"}, {"id": 118604, "accession_number": "1939.63", "share_license_status": "CC0", "tombstone": "Study of a Reclining Nude, c. 1841. Isidore Pils (French, 1813/15\u20131875). Oil on fabric; unframed: 72.5 x 92 cm (28 9/16 x 36 1/4 in.). The Cleveland Museum of Art, Gift of Leonard C. Hanna Jr., 1939.63", "current_location": null, "title": "Study of a Reclining Nude", "creation_date": "c. 1841", "creation_date_earliest": 1836, "creation_date_latest": 1846, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 72.5 x 92 cm (28 9/16 x 36 1/4 in.)", "dimensions": {"unframed": {"height": 0.725, "width": 0.92}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 338512, "title": "Two Sides of the Medal: French Painting from G\u00e9r\u00f4me to Gauguin", "description": "<i>Two Sides of the Medal: French Painting from G\u00e9r\u00f4me to Gauguin</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (September 28-November 6, 1954).", "opening_date": "1954-09-28T05:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 520773, "title": "Man: Glory, Jest, and Riddle: A Survey of Human From Through the Ages", "description": "<i>Man: Glory, Jest, and Riddle: A Survey of Human From Through the Ages</i>. San Francisco Museum of Modern Art, San Francisco, CA (organizer) (November 10, 1964-January 3, 1965).", "opening_date": "1964-11-10T05:00:00"}, {"id": 515939, "title": "Art in the Making", "description": "<i>Art in the Making</i>. Colby College Museum of Art, Waterville, ME (organizer) (July 14-September 25, 1966).", "opening_date": "1966-07-14T04:00:00"}, {"id": 443185, "title": "French Nineteenth Century Oil Sketches: David to Degas", "description": "<i>French Nineteenth Century Oil Sketches: David to Degas</i>. Ackland Art Museum, University of North Carolina, Chapel Hill, NC, Chapel Hill, NC (organizer) (March 5-April 30, 1978).", "opening_date": "1978-03-05T05:00:00"}, {"id": 304414, "title": "Idea to Image: Preparatory Studies from the Renaissance to Impressionism", "description": "<i>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</i>. The Cleveland Museum of Art (organizer) (February 19-March 23, 1980).", "opening_date": "1980-02-19T05:00:00"}], "legacy": [{"description": "San Francisco, Palace of Fine Arts. Golden Gate International Exposition (1940), no. 255 (repr.) (as Thomas Couture).", "opening_date": "1940-01-01T00:00:00"}, {"description": "Hartford, Wadsworth Atheneum. The Nude in Art (1946), no. 14 (as Couture).", "opening_date": "1946-01-01T00:00:00"}, {"description": "New York, Wildenstein. Nude in Painting (1956), no. 22 (repr.) (as Couture).", "opening_date": "1956-01-01T00:00:00"}, {"description": "San Francisco, M. H. de Young Memorial Museum. Man, Glory, Jest, and Riddle: A Survey of the Human Form through the Ages (1964-65), no. 161 (as Couture).", "opening_date": "1964-01-01T00:00:00"}, {"description": "Waterville, Maine, Colby College Art Museum. Art in the Making (1966), 10 (as Couture).", "opening_date": "1966-01-01T00:00:00"}, {"description": "Chapel Hill, William Hayes Ackland Memorial Art Center, University of North Carolina. French Nineteenth Century Oil Sketches: David to Degas (1978), no. 16 (repr.) (as anonymous).", "opening_date": "1978-01-01T00:00:00"}]}, "provenance": [{"description": "M. Zamaron, Paris. Bought from him by Mrs. Cornelius Sullivan, New York, before 1938. Bought by Leonard C. Hanna Jr. as gift for CMA on 8 February 1939.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The languorous, sensuous pose of this woman is strongly reminiscent of Jean Auguste Dominique Ingres's popular paintings of odalisques, female slaves, and concubines in Turkish harems. Much of this canvas has been left thinly painted or entirely blank, suggesting that it was a figural study rather than a finished work of art. The French Academy in the 1800s viewed the depiction of the nude as the ultimate measure of an artist's skill. Because models changed poses frequently, students had to work quickly and without embellishment. Here the artist completed only those areas needed to emphasize the contours of the model's body.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514299"], "internet_archive": ["https://archive.org/details/clevelandart-1939.63-study-of-a-reclining"]}, "citations": [{"citation": "Francis, Henry. \"An Odalisque by Thomas Couture.\" <em>The Bulletin of the Cleveland Museum of Art </em>26, no. 8 (October 1939): 131-132", "page_number": "Reproduced: p. 130; Mentioned: p. 131-132", "url": "https://www.jstor.org/stable/25138034"}, {"citation": "Detroit Institute of Arts. <em>The Two Sides of the Medal; French Painting from Ge\u0301ro\u0302me to Gauguin</em>. 1954.", "page_number": "Referenced: cat. no. 21, p. 21, Reproduced: p.20", "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. 491", "url": "https://archive.org/details/CMAHandbook1958/page/n90"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1966/page/n193"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 169", "url": "https://archive.org/details/CMAHandbook1969/page/n193"}, {"citation": "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. 204", "url": "https://archive.org/details/CMAHandbook1978/page/n224"}, {"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</em>. Cleveland, Ohio: Cleveland Museum of Art, 1980.", "page_number": "Referenced: p. 76Reproduced: p. fig. 95, p. 76", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 488-491, Vol. II, no. 170", "url": ""}], "url": "https://clevelandart.org/art/1939.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1939.63/1939.63_web.jpg", "width": "900", "height": "710", "filesize": "187375", "filename": "1939.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1939.63/1939.63_print.jpg", "width": "3400", "height": "2682", "filesize": "3318715", "filename": "1939.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1939.63/1939.63_full.tif", "width": "7317", "height": "5771", "filesize": "126702452", "filename": "1939.63_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.63/1939.63_alt0_web.jpg", "width": "1130", "height": "893", "filesize": "799418"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.63/1939.63_alt0_print.jpg", "width": "1943", "height": "1536", "filesize": "2540428"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.63/1939.63_alt0_full.tif", "width": "1943", "height": "1536", "filesize": "8956596"}}, {"date_created": "2013-11-12T15:56:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.63/1939.63_alt1_web.jpg", "width": "900", "height": "714", "filesize": "199612"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.63/1939.63_alt1_print.jpg", "width": "3400", "height": "2699", "filesize": "3173395"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.63/1939.63_alt1_full.tif", "width": "7559", "height": "6000", "filesize": "136085236"}}], "creditline": "Gift of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118604, "creators": [{"id": 1635, "description": "Isidore Pils (French, 1813/15\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "In 1832, after an initial training with Guillaume Lethi\u00e8re (1760-1832), Pils entered the \u00c9cole des Beaux-Arts where he studied under Fran\u00e7ois-\u00c9douard Picot (1786-1868), with whom he became close friends. As winner of the Prix de Rome in 1838, with Saint Peter Healing a Lame Man at the Gate of the Temple, Pils went to the Acad\u00e9mie de France in Rome, then led by Ingres (q.v.), and stayed in Italy until 1844. Often in poor health, Pils nevertheless managed to travel around and study the artifacts from antiquity. But his works were generally harshly criticized until his return to France, where his first success came five years later with the patriotic Rouget de l'Isle Singing the Marseillaise at the Residence of the Mayor of Strasbourg (1849, Historical Museum, Strasbourg). Pils would often choose his subjects in order to treat the life of the poor and ordinary people, such as his Death of a Sister of Charity (Salon 1850-51, Mus\u00e9e d'Orsay, Paris). A favorite of the imperial regime, Pils followed the French army to Crimea in 1854-55 and recorded the military campaign of Napoleon III. His Battle of Alma, 20 December 1854 (1861, Mus\u00e9e du Ch\u00e2teau de Versailles) was highly praised, and in 1863 he left for Algeria to carry out a commission for the emperor. One year later Pils became professor at the \u00c9cole des Beaux-Arts, and he would receive several honors and awards. The artist was given commissions for decorations in the churches of Saint-Eustache (1854) and Sainte-Clotilde (1858) in Paris, and he painted murals at the Op\u00e9ra (1865-75). Pils also made several watercolors during the siege of Paris by the Prussians in 1871. Weakened by health problems, he last exhibited at the Salon of 1875, the year of his death.", "name_in_original_language": null, "birth_year": "1813", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-02-08T00:00:00", "sortable_date": 1836, "date_added_to_oa": null, "date_text": "c. 1841", "collapse_artists": false, "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": ["Odalisque"], "is_highlight": false, "updated_at": "2026-03-27 00:07:06.766000"}, {"id": 95625, "accession_number": "1916.1340", "share_license_status": "CC0", "tombstone": "Buddhist Vestment (Kesa) (\u82b1\u55b0\u9ce5\u6587\u8888\u88df), early 1900s. Japan, Meiji period (1868\u20131912). Silk with supplementary weft, brocaded; metal thread; overall: 119.4 x 205.7 cm (47 x 81 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1340", "current_location": null, "title": "Buddhist Vestment (Kesa)", "title_in_original_language": "\u82b1\u55b0\u9ce5\u6587\u8888\u88df", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1912, "artists_tags": [], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "silk with supplementary weft, brocaded; metal thread", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Garment", "measurements": "Overall: 119.4 x 205.7 cm (47 x 81 in.)", "dimensions": {"overall": {"height": 1.194, "width": 2.057}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 443393, "title": "Arts of Japan from the Cleveland Museum of Art", "description": "<i>Arts of Japan from the Cleveland Museum of Art</i>. Mansfield Art Center, Mansfield, OH (organizer) (March 25-April 22, 1979).", "opening_date": "1979-03-25T05:00:00"}, {"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 374890, "title": "Rinpa (\u7433\u6d3e)", "description": "<i>Rinpa (\u7433\u6d3e)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23-October 3, 2021).", "opening_date": "2021-04-23T04:00:00"}, {"id": 375338, "title": "Japanese Religious Art (Japanese art rotation)", "description": "<i>Japanese Religious Art (Japanese art rotation)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2021-April 3, 2022).", "opening_date": "2021-10-08T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (3/2/ 2011 - 8/21/2011); \"The Lure of Painted Poetry: Cross-cultural Text and Image in Korean and Japanese Art\" cat. 71", "opening_date": "2011-08-21T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This <em>kesa</em> depicts bird cages, but all the birds portrayed fly free.", "description": "<em>Kesa </em>are Buddhist monastic robes that originated in India. The robes are named after the brown or saffron dye originally used in their production. The primary motif on this seven-paneled kesa is a long-tailed bird with a flower in its mouth. This motif was imported from Persia (present-day Iran) through China during the Nara period (710\u2013794)and is interpreted as a positive symbol. The bird delivers happiness in its mouth.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79477492"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1340-buddhist-vestment-ke"]}, "citations": [{"citation": "Cleveland Museum of Art, and So\u0306n Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland: Cleveland Museum of Art, 2011.", "page_number": "Mentioned: P. 71; reproduced: P. 74, no. 71", "url": ""}], "url": "https://clevelandart.org/art/1916.1340", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1340/1916.1340_web.jpg", "width": "1263", "height": "736", "filesize": "939856", "filename": "1916.1340_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1340/1916.1340_print.jpg", "width": "3400", "height": "1980", "filesize": "6732544", "filename": "1916.1340_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1340/1916.1340_full.tif", "width": "4744", "height": "2763", "filesize": "39357588", "filename": "1916.1340_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95625, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Buddhist Priest Robe (Kesa)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:58.222000"}, {"id": 120878, "accession_number": "1941.598", "share_license_status": "CC0", "tombstone": "Decanter Stand, 1814. Paul Storr (British, 1771\u20131844), Rundell, Bridge and Rundell (British, 1797\u20131834). Silver gilt; diameter: 8.3 x 13.7 cm (3 1/4 x 5 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Otto Miller, 1941.598", "current_location": null, "title": "Decanter Stand", "creation_date": "1814", "creation_date_earliest": 1814, "creation_date_latest": 1814, "artists_tags": ["male"], "culture": ["England, London, 19th century"], "technique": "silver gilt", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Diameter: 8.3 x 13.7 cm (3 1/4 x 5 3/8 in.)", "dimensions": {"diameter": {"height": 0.083, "width": 0.137}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Engraved on rim of base: \"RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAE REGENTIS BRITANNIAS.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 701687, "title": "Exhibition of French, English, and American Silver in Honor of Russell A. Plimpton", "description": "<i>Exhibition of French, English, and American Silver in Honor of Russell A. Plimpton</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (June 10-July 15, 1956).", "opening_date": "1956-06-10T04:00:00"}, {"id": 445505, "title": "Paul Storr: Silver in American Collections", "description": "<i>Paul Storr: Silver in American Collections</i>. Indianapolis Museum of Art, Indianapolis, IN (organizer) (February 7-March 12, 1972); Dayton Art Institute, Dayton, OH (March 24-April 30, 1972).", "opening_date": "1972-02-07T05:00:00"}, {"id": 311637, "title": "All That Glitters: Great Silver Vessels in Cleveland's Collection", "description": "<i>All That Glitters: Great Silver Vessels in Cleveland's Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).", "opening_date": "1994-11-23T05:00:00"}, {"id": 683420, "title": "In Vino Veritas (In Wine, Truth)", "description": "<i>In Vino Veritas (In Wine, Truth)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7, 2025-January 11, 2026).", "opening_date": "2025-09-07T04:00:00"}], "legacy": [{"description": "No legacy exhibitions.", "opening_date": null}]}, "provenance": [{"description": "Mrs. Otto Miller [Elizabeth Clark Tyler, 1875-1951], Cleveland Heights, OH", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1941-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bacchanal motifs of grapes and consumption echo this object\u2019s function as a stand for a wine decanter.", "description": "Decanter stands served as coasters for glass wine bottles in order to protect the extremely expensive and fragile linen tablecloths they sat upon. This example contains depictions of large grape vines and youthful figures that evoke the Roman god of wine, Bacchus (or Dionysus in Greek mythology). One of the young boys grasps an empty drinking vessel while the other leans against a panther, the frequent companion of Bacchus.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780811"], "internet_archive": ["https://archive.org/details/clevelandart-1941.598-decanter-stand"]}, "citations": [{"citation": "Foote, Helen S. \"Paul De Lamerie and Paul Storr, English Silversmiths.\" <em>The Bulletin of the Cleveland Museum of Art </em>29, no. 8 (October 1942): 121-23.", "page_number": "Mentioned: pp. 122-3; reproduced: p. 120", "url": "www.jstor.org/stable/25141010"}], "url": "https://clevelandart.org/art/1941.598", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.598/1941.598_web.jpg", "width": "1156", "height": "893", "filesize": "560921", "filename": "1941.598_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.598/1941.598_print.jpg", "width": "3400", "height": "2627", "filesize": "5236006", "filename": "1941.598_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.598/1941.598_full.tif", "width": "4734", "height": "3658", "filesize": "51983188", "filename": "1941.598_full.tif"}}, "alternate_images": [{"date_created": "2008-05-07T18:12:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.598/1941.598_alt0_web.jpg", "width": "1156", "height": "893", "filesize": "771601"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.598/1941.598_alt0_print.jpg", "width": "3400", "height": "2627", "filesize": "5705686"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.598/1941.598_alt0_full.tif", "width": "4892", "height": "3780", "filesize": "55510068"}}], "creditline": "Gift of Mrs. Otto Miller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120878, "creators": [{"id": 8523, "description": "Paul Storr (British, 1771\u20131844)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1771", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 390259, "description": "Rundell, Bridge and Rundell (British, 1797\u20131834)", "extent": null, "qualifier": null, "role": "retailer", "biography": "Philip Rundell (1746\u20131827) and John Bridge (bapt. 1755\u20131834) of Rundell &amp; Bridge received the royal warrant in 1797. The firm was responsible for the Crown Jewels used at the coronations of George IV (1762\u20131830), William IV (1765\u20131837) and Queen Victoria (1819\u20131901), as well as for a wide range of banqueting plate and jewelry now in the Royal Collection. Although Philip Rundell and John Bridge were both named in the royal warrant of 1797, it was Bridge who acted as Royal Goldsmith until his death in 1834. His nephew John Bridge succeeded him and served in this position until the firm went into dissolution in 1843. From 1804, the firm was known as Rundell, Bridge and Rundell, and from 1834, Rundell, Bridge &amp; Co.", "name_in_original_language": null, "birth_year": "1797", "death_year": "1834", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1941-12-29T00:00:00", "sortable_date": 1814, "date_added_to_oa": null, "date_text": "1814", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:06.175000"}, {"id": 129172, "accession_number": "1951.65.7", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: Interior with Pink Wallpaper II, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 39.5 x 30.8 cm (15 9/16 x 12 1/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.7", "current_location": null, "title": "Interior with Pink Wallpaper II", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 39.5 x 30.8 cm (15 9/16 x 12 1/8 in.)", "dimensions": {"sheet": {"height": 0.395, "width": 0.308}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302022, "title": "Decorative Style", "description": "<i>Decorative Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 8, 1961-January 7, 1962).", "opening_date": "1961-09-08T04:00:00"}, {"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.71"], "did_you_know": "This soft, pink interior scene likely depicts one of several Parisian apartments Vuillard shared with his mother and older sister.", "description": "The optical beauty of the patterning and luscious color of <em>Interior with Wallpaper I, II, </em>and<em> III</em> distracts from their ambivalent undercurrents. Across the three sheets, Vuillard creates an airless enclosure in which the wallpaper replicates itself, metastasizing across the surface and threatening the figures partially glimpsed through interior doors. Hidden figures recur in Vuillard\u2019s work, adding an element of the uncanny to familiar settings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909906"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.7-interior-with-pink-w"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 52; Reproduced: P. 82, no. 30", "url": ""}], "catalogue_raisonne": "Roger-Marx 37", "url": "https://clevelandart.org/art/1951.65.7", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.7/1951.65.7_web.jpg", "width": "713", "height": "893", "filesize": "576310", "filename": "1951.65.7_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.7/1951.65.7_print.jpg", "width": "2716", "height": "3400", "filesize": "6312300", "filename": "1951.65.7_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.7/1951.65.7_full.tif", "width": "3708", "height": "4641", "filesize": "51659840", "filename": "1951.65.7_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129172, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscapes and Interiors:  Interior with Rose Tapestry No. 2"], "is_highlight": false, "updated_at": "2026-03-27 00:01:27.738000"}, {"id": 154754, "accession_number": "1989.334", "share_license_status": "CC0", "tombstone": "Sakhi persuades Radha to meet Krishna, from a Gita Govinda (Song of the Cowherd) of Jayadeva, c. 1820\u201325. Attributed to Purkhu (Indian, 1750\u20131860). Gum tempera and gold on paper; overall: 24.1 x 32.1 cm (9 1/2 x 12 5/8 in.); with borders: 25.4 x 30.3 cm (10 x 11 15/16 in.). The Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin, 1989.334", "current_location": null, "title": "Sakhi persuades Radha to meet Krishna, from a Gita Govinda (Song of the Cowherd) of Jayadeva", "creation_date": "c. 1820\u201325", "creation_date_earliest": 1815, "creation_date_latest": 1830, "artists_tags": ["male"], "culture": ["Northern India, Pahari kingdoms"], "technique": "gum tempera and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 24.1 x 32.1 cm (9 1/2 x 12 5/8 in.); with borders: 25.4 x 30.3 cm (10 x 11 15/16 in.)", "dimensions": {"overall": {"height": 0.241, "width": 0.321}, "with borders": {"height": 0.254, "width": 0.303}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "translation:\r\n\"Yea Lady!  in the self-same spot he waits\r\nWhere with thy kiss thou taught'st him utmost love,\r\nAnd drew him, as none else draws, with thy look;\r\nAnd all day long, and all night long, his cry\r\nIs 'Radha, Radha' like a spell said o'er\r\nAnd in his heart there lives no wish nor hope\r\nSave only this, to slake his spirit's thirst\r\nFor Radha's love with Radha's lips; and find\r\nPeace on the immortal beauty of thy breast.\r\n(What follows is the Music Gurjjari and the Mode Ekatali.)\r\nMistress, sweet and bright and holy!\r\nMeet him in that place; \r\nChange his cheerless melancholy\r\nInto joy and grace;\r\nIf thou hast forgiven, vex not:\r\nIf thou lovest, go,\r\nWatching ever by the river, \r\nKrishna listens low:\r\n\r\nListens low, and on his reed there\r\nSoftly sounds thy name,\r\nMaking even mute things plead there\r\nFor his hope: 'tis shame\r\nThat, while winds are welcome to him,\r\nIf from thee they blow,\r\nMournful ever by the river\r\nKrishna waits thee so!\r\n\r\nWhen a bird's wing stirs the roses,\r\nWhen a leaf falls dead,\r\nTwenty times he recomposes\r\nThe flower-seat he has spread:\r\nTwenty-times, with anxious glances\r\nSeeking thee in vain,\r\nSighing ever by the river,\r\nKrishna droops again.\r\n\r\nLoosen from thy foot the bangle,\r\nLest its golden bell,\r\nWith a tiny tattling jangle,\r\nAny false tale tell:\r\nIf though fearest the moonlight\r\nWill thy glad face know,\r\nDraw those dark braids lower, Lady!\r\nBut to Krishna go.\r\n\r\nSwift and still as lightning's splendour\r\nLet thy beauty come.\r\nSudden, gracious, dazzling, tender,\r\nTo his arms---its home.\r\n\r\nSwift as Indra's yellow lightning,\r\nShining through the night,\r\nGlide to Krishna's lonely bosom,\r\nTake him love and light.\r\n\r\nGrant, at last, love's utmost measure,\r\nGiving the whole:\r\nKeep back nothing of the treasure \r\nOf thy priceless soul:\r\nHold with both hands out unto him\r\nThy chalice, let him drain\r\nThe nectar of its dearest draught, \r\nTill not a wish remain.\r\n\r\nOnly go---the stars are setting, \r\nAnd thy Krishna grieves;\r\nDoubt and anger quite forgetting,\r\nHasten through the leaves:\r\nWherefore didst thou lead him heav'nward\r\nBut for this thing's sake?\r\nComfort him with pity, Radha!\r\nOr his heart must break.\r\n\r\nBut while Jayadeva writes\r\nThis rare tale of deep delights---\r\nJayadev, whose heart is given\r\nUnto Jari, Lord in Heaven---\r\nSee that ye too, as ye read,\r\nWith a glad and humble heed,\r\nBend your brows before His face,\r\nThat he may have bliss and grace.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "poorva yatra sama tvaya rati patera sadita siddhayas tasminneva nikunja manmatha mahatirthe\npunar madhava. dhyayas tvam nisha japanna pita vaivalapa mantra vali. bhuyas tvat kucha\nkumbha nirbhara parirambhamta vanchati(1). gurjari rage. rati sukha sare gatambhisare madana\nmanohara venam. na kuru nitambini gamana vilambanam anusara ta hridayesham (1). dhira\nsamire yamuna tire vasati vane vanamali. gopi pina payodhara mardana chanchal kara yuga sali.\nnam sametam krita sanketam vadaya tem duveyum. bahumanu te tanu te tanu sangata pavana\nchalitamapi re end (2). patati patatre vicalati patre shankita-bhavad-upayanam rachayati shayanam\nsachakita-nayanam pashyati tava panthanam (3). mukharam adhira tyaja manjiram ripum iva keli\nsulolam chala sakhi kunja satimira-punja shilaya nila nicholam (4). urasi murarer upahita-hare\nghana iva tarala balake ta\u00f2id iva p\u00e9te rati viparete rajasi sukata-vipake (5). vigalita-vasanam\nparihata-rasana ghauaya jaghanam apidhanam kisalaya-shayane pankaja-nayane nidhim iva\nharna-nidhanam (6). harir abhimane rajanir idanem iyam api yati viramam kuru mama vachana\nsatvara-racana puraya madhuripu-kamam (7). shri-jayadeve kata-hari-seve bhaati\nparamaramaeyam pramuditahadaya harim atisadaya namata sukata kamaneyam (8)", "inscription_translation": "Sakhi to Radha \u2013 \u201cIn Cupid\u2019s private love garden, the most sacred place, where Madhava\nperfected his love-making skills with you, he contemplates you constantly, murmuring the mantras\nof his previous romantic conversations with you, yearning to again taste the nectar of liberation that\nflows in the tight embrace of your ample breasts. O handsome-hipped girl! The beloved of your\nheart, also known as the god of love, awaits you in the meeting place, perfect for savouring amour.\nDo not delay. Go at once and meet him. Whose hands are always restless to press the breasts of\nGopis is waiting in a forest grove on the bank of the Yamuna where the gentle Malayan breeze\nwafts. He is softly playing His flute, weaving your name into the melody. When the specks of dust\nthat have touched Your body are carried to Him on the breeze, He prizes his good fortune. Hearing\nthe slightest sound \u2013 a bird landing on a tree, a fluttering leaf \u2013 he imagines you are coming. He\njoyfully prepares the flower bed, and anxiously watches the path for your arrival. Sakhi! Remove\nyour ankle-bells, those enemies that betray your amorous play with their loud chatter. Don this dark\ncloak and hasten to that dense, dark grove. Soon you will reap Your reward from pious deeds. You\nwill dominate in the play of love as your pearl necklace, looking like a beautiful flock of cranes\nflitting across the cloudy sky, falls on Murari\u2019s dark chest. You will shine like a streak of lightning\nupon the dark raincloud of His torso. O blue lotus-eyed one, shed Your silken cloth and untie Your\nwaist-bells . Place the treasured jewel of Your thighs on the bed of fresh, tender leaves. This will\ngive Him great delight. Hari is being stubborn. The night is just about to end, so accept my advice.\nGo at once without further delay, and fulfil the desires of the enemy of Madhu. O gentle saints,\nreciting this enchanting poetry penned by Sri Hari\u2019s servant Jayadeva, bow down to Him who is\nmost charming, merciful and blissful-hearted.\u201d", "inscription_remark": "Devanagari script", "sortorder": null}, {"inscription": "19", "inscription_translation": null, "inscription_remark": "Number 19 is mentioned on the top of the verso, suggesting that the painting is Folio no. 19 from the Lambagraon set.", "sortorder": null}], "exhibitions": {"current": [{"id": 310300, "title": "The Severance and Greta Millikin Collection", "description": "<i>The Severance and Greta Millikin Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 5-September 2, 1990).", "opening_date": "1990-07-05T04:00:00"}, {"id": 379162, "title": "Life and Exploits of Krishna in Indian Paintings", "description": "<i>Life and Exploits of Krishna in Indian Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2021-February 6, 2022).", "opening_date": "2021-09-01T04:00:00"}], "legacy": [{"description": "<em>Indian Miniature Rotation (Gallery 115)</em>. The Cleveland Museum of Art, Cleveland, OH (August 13, 2003-February 18, 2004).", "opening_date": "2003-08-13T00:00:00"}, {"description": "<em>Indian Miniature Rotation (Gallery 115)</em>. The Cleveland Museum of Art, Cleveland, OH (August 18, 2004-May 23, 2005).", "opening_date": "2004-08-18T00:00:00"}, {"description": "<em>ArtLens Exhibition</em>. The Cleveland Museum of Art, Cleveland, OH (June 5-November 30, 2018).", "opening_date": "2018-06-05T00:00:00"}]}, "provenance": [{"description": "Raja of Lambagraon", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Mr. B. R. Sharma, New Delhi, India, sold to Severance and Greta Millikin)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Severance A. [1895\u20131985] and Greta [Marguerite Steckerl] Millikin [1903\u20131989], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131989", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1989\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "According to the text, Krishna softly plays his flute and weaves his beloved Radha's name into the melody.", "description": "While all the cowherd girls were in love with Krishna, he had a favorite according to texts of the 1200s and later. Her name was Radha, and she and Krishna would meet for secret trysts in the forest, facilitated by her <em>sakhi</em>, or confidante.<br><br> Krishna is shown twice in this painting. At the right he is in the process of making a bed of leaves for their upcoming encounter, and in the middle, he spies on Radha, wearing orange and gold. The sakhi is encouraging Radha to go and meet Krishna, since he is pining for her.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476369"], "internet_archive": ["https://archive.org/details/clevelandart-1989.334-sakhi-persuades-radh"]}, "citations": [{"citation": "<em>Catalogue of the Severance and Greta Millikin Collection</em>. Cleveland, OH: Cleveland Museum of Art, 1990.", "page_number": "cat. no. 156", "url": ""}], "url": "https://clevelandart.org/art/1989.334", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1989.334/1989.334_web.jpg", "width": "900", "height": "708", "filesize": "326445", "filename": "1989.334_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1989.334/1989.334_print.jpg", "width": "3400", "height": "2675", "filesize": "3386134", "filename": "1989.334_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1989.334/1989.334_full.tif", "width": "7182", "height": "5651", "filesize": "121791488", "filename": "1989.334_full.tif"}}, "alternate_images": [{"date_created": "2014-03-26T14:43:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.334/1989.334_alt0_web.jpg", "width": "900", "height": "712", "filesize": "275787"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.334/1989.334_alt0_print.jpg", "width": "3400", "height": "2690", "filesize": "3057249"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.334/1989.334_alt0_full.tif", "width": "7437", "height": "5884", "filesize": "131310432"}}], "creditline": "Bequest of Mrs. Severance A. Millikin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154754, "creators": [{"id": 438723, "description": "Purkhu (Indian, 1750\u20131860)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": "Indian painter, active ca. 1790-1820", "name_in_original_language": null, "birth_year": "1750", "death_year": "1860", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1989-12-04T00:00:00", "sortable_date": 1815, "date_added_to_oa": null, "date_text": "c. 1820\u201325", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Krishna Waiting for Radha, page from the Gita Govinda of Jayadeva series", "Sakhi Persuades Radha to Meet Krishna, from the \"Lambagraon\" Gita Govinda (Song of the Cowherd) of Jayadeva"], "is_highlight": false, "updated_at": "2026-03-27 00:01:25.898000"}, {"id": 156167, "accession_number": "1991.85", "share_license_status": "CC0", "tombstone": "Group of Trees, 1858. Jean Baptiste Camille Corot (French, 1796\u20131875). Clich\u00e9-verre; sheet: 15.5 x 22.9 cm (6 1/8 x 9 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of the Broh-Kahns, 1991.85", "current_location": null, "title": "Group of Trees", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "clich\u00e9-verre", "support_materials": [{"description": "cream (3) wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Clich\u00e9 verre", "type": "Print", "measurements": "Sheet: 15.5 x 22.9 cm (6 1/8 x 9 in.)", "dimensions": {"sheet": {"height": 0.155, "width": 0.229}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\".  No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Jean-Baptiste-Camille Corot introduced the <em>clich\u00e9-verre </em>technique to other artists working in an artists' colony at the forest of Fontainebleau, outside Paris.", "description": "The purest expression of the pastoral in French landscape in the mid-19th century may be found in the work of Corot. In the <em>clich\u00e9-verre</em> prints that he created between 1854 and 1874, Corot took advantage of the spontaneity of this simple process. Drawing directly on a glass plate coated with collodion, and then printing it like a photographic negative, Corot developed a loose, free style of draftsmanship that was unparalleled in his painting. Prints such as these were made purely for his own pleasure and were not intended for sale. Graceful, fluid lines flow from tree to tree and from tree to land, blending into each other without interruption, suggesting a harmony uniting all of nature.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79945252"], "internet_archive": ["https://archive.org/details/clevelandart-1991.85-group-of-trees"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 71", "url": "http://www.jstor.org/stable/25161388"}], "catalogue_raisonne": "Delteil 71", "url": "https://clevelandart.org/art/1991.85", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.85/1991.85_web.jpg", "width": "1263", "height": "867", "filesize": "914542", "filename": "1991.85_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.85/1991.85_print.jpg", "width": "3400", "height": "2335", "filesize": "6063127", "filename": "1991.85_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.85/1991.85_full.tif", "width": "5000", "height": "3434", "filesize": "51540400", "filename": "1991.85_full.tif"}}, "alternate_images": [{"date_created": "2006-01-27T14:54:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.85/1991.85_alt0_web.jpg", "width": "1263", "height": "883", "filesize": "913224"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.85/1991.85_alt0_print.jpg", "width": "3400", "height": "2378", "filesize": "6153095"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.85/1991.85_alt0_full.tif", "width": "5857", "height": "4096", "filesize": "72001072"}}], "creditline": "Seventy-fifth anniversary gift of the Broh-Kahns", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156167, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-06-24T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:02.648000"}, {"id": 156311, "accession_number": "1992.143", "share_license_status": "CC0", "tombstone": "Dog Walker, early 1830s. British India, Lucknow. Gum tempera and ink on paper; overall: 22.2 x 15.9 cm (8 3/4 x 6 1/4 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of William E. Ward in memory of his wife, Evelyn Svec Ward, 1992.143", "current_location": null, "title": "Dog Walker", "creation_date": "early 1830s", "creation_date_earliest": 1830, "creation_date_latest": 1835, "artists_tags": [], "culture": ["British India, Lucknow"], "technique": "gum tempera and ink on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 22.2 x 15.9 cm (8 3/4 x 6 1/4 in.)", "dimensions": {"overall": {"height": 0.222, "width": 0.159}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 299790, "title": "Indian Gallery 242b Rotation \u2013 November 2017-April 2018", "description": "<i>Indian Gallery 242b Rotation \u2013 November 2017-April 2018</i>. The Cleveland Museum of Art (organizer) (November 10, 2017-April 16, 2018).", "opening_date": "2017-11-10T05:00:00"}, {"id": 536104, "title": "Raja Deen Dayal: The King of Indian Photographers", "description": "<i>Raja Deen Dayal: The King of Indian Photographers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23, 2023-February 4, 2024).", "opening_date": "2023-04-23T04:00:00"}], "legacy": [{"description": "<em>Indian Miniature Rotation (Gallery 115)</em>. The Cleveland Museum of Art, Cleveland, OH (February 4-August 5, 2003).", "opening_date": "2003-02-04T00:00:00"}, {"description": "<em>Indian Miniature Rotation (Gallery 115)</em>. The Cleveland Museum of Art, Cleveland, OH (February 20-August 18, 2004).", "opening_date": "2004-02-20T00:00:00"}]}, "provenance": [{"description": "William E. Ward [1922\u20132004], Solon, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131992", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1992\u2013", "sortorder": 2}], "find_spot": null, "related_works": [{"id": 156310, "description": "Man Dyeing Cloth, early 1830s. India, Company School, Lucknow, 19th century. Gum tempera and ink on paper; overall: 22.2 x 15.9 cm (8 3/4 x 6 1/4 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of William E. Ward in memory of his wife, Evelyn Svec Ward, 1992.142", "relationship": null}], "former_accession_numbers": [], "did_you_know": "William Ward worked as an exhibition designer at the Cleveland Museum of Art.", "description": "Made for a set that would have been sold to a British East India Company affiliate, this painting by an Indian artist depicts an Indian servant attempting to comply with the British convention of walking dogs on a leash. He seems resigned to accommodating British wishes, but without a natural understanding of how to do so properly. Similarly, the artist creates a cursory landscape setting and awkward shadows under the figures to accord with the preferences of British collectors for spatial depth and realism, but these were not elements of traditional Indian painting, and they appear as half-hearted and unsuccessful as the dog walk.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476804"], "internet_archive": ["https://archive.org/details/clevelandart-1992.143-dog-walker"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 78", "url": "http://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1992.143", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.143/1992.143_web.jpg", "width": "636", "height": "900", "filesize": "186183", "filename": "1992.143_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.143/1992.143_print.jpg", "width": "2402", "height": "3400", "filesize": "2119514", "filename": "1992.143_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.143/1992.143_full.tif", "width": "5182", "height": "7335", "filesize": "114061148", "filename": "1992.143_full.tif"}}, "alternate_images": [], "creditline": "Seventy-fifth anniversary gift of William E. Ward in memory of his wife, Evelyn Svec Ward", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156311, "creators": [], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "early 1830s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:25.788000"}, {"id": 147523, "accession_number": "1973.33", "share_license_status": "CC0", "tombstone": "Count Demetrius de Palatiano in Suliot Costume, not dated. Imitator of Eug\u00e8ne Delacroix (French, 1798\u20131863). Oil on fabric; unframed: 40.7 x 33.2 cm (16 x 13 1/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1973.33", "current_location": null, "title": "Count Demetrius de Palatiano in Suliot Costume", "creation_date": "not dated", "creation_date_earliest": 1800, "creation_date_latest": 1863, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 40.7 x 33.2 cm (16 x 13 1/16 in.)", "dimensions": {"unframed": {"height": 0.407, "width": 0.332}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}], "legacy": [{"description": "Paris, \u00c9cole Nationale des Beaux-Arts. Exposition Eug\u00e8ne Delacroix au profit de la souscription destin\u00e9e a \u00e9lever \u00e0 Paris un monument \u00e0 sa m\u00e9moire (1885), no. 31, Le comte Palatiano, en costume de Palikare, 41 x 33 cm, Salon de 1827, Appartient \u00e0 MM. Boussod, Valadon et Cie.", "opening_date": null}, {"description": "Paris, Galerie Georges Petit. Exposition de chefs-d'oeuvres de l'\u00e9cole fran\u00e7aise, vingt peintres du XIX e si\u00e8cle (1910), no. 71.", "opening_date": "1910-01-01T00:00:00"}, {"description": "Paris, 18 Rue de la Ville-l'\u00c9v\u00eaque. Cent ans de peinture fran\u00e7aise; exposition au profit du Mus\u00e9e des Beaux-Arts de Strasbourg (March-April 1922), no. 64, Portrait du comte Palatiano, appartient au Comte Pastr\u00e9.", "opening_date": "1922-03-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Louvre. Centenaire du Romantisme-Exposition E. Delacroix (1930), 1: no. 27; 2: no. 27 (provenance of another painting).", "opening_date": "1930-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e du Louvre. Centenaire d'Eug\u00e8ne Delacroix 1798-1863 (1963), no. 77, lent by Mme D. David-Weill.", "opening_date": "1963-01-01T00:00:00"}, {"description": "Bern, Kunstmuseum. Eug\u00e8ne Delacroix (1963-64), no. 17 (same provenance as Louvre 1930).", "opening_date": "1930-01-01T00:00:00"}, {"description": "Paris, Mus\u00e9e Jacquemart-Andr\u00e9. Bonington, Un romantique anglais \u00e0 Paris (1966), no. 102 (same provenance as Louvre 1930).", "opening_date": "1966-01-01T00:00:00"}, {"description": "Paris, Galerie Schmit. Les impressionnistes et leurs pr\u00e9curseurs (1972), no. 15 (repr.) (same provenance as Louvre 1930)", "opening_date": "1972-01-01T00:00:00"}]}, "provenance": [{"description": "Probably Paul de Laage, sold to Goupil & Cie.", "citations": [], "footnotes": ["<div><!--block-->At the Salon of 1827 Delacroix presented a painting titled \u201cPortrait de M. le comte de P[alatiano] en costume souliote,\u201d a Greek aristocrat whom the artist may have met in Paris in late 1825 or early 1826, when the Count was on his way to London.&nbsp; In his 1885 catalogue of Delacroix\u2019s oeuvre, Alfred Robaut used an engraving by Fr\u00e9d\u00e9ric Villot, a student and friend of Delacroix, to illustrate the artist\u2019s portrait of the Count of Palatiano.&nbsp; Executed in 1833, Villot\u2019s engraving can be assumed to be an accurate representation of the Salon portrait.&nbsp; The background in the engraving more closely matches the simple background found in the Cleveland painting than it does the more detailed background in another version of the painting, known to be an autograph work, currently in the National Gallery of Prague.&nbsp; For many years, it was supposed that the painting now in Cleveland was the Salon picture. &nbsp; But after years of analysis and debate, it has been concluded, based on the painting\u2019s formal characteristics as well as its provenance, that the Cleveland picture is one of numerous copies after a lost original\u2014possibly the Salon painting.&nbsp; According to Robaut, the painting\u2019s early provenance included, Villot, Heymann, Verdier, and Petit, but he may have partially confused its history with that of yet another portrait of Palatiano attributed to Delacroix, this one in a New York private collection.&nbsp; The Cleveland picture's whereabouts can be secured by January 26, 1881, when it was purchased from \u201cde Laage\u201d by Goupil &amp; Co.&nbsp; De Laage is likely Paul de Laage, a prodigious collector of works by Delacroix who appears frequently in connection with works by Delacroix in the Goupil stock books.&nbsp;</div>"], "date": "Until 1881", "sortorder": 1}, {"description": "(Goupil & Cie, Paris)", "citations": [], "footnotes": ["<div><!--block-->Goupil's purchase the of the painting from de Laage is confirmed by the presence on the painting\u2019s stretcher of the monogram and number \u201cG&amp;C 15510,\u201d a stock number Goupil would later assign the painting, and which is cross-referenced in the stock books with its originally assigned number, 15099. &nbsp; The Goupil ledger lists a \u201cFigure turque\u201d accompanied by stock no. 15099 (<em>Goupil Book 10</em>, Stock No. 15099, Page 146, Row 15, http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol10-146.jpg, Dealer Stock Books, Getty Research Institute), purchased on January 26, 1881.&nbsp; Then, just one week later, the ledger shows a sale of \u201cFigure turque\u201d to Comte Pedro de Daupias for ff 6,700.&nbsp; One week after that, on February 7, Daupias sold the painting back to Goupil, where it now was assigned stock no. 15136, and on that same day, \u201cHattat\u201d bought it for ff 7,500 (<em>Goupil Book 10</em>, Stock No. 15136, Page 149, Row 7, http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol10-149.jpg).&nbsp; Just one day later, on February 8, Hattat sold the painting back to Goupil for ff 4,200, and it was given stock no. 15138 (<em>Goupil Book 10</em>, Stock No. 15138, Page 149, Row 9, http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol10-149.jpg).&nbsp; On April 4, 1881, Goupil sold the painting for ff 7,500 to Goldschmidt &amp; Co. of Frankfurt, who sold it back to Goupil on June 22 for ff 2,430, and it was assigned stock no. 15510, the number inscribed on the stretcher.&nbsp; Six years later, probably within days of the Goupil liquidation sale on May 35, 1887, it was offered for sale and failed to sell &nbsp; (<em>Goupil Book 10</em>, Stock No. 15510, Page 174, Row 6, http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol10-174.jpg); it was likely bought in by Drouot commissaire-priseur Escribe, who gave ff 4,200 to Goupil for the painting according to the stock book. The painting finally sold at the Goupil liquidation sale to dealer Hector Brame for ff 2,550 (<em>Goupil Book 11</em>, Stock No. 15510, Page 33, Row 14,&nbsp; http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol11-033.jpg).&nbsp; Lee Johnson, author of the Delacroix catalogue raisonn\u00e9, argues that all of this back and forth indicates that even in the 1880s, the painting\u2019s attribution was in doubt.&nbsp; He says that Goupil, too, knew it was not an autograph work, titling it \u201cFigure turque\u201d so as to distance it from Delacroix\u2019s portrait of Palatiano.&nbsp; Former CMA curator William S. Talbot suspected, however, that the Goupil ledger entries do not record actual sales, as it seems unlikely that the picture would have been bought and then returned at such brief intervals, even if its attribution was questioned, but rather indicate consignments to dealers.&nbsp; Still, one must wonder whether the picture would have been assigned a new stock number after each consignment; new stock numbers are more typically given if a painting enters the same dealer\u2019s possession at different points in time.&nbsp; While it may be debatable whether dealer sales do or should impact attribution, it seems clear from the numerous transactions within less than a year and the six-year period that followed in which it remained with the Goupil until it was put up for auction, that the painting\u2019s authorship was questioned, if not doubted. &nbsp; Other attributions suggested by scholars have included Alexandre-Marie Colin, Richard&nbsp; Parkes Bonington, Adolphe Mouilleron, and the engraver Villot.&nbsp;</div>"], "date": "1881-1887", "sortorder": 2}, {"description": "(Goupil & Cie sale, H\u00f4tel Drouot, May 25-27, 1887 (no. 43), sold to Hector Brame)", "citations": [], "footnotes": null, "date": "1887", "sortorder": 3}, {"description": "(Hector Brame, Paris)", "citations": [], "footnotes": ["<div><!--block-->The record books of Brame &amp; Lorenceau do not cover this period, and so the present-day gallery was unable to confirm the buyer and date of sale of this painting.&nbsp; &nbsp;</div>"], "date": "1887-", "sortorder": 4}, {"description": "Paul-Arthur Ch\u00e9ramy [1840-1912], Paris", "citations": [], "footnotes": null, "date": "Until 1908", "sortorder": 5}, {"description": "(Ch\u00e9ramy sale, Galerie Georges Petit, Paris, May 5-7, 1908 (no. 159), probably sold to Schoeller or Haro on behalf of Comte Andr\u00e9 Pastr\u00e9", "citations": [], "footnotes": ["<div><!--block-->According to the Johnson catalogue raisonn\u00e9, the Dieterle Family records at the Getty Research Institute, which include records from Galerie Georges Petit, say that dealer Andr\u00e9 Schoeller purchased the painting at the Ch\u00e9ramy sale on behalf of Pastr\u00e9.&nbsp; However, at least one annotated copy of the sale catalogue gives the buyer as \u201cHaro\u201d (and a purchase price of ff 18,100),&nbsp; most likely referring to Henri Haro, son of \u00c9tienne-Fran\u00e7ois Haro; both were dealers and collectors.&nbsp; While the Dieterle records are perhaps more likely to be accurate than an annotation, it is also possible that Haro, not Schoeller, was the agent who made the purchase on behalf of Pastr\u00e9. &nbsp;</div>"], "date": "1908", "sortorder": 6}, {"description": "Comte Andr\u00e9 Pastr\u00e9 [1888-1960], Paris", "citations": [], "footnotes": ["<div><!--block-->The Cleveland picture was certainly in Pastr\u00e9\u2019s possession by 1910, when he is listed as its owner in an exhibition at Galerie Georges Petit.&nbsp; In 1930 he was listed as the owner in Louis Hourticq\u2019s monograph of Delacroix\u2019s oeuvre.&nbsp; He may have owned the painting as late as 1950, when a footnote in the annotated edition of Delacroix\u2019s journal from that year gives Pastr\u00e9 as the current owner. &nbsp;</div>"], "date": "Probably 1908 - at least", "sortorder": 7}, {"description": "David David-Weill [1871-1952], Paris, to his wife, Flora David-Weill", "citations": [], "footnotes": ["<div><!--block-->Exhibition labels on the back of the painting, as well as a \"DW\" monogram and what is likely an inventory number (37/5), situate the painting in the collection of David-Weill.</div>"], "date": "Until 1952", "sortorder": 8}, {"description": "Flora David-Weill [1878-1970], Paris", "citations": [], "footnotes": ["<div><!--block-->Flora David-Weill likely came into possession of the painting when her husband died in 1952; we know with certainty that she had the painting by 1963, when she is listed as its owner in the 1963 Louvre exhibition, <em>Centenaire d\u2019Eug\u00e8ne Delacroix</em>.</div>"], "date": "By 1963 - probably 1970", "sortorder": 9}, {"description": "(Robert Schmit, Paris, probably sold to E.V. Thaw)", "citations": [], "footnotes": ["<div><!--block-->The painting appears in a 1972 exhibition held at Galerie Schmit in Paris.&nbsp; While it is possible that Thaw may have acted as an agent for Schmit for the sale of the picture to CMA, because Museum records make no reference to Schmit in connection with the transaction, it is more likely that Thaw purchased it outright from Schmit.</div>"], "date": "By 1972", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1973-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The Greek war of independence in the 1820s was a source of great interest for the rest of Europe. The exotic costumes of Greek soldiers, or Palikares, were popular subjects for artists. Count Palatiano was a flamboyant Greek aristocrat who often posed for Delacroix and his colleagues in Paris.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472530"], "internet_archive": ["https://archive.org/details/clevelandart-1973.33-count-demetrius-de-p"]}, "citations": [{"citation": "E.V. Thaw &amp; Co., invoice, March 8, 1973, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Galerie Schmit. <em>Les impressionnistes et leurs pre\u0301curseurs; exposition, 17 mai - 17 juin 1972</em>. 1972.", "page_number": null, "url": null}, {"citation": "Lee Johnson, letter to Sherman E. Lee, Sept. 23, 1974, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Muse\u0301e du Louvre. <em>Centenaire d'Euge\u0300ne Delacroix, 1798-1863, Muse\u0301e du Louvre, mai-septembre 1963</em>. [Paris]: Ministe\u0300re d'E\u0301tat, Affaires culturelles, 1963.", "page_number": null, "url": null}, {"citation": "Alexandre Rosenberg, letter to Mr. and Mrs. Arthur Cohen, Feb. 14, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "E.V. Thaw &amp; Co., invoice, March 8, 1973, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Johnson, Lee. <em>The Paintings of Eugene Delacroix A Critical Catalogue</em>. Oxford: Clarendon Press, 1981.", "page_number": null, "url": null}, {"citation": "Lee Johnson, letter to Sherman E. Lee, Sept. 23, 1974, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Joubin, Andre\u0301. <em>Journal de Euge\u0300ne Delacroix. 3: 1857-1863</em>. Paris: Plon, 1950.", "page_number": null, "url": null}, {"citation": "Hourticq, Louis. <em>Delacroix, l'oeuvre du maitre</em>. 1930.", "page_number": null, "url": null}, {"citation": "Ganay, Emilie. <em>Exposition de chefs-d'oeuvre de l'e\u0301cole franc\u0327aise: 20 peintres du 19e sie\u0300cle</em>. [Paris?]: [Verlag nicht ermittelbar], 1910.", "page_number": null, "url": null}, {"citation": "Se\u0301rullaz, Maurice. <em>Me\u0301morial de l'exposition Euge\u0300ne Delacroix, organise\u0301e au Muse\u0301e du Louvre a\u0300 l'occasion du centenaire de la mort de l'artiste, Paris. 1963</em>. [Paris]: E\u0301ditions des Muse\u0301es nationaux, 1963.", "page_number": null, "url": null}, {"citation": "Muse\u0301e des beaux arts de Strasbourg. <em>Cent ans de peinture franc\u0327aise: exposition au profit de Muse\u0301e des Beaux-Arts de Strasbourg : du 15 mars au 20 avril, 1922</em>. Paris: [publisher not identified], 1922.", "page_number": null, "url": null}, {"citation": "Che\u0301ramy, P. A. <em>Catalogue des tableaux anciens et modernes, aquarelles, pastels, dessins ... Tre\u0300s importante collection d'oeuvres de Constable et d'Euge\u0300ne Delacroix, primitifs italiens composant la collection P.-A. Cheramy: Vente, Galerie Georges Petit, les mardi 5, mercredi 6 et jeudi 7 mai 1908, commissaire-priseur Me F. Lair-Dubreuil</em>. Paris: Henri Haro, 1908.", "page_number": null, "url": null}, {"citation": "Se\u0301rullaz, Maurice. <em>Me\u0301morial de l'exposition Euge\u0300ne Delacroix, organise\u0301e au Muse\u0301e du Louvre a\u0300 l'occasion du centenaire de la mort de l'artiste, Paris. 1963</em>. [Paris]: E\u0301ditions des Muse\u0301es nationaux, 1963.", "page_number": null, "url": null}, {"citation": "Se\u0301rullaz, Maurice. <em>Me\u0301morial de l'exposition Euge\u0300ne Delacroix, organise\u0301e au Muse\u0301e du Louvre a\u0300 l'occasion du centenaire de la mort de l'artiste, Paris. 1963</em>. [Paris]: E\u0301ditions des Muse\u0301es nationaux, 1963.", "page_number": null, "url": null}, {"citation": "Cheramy, Paul Arthur, Julius Meier-Graefe, and Erich Klossowski. <em>La collection Cheramy: catalogue raisonne\u0301 pre\u0301ce\u0301de\u0301 d'e\u0301tudes sur les mai\u0302tres principaux de la collection</em>. Munich: R. Piper et Cie, 1908.", "page_number": null, "url": null}, {"citation": "E.V. Thaw &amp; Co., invoice, March 8, 1973, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Se\u0301rullaz, Maurice. <em>Me\u0301morial de l'exposition Euge\u0300ne Delacroix, organise\u0301e au Muse\u0301e du Louvre a\u0300 l'occasion du centenaire de la </em>", "page_number": null, "url": null}, {"citation": "Galerie Schmit. <em>Les impressionnistes et leurs pre\u0301curseurs; exposition, 17 mai - 17 juin 1972</em>. 1972.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux, aquarelles, dessins de l'e\u0301cole moderne</em>. 1887", "page_number": null, "url": null}, {"citation": "Se\u0301rullaz, Maurice. <em>Me\u0301morial de l'exposition Euge\u0300ne Delacroix, organise\u0301e au Muse\u0301e du Louvre a\u0300 l'occasion du centenaire de la mort de l'artiste, Paris. 1963</em>. [Paris]: E\u0301ditions des Muse\u0301es nationaux, 1963.", "page_number": null, "url": null}, {"citation": "<em>Goupil Stock Books, </em>http://piprod.getty.edu/starweb/stockbooks/servlet.starweb?path=stockbooks/stockbooks.web, Getty Research Instititut", "page_number": null, "url": null}, {"citation": "<em>Goupil Book 10</em>, Stock No. 15099, Page 146, Row 15,<a href=\"http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol10-146.jpg\">http://archives.getty.edu:30008/getty_images/digitalresources/goupil/jpgs/900239-vol10-146.jpg</a>, Dealer Stock Books, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "\u201cThe Year in Review for 1973.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 61, no. 2 (February 1974): 31\u201378.", "page_number": "Mentioned: p. 74, no. 35; Reproduced: Cover", "url": "http://www.jstor.org/stable/25152513"}, {"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. 205", "url": "https://archive.org/details/CMAHandbook1978/page/n225"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 234-237, Vol. I, no. 84", "url": ""}], "url": "https://clevelandart.org/art/1973.33", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.33/1973.33_web.jpg", "width": "718", "height": "893", "filesize": "131977", "filename": "1973.33_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.33/1973.33_print.jpg", "width": "2735", "height": "3400", "filesize": "1893290", "filename": "1973.33_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.33/1973.33_full.tif", "width": "5302", "height": "6589", "filesize": "104826556", "filename": "1973.33_full.tif"}}, "alternate_images": [{"date_created": "2013-05-09T15:17:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.33/1973.33_alt0_web.jpg", "width": "792", "height": "893", "filesize": "150938"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.33/1973.33_alt0_print.jpg", "width": "3015", "height": "3400", "filesize": "2198717"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1973.33/1973.33_alt0_full.tif", "width": "5684", "height": "6408", "filesize": "109291120"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147523, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": "imitator of", "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "not dated", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": ["Portrait of Comte Palatiano in the Costume of a Palikare"], "is_highlight": false, "updated_at": "2026-03-27 00:00:36.189000"}, {"id": 136279, "accession_number": "1960.169", "share_license_status": "CC0", "tombstone": "Face Mask with Female Figure (satimbe), early to mid-1900s. Africa, West Africa, Mali, Dogon-style blacksmith-carver. Wood and organic materials; overall: 111.1 cm (43 3/4 in.). The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1960.169", "current_location": null, "title": "Face Mask with Female Figure (satimbe)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, West Africa, Mali, Dogon-style blacksmith-carver"], "technique": "Wood and organic materials", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 111.1 cm (43 3/4 in.)", "dimensions": {"overall": {"height": 1.111}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}], "legacy": [{"description": "CMA \"Year in Review\" 1960: Bulletin, 47 (December 1960), p. 250, no. 11, repr. p. 246.", "opening_date": "1960-12-01T00:00:00"}]}, "provenance": [{"description": "(Pierre Matisse Gallery, NY, to 1960)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This mask is one of several hundred that may perform at the ceremony called <em>dama</em>.", "description": "Dogon masks are worn at the end-of-mourning ceremonies called dama. The masks incarnate ancestors, which can be human, animal, or vegetal. The female figure with raised arms topping this example represents the mythical character Yasigine, who played a key role in the very first sigi celebration. Held every 60 years, the sigi ceremony commemorates the arrival of death.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1960.169-face-mask-with-femal"]}, "citations": [{"citation": "Damase, Jacques. Sculpture of the Tellem and the Dogon, exh. cat. New York: Pierre Matisse Gallery, 1960), no. 40.", "page_number": "", "url": ""}, {"citation": "Wixom, William D. 1977. \u201cAfrican Art in the Cleveland Museum of Art.\u201d <em>African Arts 10</em>,  no. 3: 16-25, 88, fig. 11.", "page_number": "", "url": ""}, {"citation": "Windmuller-Luna, Kristen. \"An Obsession with Heads: The Impact of African Arts, Anthropology, and Photography on the Works of Alberto Giacometti,\" <em>Medium </em>(May 2022).", "page_number": "", "url": "https://medium.com/cma-thinker/an-obsession-with-heads-968e8e8c2d30"}, {"citation": "Wixom, William. \"Two African Tribal Sculptures.\" <em>The Bulletin of the Cleveland Museum of Art </em>48, no. 3 (March 1961): 39-45", "page_number": "Mentioned and reproduced: p. 42", "url": "https://www.jstor.org/stable/25142440"}, {"citation": "Robbins, Warren M. <em>African Art in American Collections = L'art Africain Dans Les Collections Americaines</em>. New York: F.A. Praeger, 1966.", "page_number": "Reproduced: p. 55, no. 22", "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. 302", "url": "https://archive.org/details/CMAHandbook1966/page/n326"}, {"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. 302", "url": "https://archive.org/details/CMAHandbook1969/page/n326"}, {"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. 410", "url": "https://archive.org/details/CMAHandbook1978/page/n430"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 2, p. 34 - 35", "url": ""}, {"citation": "Robbins, Warren M. <em>African sculpture</em>. Atglen, PA: Schiffer Pub, 2005.", "page_number": "Reproduced: p. 55, number 22.", "url": null}], "url": "https://clevelandart.org/art/1960.169", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.169/1960.169_web.jpg", "width": "595", "height": "893", "filesize": "199192", "filename": "1960.169_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.169/1960.169_print.jpg", "width": "2267", "height": "3400", "filesize": "2916141", "filename": "1960.169_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.169/1960.169_full.tif", "width": "4096", "height": "6144", "filesize": "75537520", "filename": "1960.169_full.tif"}}, "alternate_images": [{"date_created": "2009-11-05T16:18:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.169/1960.169_alt0_web.jpg", "width": "595", "height": "893", "filesize": "198753"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.169/1960.169_alt0_print.jpg", "width": "2267", "height": "3400", "filesize": "2931973"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.169/1960.169_alt0_full.tif", "width": "4096", "height": "6144", "filesize": "75537196"}}, {"date_created": "2009-11-05T16:19:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.169/1960.169_alt1_web.jpg", "width": "595", "height": "893", "filesize": "194399"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.169/1960.169_alt1_print.jpg", "width": "2267", "height": "3400", "filesize": "2881869"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.169/1960.169_alt1_full.tif", "width": "4096", "height": "6144", "filesize": "75539136"}}], "creditline": "James Albert and Mary Gardiner Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136279, "creators": [], "legal_status": "accessioned", "accession_date": "1960-08-13T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Face Mask (Satimbe)", "Mask (satimbe)", "Mask with Female Figure (Satimbe?)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:38.785000"}, {"id": 172586, "accession_number": "2015.72", "share_license_status": "CC0", "tombstone": "Shrine Figure (Ikenga), possibly early 1900s. Africa, West Africa, Nigeria, Igbo carver. Wood, organic materials, and raffia; overall: 74.5 x 18 x 20 cm (29 5/16 x 7 1/16 x 7 7/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2015.72", "current_location": null, "title": "Shrine Figure (Ikenga)", "creation_date": "possibly early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Igbo carver"], "technique": "Wood, organic materials, and raffia", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 74.5 x 18 x 20 cm (29 5/16 x 7 1/16 x 7 7/8 in.)", "dimensions": {"overall": {"height": 0.745, "width": 0.18, "depth": 0.2}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "Kunsthaus Zurich, 1970-71: Elsy Leuzinger, \"Die Kunst von Schwarz-Afrika\"", "opening_date": "1970-01-01T00:00:00"}]}, "provenance": [{"description": "Jacques Kerchache, Paris, France (probably by field-collection in Nigeria (Biafra), at the end of the Nigerian Civil War, in 1968 or 1969)", "citations": [], "footnotes": [], "date": "1968, 1969, or 1970-2001", "sortorder": 1}, {"description": "Anne Kerchache, Paris, France by inheritance", "citations": [], "footnotes": [], "date": "2001-2010", "sortorder": 2}, {"description": "(Pierre Berg\u00e9 & Associ\u00e9s, Paris, France, \u201cCollection Anne et Jacques Kerchache\u201d Lot 132 - sold June 13, 2010)", "citations": [], "footnotes": [], "date": "2010", "sortorder": 3}, {"description": "Steven Morris, New York/Michigan, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2010-2016", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2016-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure associated with achievement and success would have received prayers and sacrifices in return for the guidance of ancestors.", "description": "This seated figure of a man holding a cutlass and an inverted human skull is a cult object called<em> ikenga</em>, associated with achievement and success. Standing at the center of a man\u2019s personal shrine, the sculpture receives prayers and sacrifices in return for the ancestors\u2019 guidance. An elaborate headdress comprising two horn-like extensions reinforces the cult\u2019s preoccupation with masculinity, while facial incisions known as <em>ichi</em> refer to membership in one of many male associations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758051"], "internet_archive": ["https://archive.org/details/clevelandart-2015.72-shrine-figure-ikenga"]}, "citations": [{"citation": "Kunsthaus Zu\u0308rich, and Elsy Leuzinger. 1970. <em>Die Kunst Von Schwarz-Afrika : [Ausstellung: Kunsthaus Zu\u0308rich] 31. Oktober 1970-17. Januar 1971</em>. Recklinghausen: Verlag Aurel Bongers, fig. M9.", "page_number": "", "url": ""}, {"citation": "Jacques Kerchache et al., L'art africain (Paris: Citadelles &amp; Mazenod, 1988), fig. 930", "page_number": "", "url": ""}, {"citation": "Pierre Berg\u00e9 &amp; associ\u00e9s, Paris (auction house), Collection Anne &amp; Jacques Kerchache, 13 June 2010, lot 322", "page_number": "", "url": ""}, {"citation": "Meier, Prita, Raymond Aaron Silverman, Andrew W Gurstelle, and University of Michigan Museum of Art. 2012. <em>African Art and the Shape of Time</em>. Ann Arbor: Regents of the University of Michigan, pl. 9.", "page_number": "", "url": ""}, {"citation": "Herbert M. Cole, Igbo (Milan: 5 Continents Editions, 2013), pl. 9", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 81", "url": ""}, {"citation": "Petridis, Constantine. \"Acquisitions 2015: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 31.", "page_number": "Reproduced and Mentioned: p. 31", "url": "https://archive.org/details/CMAMM2016-02"}, {"citation": "Cole, Herbert M. <em>Igbo</em>. Milan : 5 Continents Editions, 2013.", "page_number": "Mentioned: p. 24, p. 26; reproduced: p. 131, pl. 9", "url": null}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art. </em>2022.", "page_number": "", "url": ""}, {"citation": "\"The Language of Beauty in African Art.\"<em> Kimbell Art Museum Members' Guide</em> (March\u2013September 2022): 2-7.", "page_number": "Reproduced:  P. 5", "url": ""}], "url": "https://clevelandart.org/art/2015.72", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.72/2015.72_web.jpg", "width": "549", "height": "900", "filesize": "112652", "filename": "2015.72_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.72/2015.72_print.jpg", "width": "2073", "height": "3400", "filesize": "1194478", "filename": "2015.72_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.72/2015.72_full.tif", "width": "4688", "height": "7688", "filesize": "108158760", "filename": "2015.72_full.tif"}}, "alternate_images": [{"date_created": "2015-10-05T13:12:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt0_web.jpg", "width": "577", "height": "900", "filesize": "117130"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt0_print.jpg", "width": "2179", "height": "3400", "filesize": "1227061"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt0_full.tif", "width": "4940", "height": "7707", "filesize": "114253336"}}, {"date_created": "2015-10-05T10:37:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt1_web.jpg", "width": "583", "height": "900", "filesize": "123457"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt1_print.jpg", "width": "2201", "height": "3400", "filesize": "1218767"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt1_full.tif", "width": "4936", "height": "7624", "filesize": "112936832"}}, {"date_created": "2015-10-05T15:25:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt2_web.jpg", "width": "556", "height": "900", "filesize": "116561"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt2_print.jpg", "width": "2101", "height": "3400", "filesize": "1272000"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt2_full.tif", "width": "4711", "height": "7623", "filesize": "107771124"}}, {"date_created": "2015-10-06T08:45:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt3_web.jpg", "width": "573", "height": "900", "filesize": "118646"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt3_print.jpg", "width": "2164", "height": "3400", "filesize": "1266518"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt3_full.tif", "width": "4841", "height": "7605", "filesize": "110483920"}}, {"date_created": "2015-10-06T09:37:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt4_web.jpg", "width": "579", "height": "900", "filesize": "110754"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt4_print.jpg", "width": "2189", "height": "3400", "filesize": "1224055"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.72/2015.72_alt4_full.tif", "width": "4768", "height": "7405", "filesize": "105955336"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172586, "creators": [], "legal_status": "accessioned", "accession_date": "2015-09-08T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:37.629000"}, {"id": 154239, "accession_number": "1988.54", "share_license_status": "CC0", "tombstone": "Incense Box with Dragon Design (\uc6a9\ubb34\ub2ac \ud654\uac01\ud568 (\uf9c4\u6587\u83ef\u89d2\u51fd)), 1900s. Korea, Joseon dynasty (1392\u20131910). Painted wood with flattened ox-horn inlay; diameter: 7.2 cm (2 13/16 in.); overall: 3.6 cm (1 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1988.54", "current_location": null, "title": "Incense Box with Dragon Design", "title_in_original_language": "\uc6a9\ubb34\ub2ac \ud654\uac01\ud568 (\uf9c4\u6587\u83ef\u89d2\u51fd)", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Painted wood with flattened ox-horn inlay", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Miscellaneous", "measurements": "Diameter: 7.2 cm (2 13/16 in.); Overall: 3.6 cm (1 7/16 in.)", "dimensions": {"diameter": {"width": 0.072}, "overall": {"height": 0.036}, "inner diameter": {"width": 0.066}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Masaaki Yoshida, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1988", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1988-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This box is made of small flattened pieces of oxhorn. Since oxhorn is rather small, possibly dozens of them were used to fully decorate even a small wooden object like this box.", "description": "This incense box is colorfully decorated with the technique of oxhorn plating. The oxhorn was cut, soaked in water, boiled, and then pressed into thin translucent sheets. Since oxhorns are usually rather small, dozens of them were required to fully decorate even a small wooden object. The lid of this container is colorfully illustrated with the imagery of a dragon amid clouds deemed as an auspicious symbol, and its side presents flying dragon and phoenix following one after another.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941006"], "internet_archive": ["https://archive.org/details/clevelandart-1988.54-incense-box-with-dra"]}, "citations": [{"citation": "\u201cThe Year in Review for 1988.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 76, no. 2, 1989, pp. 30\u201375.", "page_number": "Mentioned: p. 75, no. 218", "url": "https://www.jstor.org/stable/25160061"}, {"citation": "Ye, Yong-hae. \"Hwagakjang.\" <em>Ye Yong-hae j</em>eonjip<em>. </em>Seoul: Daewonsa, 1997.", "page_number": null, "url": null}, {"citation": "Jeong, Myeong-ho. \"Hangukgongye gwahakgisulbaldalsa: hwagakgongyee daehan yeongureul jungsimeuro [\u97d3\u570b\u5de5\u85dd \u79d1\u5b78\u6280\u8853\u767c\u9054\u53f2: \u83ef\u89d2\u5de5\u85dd\uc5d0 \ub300\ud55c \uc5f0\uad6c\ub97c \uc911\uc2ec\uc73c\ub85c].\" <em>Silhaksasang yeongu </em>15-16 (January 2000): 543-612.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE01150354"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Hong, Sun-ah. \"A Study on Phoenix Pattern of Hwagak Craft from Late Chosun Period to Early 20th Century [\ud654\uac01\uacf5\uc608(\u83ef\u89d2\u5de5\u85dd)\uc758 \ud2b9\uc131\uc5d0 \uad00\ud55c \uc5f0\uad6c : \ud654\uac01\ud568 \uc911\uc2ec\uc73c\ub85c].\" <em>Yeoksaminsokhak </em>50 (June 2016): 277-309.", "page_number": null, "url": "http://www.riss.kr/link?id=A101995759"}], "url": "https://clevelandart.org/art/1988.54", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.54/1988.54_web.jpg", "width": "1149", "height": "893", "filesize": "108108", "filename": "1988.54_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.54/1988.54_print.jpg", "width": "3400", "height": "2642", "filesize": "809255", "filename": "1988.54_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.54/1988.54_full.tif", "width": "3502", "height": "2722", "filesize": "28624304", "filename": "1988.54_full.tif"}}, "alternate_images": [{"date_created": "2012-04-17T14:10:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt0_web.jpg", "width": "1188", "height": "893", "filesize": "108070"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt0_print.jpg", "width": "3400", "height": "2556", "filesize": "761502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt0_full.tif", "width": "3652", "height": "2746", "filesize": "30112384"}}, {"date_created": "2012-04-17T14:15:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt1_web.jpg", "width": "1252", "height": "893", "filesize": "112894"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt1_print.jpg", "width": "3400", "height": "2426", "filesize": "722752"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt1_full.tif", "width": "3723", "height": "2657", "filesize": "29702068"}}, {"date_created": "2012-04-17T14:20:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt2_web.jpg", "width": "1223", "height": "893", "filesize": "105923"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt2_print.jpg", "width": "3400", "height": "2483", "filesize": "713360"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt2_full.tif", "width": "3761", "height": "2747", "filesize": "31020288"}}, {"date_created": "2012-04-17T14:31:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt3_web.jpg", "width": "1263", "height": "728", "filesize": "110573"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt3_print.jpg", "width": "3400", "height": "1960", "filesize": "677730"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt3_full.tif", "width": "4821", "height": "2780", "filesize": "40233396"}}, {"date_created": "2012-04-17T14:37:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt4_web.jpg", "width": "1263", "height": "708", "filesize": "115430"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt4_print.jpg", "width": "3400", "height": "1906", "filesize": "825183"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.54/1988.54_alt4_full.tif", "width": "4875", "height": "2734", "filesize": "40011724"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154239, "creators": [], "legal_status": "accessioned", "accession_date": "1988-12-16T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:16.392000"}, {"id": 157555, "accession_number": "1994.87", "share_license_status": "CC0", "tombstone": "Royal Belt (yet), possibly early 1900s. Africa, Central Africa, Democratic Republic of Congo, Kuba Kingdom, Kuba-style maker. Plant fiber, rawhide or leather, glass beads, seashells, cowrie shells, cloth, and colorant; overall: 139.5 cm (54 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1994.87", "current_location": null, "title": "Royal Belt (yet)", "creation_date": "possibly early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Kuba Kingdom, Kuba-style maker"], "technique": "Plant fiber, rawhide or leather, glass beads, seashells, cowrie shells, cloth, and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 139.5 cm (54 15/16 in.)", "dimensions": {"overall": {"length": 1.395}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 191823, "title": "Object in Focus: African Beaded Belt", "description": "<i>Object in Focus: African Beaded Belt</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 30-June 7, 1998).", "opening_date": "1998-04-30T00:00:00"}, {"id": 316953, "title": "Second Careers: Two Tributaries in African Art", "description": "<i>Second Careers: Two Tributaries in African Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1, 2020-March 14, 2021).", "opening_date": "2020-11-01T04:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 108): May 11, 2010 - October 20, 2014.", "opening_date": "2010-05-11T00:00:00"}]}, "provenance": [{"description": "Jacques Hautelet, La Jolla, CA, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1994", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1994-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Cowry shells, a type of currency used in the Kuba Kingdom in Central Africa, decorate this belt made for a king. The intricate patterns and colors of the beads indicate the high status of the wearer as well as the wealth of his kingdom.", "description": "Attributed to Kuba peoples of southeast Democratic Republic of Congo, this prestige belt boasts superb craftsmanship. The accumulation of a variety of materials indicates the high status of its wearer. It is made from leather strips and finely accessorized with a combination of intricately patterned bead designs, cowries, seashells, and bells. It would have been worn over a large raffia skirt by a man during ceremonial occasions. It was acquired from the Belgian dealer Jacques Hautelet in 1994.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79974025"], "internet_archive": ["https://archive.org/details/clevelandart-1994.87-royal-belt-yet"]}, "citations": [{"citation": "Young-S\u00e1nchez, Margaret. \"The Cleveland Museum of Art.\" African Arts 30, no. 1 (1997): 66-71, repr. p. 66.", "page_number": "", "url": ""}, {"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions to the Cleveland Museum of Art Collection,\u201d August 26, 1994, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr3900/page/n1"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 36, p. 102 - 103", "url": ""}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Mentioned:  p. 22, 32; reproduced: p. 62, pl. 8.", "url": ""}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 05, May 1998", "page_number": "Mentioned & reproduced: p. 2", "url": "https://archive.org/details/CMAMM1998-05/page/n1"}], "url": "https://clevelandart.org/art/1994.87", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.87/1994.87_web.jpg", "width": "1256", "height": "893", "filesize": "628235", "filename": "1994.87_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.87/1994.87_print.jpg", "width": "3000", "height": "2109", "filesize": "3928406", "filename": "1994.87_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.87/1994.87_full.tif", "width": "3000", "height": "2109", "filesize": "18992616", "filename": "1994.87_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157555, "creators": [], "legal_status": "accessioned", "accession_date": "1994-05-24T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Belt (Yet)", "Yet Belt"], "is_highlight": false, "updated_at": "2026-03-27 00:04:13.986000"}, {"id": 168427, "accession_number": "2010.206", "share_license_status": "CC0", "tombstone": "Under apron (iinkciya), 1800s\u20131900s. Africa, Southern Africa, South Africa, Xhosa-style (South Nguni) maker. Leather, glass beads, and sinew; overall: 34 x 18 x 2.5 cm (13 3/8 x 7 1/16 x 1 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.206", "current_location": null, "title": "Under apron (iinkciya)", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Xhosa-style (South Nguni) maker"], "technique": "Leather, glass beads, and sinew", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 34 x 18 x 2.5 cm (13 3/8 x 7 1/16 x 1 in.)", "dimensions": {"overall": {"height": 0.34, "width": 0.18, "depth": 0.025}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}, {"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 72", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Maurice Joy, London, England", "citations": [], "footnotes": [], "date": "dates unknown", "sortorder": 1}, {"description": "Kevin Conru, Brussels, Belgium", "citations": [], "footnotes": [], "date": "2006", "sortorder": 2}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Women made beaded \"aprons\" like this to wear <em>under</em> their clothes on festive occasions in the nineteenth century; expensive imported beads were a sign of wealth and status.", "description": "This is an exquisite example of a rare type of swallowtail-shaped apron worn by young female initiates until the mid-19th century. On the upper portion, the black beads were applied in such a way that they can be read as a human face or even as a full figure. In fact, the overall form of the apron can be viewed as representing the lower torso and legs of a woman with a neatly marked pubic region.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760348"], "internet_archive": ["https://archive.org/details/clevelandart-2010.206-under-apron-iinkciya"]}, "citations": [{"citation": "Conru, Kevin, Anne de Knock, and Conru Primitive Art (Firm). 2005. <em>Conru : Southeast African and Oceanic Art</em>. Brussels: Conru, p. 17 and back cover.", "page_number": "", "url": ""}, {"citation": "Pemberton, John, and Smith College Museum of Art. 2008. <em>African Beaded Art : Power and Adornment</em>. Northampton, Mass: Smith College Museum of Art, cat. 101.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantijn, Karel Nel, and Cleveland Museum of Art. 2011. <em>The Art of Daily Life : Portable Objects from Southeast Africa</em>. Cleveland, Milan, New York: Cleveland Museum of Art ; 5 Continents Editions ; Distributed in U.S. by Harry N. Abrams, p. 67, fig. 4 and p. 71, fig. 13.", "page_number": "", "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. 41", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art. </em>2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.206", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.206/2010.206_web.jpg", "width": "603", "height": "893", "filesize": "293153", "filename": "2010.206_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.206/2010.206_print.jpg", "width": "2295", "height": "3400", "filesize": "4863888", "filename": "2010.206_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.206/2010.206_full.tif", "width": "4102", "height": "6077", "filesize": "74809592", "filename": "2010.206_full.tif"}}, "alternate_images": [{"date_created": "2010-08-24T18:54:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.206/2010.206_alt0_web.jpg", "width": "615", "height": "893", "filesize": "263128"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.206/2010.206_alt0_print.jpg", "width": "2341", "height": "3400", "filesize": "4688691"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.206/2010.206_alt0_full.tif", "width": "4308", "height": "6256", "filesize": "80878280"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168427, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:37.933000"}, {"id": 168742, "accession_number": "2010.447", "share_license_status": "CC0", "tombstone": "Scepter, late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of Congo, probably Kongo-style (Yombe sub-group) carver. Ivory; overall: 28 x 2.5 x 4 cm (11 x 1 x 1 9/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.447", "current_location": null, "title": "Scepter", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of Congo, probably Kongo-style (Yombe sub-group) carver"], "technique": "ivory", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 28 x 2.5 x 4 cm (11 x 1 x 1 9/16 in.)", "dimensions": {"overall": {"height": 0.28, "width": 0.025, "depth": 0.04}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}, {"id": 287107, "title": "African Master Carvers: Known and Famous", "description": "<i>African Master Carvers: Known and Famous</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 16, 2017).", "opening_date": "2017-03-26T04:00:00"}], "legacy": [{"description": "Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, BE (March 25-June 5, 1988)", "opening_date": "1988-03-25T00:00:00"}]}, "provenance": [{"description": "(Ren\u00e9 De Wolf, Brussels, BE, before 1972, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "?-1972", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1972-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Scepters often represent the chief sitting atop a bound prisoner or attribute to a violent death.", "description": "Used by male chiefs, ivory scepters were symbols of status indicating worldly authority and supernatural influence. The use of ivory implies that the chief has the fatal power of an elephant. The figurine shows a chief enthroned on the bound body of a criminal destined for such a death. A medicine package would have been enclosed within the container extending from the figure\u2019s head, bestowing supernatural powers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075106"], "internet_archive": ["https://archive.org/details/clevelandart-2010.447-scepter"]}, "citations": [{"citation": "Bastin, Marie-Louise, et al. <em>Utotombo. L'Art d'Afrique noire dans les collections priv\u00e9es belges: Socie\u0301te\u0301 des Expositions du Palais des Beaux-Arts, Bruxelles, 25 mars-5 juin 1988</em>, 205. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "Reproduced and mentioned: p. 205, cat. 163", "url": null}, {"citation": "Lehuard, Raoul<em>. Art Bakongo. Insigne de pouvorir. Le scepter</em> 4. Arnouville, FR: Arts d'Afrique Noire, 1998, 962-963.", "page_number": "Reproduced and mentioned: pp. 962-963, no. M3", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art </em>XV-4, no. 61 (Autumn 2011): 121.", "page_number": "Reproduced: p. 121, fig. 6", "url": null}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 05, September/October 2013", "page_number": "Mentioned & reproduced: p. 12", "url": "https://archive.org/details/CMAMM2013-05/page/12"}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 24, 41,45, 112.", "page_number": "Mentioned: pp. 24, 112-113; reproduced: p. 45, cat. 9", "url": null}], "url": "https://clevelandart.org/art/2010.447", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.447/2010.447_web.jpg", "width": "563", "height": "893", "filesize": "202509", "filename": "2010.447_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.447/2010.447_print.jpg", "width": "2142", "height": "3400", "filesize": "3873018", "filename": "2010.447_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.447/2010.447_full.tif", "width": "3252", "height": "5161", "filesize": "50386524", "filename": "2010.447_full.tif"}}, "alternate_images": [{"date_created": "2011-05-31T15:10:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt0_web.jpg", "width": "584", "height": "893", "filesize": "209011"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt0_print.jpg", "width": "2222", "height": "3400", "filesize": "4001712"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt0_full.tif", "width": "3316", "height": "5072", "filesize": "50490168"}}, {"date_created": "2011-05-31T14:40:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt1_web.jpg", "width": "570", "height": "893", "filesize": "195340"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt1_print.jpg", "width": "2172", "height": "3400", "filesize": "3830704"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt1_full.tif", "width": "3450", "height": "5399", "filesize": "55913252"}}, {"date_created": "2011-05-31T15:41:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt2_web.jpg", "width": "540", "height": "893", "filesize": "197489"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt2_print.jpg", "width": "2056", "height": "3400", "filesize": "3702482"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt2_full.tif", "width": "3217", "height": "5318", "filesize": "51355028"}}, {"date_created": "2011-05-31T16:03:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt3_web.jpg", "width": "549", "height": "893", "filesize": "201672"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt3_print.jpg", "width": "2090", "height": "3400", "filesize": "3811643"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt3_full.tif", "width": "3076", "height": "5004", "filesize": "46211232"}}, {"date_created": "2011-05-31T17:19:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt4_web.jpg", "width": "520", "height": "893", "filesize": "182328"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt4_print.jpg", "width": "1979", "height": "3400", "filesize": "3508080"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.447/2010.447_alt4_full.tif", "width": "3192", "height": "5482", "filesize": "52533544"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168742, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:28.167000"}, {"id": 286185, "accession_number": "2020.129", "share_license_status": "CC0", "tombstone": "Self-Portrait, 1872. Armand Guillaumin (French, 1841\u20131927). Pastel on cream laid paper mounted on cardboard; image and sheet: 37.8 x 31.9 cm (14 7/8 x 12 9/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.129", "current_location": null, "title": "Self-Portrait", "creation_date": "1872", "creation_date_earliest": 1872, "creation_date_latest": 1872, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel on cream laid paper mounted on cardboard", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image and Sheet: 37.8 x 31.9 cm (14 7/8 x 12 9/16 in.)", "dimensions": {"image and sheet": {"height": 0.378, "width": 0.319}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, lower left, in black pastel: Guillaumin 72", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Armand Guillaumin (1841\u20131927): En famille et sur le motif</em>. Galerie Theirry Mercier, Paris (October 1\u201331, 2003).", "opening_date": "1927-01-01T00:00:00"}]}, "provenance": [{"description": "Studio of the artist [1841-1927], by descent to the artist's daughter, Marguerite Guillaumin", "citations": [], "footnotes": null, "date": "1872-1927", "sortorder": 1}, {"description": "Marguerite Guillaumin [1893-1967], by descent within the Guillaumin family", "citations": [], "footnotes": null, "date": "1927-1967", "sortorder": 2}, {"description": "Guillaumin family collection", "citations": [], "footnotes": null, "date": "1967-2003", "sortorder": 3}, {"description": "(Thierry Mercier Gallery, Paris, sold to Mr. and Mrs. Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 4}, {"description": "Mr. and Mrs. Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2020", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Armand Guillaumin came from a working-class background and was employed as a laborer for Paris's Department of Bridges and Roads in order to support his artistic ambitions.", "description": "This self-portrait is one of several that Armand Guillaumin created as a young artist during the early 1870s. Around this time, he worked closely with Camille Pissarro and Paul C\u00e9zanne, experimenting alongside them with vivid layers of color. Here, Guillaumin juxtaposed dark, dull tones with bright blue and orange to create unexpected optical blends. He meets the viewer's gaze directly, suggesting his intense focus at a period when such experimentation was just beginning to coalesce into the Impressionist movement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481231"], "internet_archive": ["https://archive.org/details/clevelandart-2020.129-self-portrait"]}, "citations": [{"citation": "Trabault, Marc-Edo. <em>Armand Guillaumin en famille et sur le motif</em>. Exh. cat. Anvers: Antwerpen Per\u00e9, 1971.", "page_number": "Mentioned: pp. 74-75; Reproduced: p. 63", "url": ""}, {"citation": "Gray, Christopher. <em>Armand Guillaumin.</em> Chester, CT: Pequot, 1991.", "page_number": "Mentioned: pp. 12, 268, no. 28; Reproduced: frontispiece", "url": null}, {"citation": "<em>Armand Guillaumin (1841\u20131927): En famille et sur le motif</em>. Exh. cat. Paris: Galerie Thierry Mercier, 2003.", "page_number": "Mentioned and reproduced: no. 1", "url": ""}, {"citation": "Salsbury, Britany. \"French and Canadian Prints and Drawings.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 56-57, 62-63, 166-167. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 62-63; Mentioned: p. 263", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 118-119, no. 18", "url": ""}], "catalogue_raisonne": "Gray 28", "url": "https://clevelandart.org/art/2020.129", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.129/2020.129_web.jpg", "width": "756", "height": "900", "filesize": "373475", "filename": "2020.129_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.129/2020.129_print.jpg", "width": "2856", "height": "3400", "filesize": "4429144", "filename": "2020.129_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.129/2020.129_full.tif", "width": "8466", "height": "10077", "filesize": "255963120", "filename": "2020.129_full.tif"}}, "alternate_images": [{"date_created": "2020-02-21T16:08:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt0_web.jpg", "width": "761", "height": "900", "filesize": "381590"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt0_print.jpg", "width": "2876", "height": "3400", "filesize": "4497970"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt0_full.tif", "width": "8938", "height": "10565", "filesize": "283317800"}}, {"date_created": "2020-02-21T16:08:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt1_web.jpg", "width": "761", "height": "900", "filesize": "381590"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt1_print.jpg", "width": "2876", "height": "3400", "filesize": "4497970"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt1_full.tif", "width": "8938", "height": "10565", "filesize": "283317800"}}, {"date_created": "2020-02-21T16:09:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt2_web.jpg", "width": "761", "height": "900", "filesize": "437992"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt2_print.jpg", "width": "2876", "height": "3400", "filesize": "6095559"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.129/2020.129_alt2_full.tif", "width": "8938", "height": "10565", "filesize": "283317704"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 286185, "creators": [{"id": 286182, "description": "Armand Guillaumin (French, 1841\u20131927)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, 1841-1927", "name_in_original_language": null, "birth_year": "1841", "death_year": "1927", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "1872", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:56.968000"}, {"id": 146868, "accession_number": "1972.277", "share_license_status": "CC0", "tombstone": "Study of Honor\u00e9 de Balzac, 1891\u20131892. Auguste Rodin (French, 1840\u20131917). Bronze; overall: 52.7 x 39.4 x 32.4 cm (20 3/4 x 15 1/2 x 12 3/4 in.). The Cleveland Museum of Art, Bequest of Edgar A. Hahn, 1972.277", "current_location": "218 European Sculpture", "title": "Study of Honor\u00e9 de Balzac", "creation_date": "1891\u20131892", "creation_date_earliest": 1891, "creation_date_latest": 1892, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 52.7 x 39.4 x 32.4 cm (20 3/4 x 15 1/2 x 12 3/4 in.)", "dimensions": {"overall": {"height": 0.527, "width": 0.394, "depth": 0.324}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on side, under left arm: \"A. Rodin\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 309866, "title": "Sculpture in Public Places", "description": "<i>Sculpture in Public Places</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 9-September 15, 1985).", "opening_date": "1985-05-09T04:00:00"}, {"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": 300186, "title": "Rodin-100 Years", "description": "<i>Rodin-100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 543896, "title": "Rodin\u2014100 Years", "description": "<i>Rodin\u2014100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of Edgar A. Hahn", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In 1891 Rodin was commissioned to create a monument honoring the celebrated French writer Honor\u00e9 de Balzac. The figure evolved through multiple stages over a seven-year period as Rodin explored different methods of conveying the author\u2019s genius and personality. This bust is a study for the first version, in which the full figure stands upright with legs apart, arms crossed over his corpulent belly. Rodin\u2019s unglamorous portrayal of a national hero shocked the public accustomed to idealized figures in public monuments. The final design was even more intensely criticized because Rodin reduced the body to a powerful, abstract mass intended to convey the symbolic essence of the writer\u2019s creative vitality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760443"], "internet_archive": ["https://archive.org/details/clevelandart-1972.277-study-of-honore-de-b"]}, "citations": [{"citation": "Tacha, Athena. <em>A Supplement to Rodin Sculpture in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned: p. 136S, cat. no. XXIV; Reproduced: p. [113S], Plate 121S", "url": null}], "url": "https://clevelandart.org/art/1972.277", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.277/1972.277_web.jpg", "width": "687", "height": "893", "filesize": "304307", "filename": "1972.277_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.277/1972.277_print.jpg", "width": "2616", "height": "3400", "filesize": "4176914", "filename": "1972.277_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.277/1972.277_full.tif", "width": "4096", "height": "5323", "filesize": "65438880", "filename": "1972.277_full.tif"}}, "alternate_images": [{"date_created": "2006-01-24T15:47:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.277/1972.277_alt0_web.jpg", "width": "707", "height": "893", "filesize": "340999"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.277/1972.277_alt0_print.jpg", "width": "2690", "height": "3400", "filesize": "4362762"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.277/1972.277_alt0_full.tif", "width": "3932", "height": "4970", "filesize": "58656568"}}, {"date_created": "2005-11-01T21:20:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.277/1972.277_alt1_web.jpg", "width": "682", "height": "893", "filesize": "279159"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.277/1972.277_alt1_print.jpg", "width": "2595", "height": "3400", "filesize": "3909150"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.277/1972.277_alt1_full.tif", "width": "4096", "height": "5367", "filesize": "65978812"}}], "creditline": "Bequest of Edgar A. Hahn", "image_credit": null, "sketchfab_id": "093a9b8ec24440afb1e0cea48ac6d7ce", "sketchfab_url": "https://sketchfab.com/models/093a9b8ec24440afb1e0cea48ac6d7ce", "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 146868, "creators": [{"id": 5925, "description": "Auguste Rodin (French, 1840\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891\u20131892", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-10 07:03:42.088000"}, {"id": 161268, "accession_number": "1999.45", "share_license_status": "CC0", "tombstone": "Portrait of an Official (\uad00\ub8cc\ucd08\uc0c1 [\u5b98\u50da\u8096\u50cf]), early 1800s. Korea, Joseon dynasty (1392\u20131910). Hanging scroll; ink and color on silk; painting only: 147.7 x 76.4 cm (58 1/8 x 30 1/16 in.); overall: 218.9 x 89.6 cm (86 3/16 x 35 1/4 in.); overall with knobs and cord: 221.9 x 96.9 cm (87 3/8 x 38 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1999.45", "current_location": null, "title": "Portrait of an Official", "title_in_original_language": "\uad00\ub8cc\ucd08\uc0c1 [\u5b98\u50da\u8096\u50cf]", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1840, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Hanging scroll; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Painting", "measurements": "Painting only: 147.7 x 76.4 cm (58 1/8 x 30 1/16 in.); Overall: 218.9 x 89.6 cm (86 3/16 x 35 1/4 in.); Overall with knobs and cord: 221.9 x 96.9 cm (87 3/8 x 38 1/8 in.)", "dimensions": {"framed": {"height": 1.595, "width": 0.91}, "painting only": {"height": 1.477, "width": 0.764}, "with borders": {"height": 1.563, "width": 0.865}, "overall": {"height": 2.189, "width": 0.896}, "overall with knobs and cord": {"height": 2.219, "width": 0.969}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art, Cleveland, OH (June 12, 2013-January 28, 2014).", "opening_date": "2013-06-12T04:00:00Z"}, {"description": "National Palace Museum, Seoul, South Korea (September 11-October 13, 2019).", "opening_date": "2019-09-11T04:00:00Z"}]}, "provenance": [{"description": "(The Chinese Porcelain Company, New York, NY, sold to the Honorable Joseph P. Carroll and Roberta Carroll, MD)", "citations": [], "footnotes": [], "date": "?\u20131998", "sortorder": 1}, {"description": "The Honorable Joseph P. Carroll and Roberta Carroll, MD, New York, NY", "citations": [], "footnotes": [], "date": "1998-1999", "sortorder": 2}, {"description": "(Joseph P. Carroll, Ltd., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1999", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1999\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A piece of leopard skin covering the chair is a typical gift from the royal court to court officials.", "description": "The quest of capturing one\u2019s spirit through imagery held a special place in the tradition of portrait making in East Asia. A portrait\u2019s resemblance to the subject was considered to be a way to transmit the sitter\u2019s spirit to the viewer. A three-quarter view, much preferred in Joseon-period portraits like this one, allows the viewer to examine the sitter\u2019s personality or spirit without an exchange of glances. <br><br>Dressed in a pale pink court uniform, the gentleman sits on a chair draped with leopard skin, a symbol of royal favor. Due to the missing inscription, which was likely trimmed off, we cannot identify him. Yet, we know a few things: His uniform informs us that he worked in the royal court sometime during the 1700s or later because the color of office uniforms changed from dark green to pale pink in the early 1700s. Considered to be an important historical family relic, this type of full-length portrait was often placed above the spirit house and venerated during ancestral worship rituals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477953"], "internet_archive": ["https://archive.org/details/clevelandart-1999.45-portrait-of-an-offic"]}, "citations": [{"citation": "Cho, Sun-mie. <em>Portrait Paintings in Korea </em>[\ud55c\uad6d\ucd08\uc0c1\ud654 \uc5f0\uad6c]. Seoul: Youlhwadang, 1983.", "page_number": null, "url": null}, {"citation": "Yi, Tae-ho. <em>Realism in Late-Joseon Period Painting</em> [\uc870\uc120 \ud6c4\uae30 \ud68c\ud654 \uc758 \uc0ac\uc2e4 \uc815\uc2e0. Seoul: Hakkojae, 1996.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Contemporary German Painting Acquired by CMA,\u201d June 9, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4262"}, {"citation": "<em>Portraits of the Joseon Period</em> [\uc870\uc120 \uc2dc\ub300 \ucd08\uc0c1\ud654]. Seoul: National Museum of Korea, 2007.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Great Korean Portraits.</em> Seoul: Dolbegae Publishers, 2010.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Kim, Yeong-ju. \"Study on Joseon-Period Korean Portraits in Formatted in Hanging Scroll [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654 \uc871\uc790\uc758 \ud615\uc2dd\uc5d0 \ub300\ud55c \uc5f0\uad6c].\" <em>Misul sahak</em> no. 28 (2014): 61\u201395.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE02488829"}, {"citation": "The Overseas Korean Cultural Heritage Foundation. \"Support for Conservation and Use of the Korean Paintings in the Cleveland Museum of Art.\" In <em>The Korean Collection of the Cleveland Museum of Art</em>. Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8, and An Min-hu\u0306i, ed., 320\u2013323. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 320-323, fig. 6", "url": ""}, {"citation": "Jung-Jae Conservation Center. \"The Conservation Report on Two Korean Paintings in the Cleveland Museum of Art: <em>Portrait of a Scholar Official</em>.\" In <em>The Korean Collection of the Cleveland Museum of Art</em>. Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8, and An Min-hu\u0306i, ed., 334\u2013345. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 334\u2013345", "url": ""}], "url": "https://clevelandart.org/art/1999.45", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.45/1999.45_web.jpg", "width": "465", "height": "893", "filesize": "67904", "filename": "1999.45_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.45/1999.45_print.jpg", "width": "1771", "height": "3400", "filesize": "1048450", "filename": "1999.45_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.45/1999.45_full.tif", "width": "3405", "height": "6536", "filesize": "66788564", "filename": "1999.45_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161268, "creators": [], "legal_status": "accessioned", "accession_date": "1999-06-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-09 11:25:42.040000"}, {"id": 129171, "accession_number": "1951.65.6", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: Interior with Pink Wallpaper I, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 39.4 x 30.8 cm (15 1/2 x 12 1/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.6", "current_location": null, "title": "Interior with Pink Wallpaper I", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 39.4 x 30.8 cm (15 1/2 x 12 1/8 in.)", "dimensions": {"sheet": {"height": 0.394, "width": 0.308}}, "state_of_the_work": "IV/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302022, "title": "Decorative Style", "description": "<i>Decorative Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 8, 1961-January 7, 1962).", "opening_date": "1961-09-08T04:00:00"}, {"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007).", "opening_date": "2006-05-27T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.70"], "did_you_know": "Vuillard\u2019s mother, Madame Marie Vuillard, appeared in over 500 of her son\u2019s paintings and prints made between the 1880s and 1920s.", "description": "The optical beauty of the patterning and luscious color of <em>Interior with Wallpaper I, II, </em>and<em> III</em> distracts from their ambivalent undercurrents. Across the three sheets, Vuillard creates an airless enclosure in which the wallpaper replicates itself, metastasizing across the surface and threatening the figures partially glimpsed through interior doors. Hidden figures recur in Vuillard\u2019s work, adding an element of the uncanny to familiar settings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909903"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.6-interior-with-pink-w"]}, "citations": [{"citation": "Chapin, Mary Weaver, and Heather Lemonedes Brown. <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Reproduced: P. xii", "url": ""}, {"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 52; Reproduced: P. 82, no. 29", "url": ""}], "catalogue_raisonne": "Roger-Marx 36", "url": "https://clevelandart.org/art/1951.65.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.6/1951.65.6_web.jpg", "width": "715", "height": "893", "filesize": "631034", "filename": "1951.65.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.6/1951.65.6_print.jpg", "width": "2721", "height": "3400", "filesize": "7693417", "filename": "1951.65.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.6/1951.65.6_full.tif", "width": "4090", "height": "5110", "filesize": "62736272", "filename": "1951.65.6_full.tif"}}, "alternate_images": [{"date_created": "2006-05-18T15:24:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.65.6/1951.65.6_alt0_web.jpg", "width": "709", "height": "893", "filesize": "593453"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.65.6/1951.65.6_alt0_print.jpg", "width": "2699", "height": "3400", "filesize": "6538204"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.65.6/1951.65.6_alt0_full.tif", "width": "3672", "height": "4626", "filesize": "50994220"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129171, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:15.315000"}, {"id": 150028, "accession_number": "1980.242", "share_license_status": "CC0", "tombstone": "Still Life with Vegetables, Partridge, and a Jug, 1858. Adolphe-F\u00e9lix Cals (French, 1810\u20131880). Oil on fabric; unframed: 49.5 x 61 cm (19 1/2 x 24 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.242", "current_location": null, "title": "Still Life with Vegetables, Partridge, and a Jug", "creation_date": "1858", "creation_date_earliest": 1858, "creation_date_latest": 1858, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 49.5 x 61 cm (19 1/2 x 24 in.)", "dimensions": {"unframed": {"height": 0.495, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper left: Cals 1858\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}, {"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": [{"description": "CMA. Chardin and the Still-Life Tradition in France (1979), 74, 89; no. 15 (repr.).", "opening_date": "1979-01-01T00:00:00"}, {"description": "CMA; Brooklyn Museum; Saint Louis Art Museum; Glasgow Art Gallery and Museum. The Realist Tradition: French Painting and Drawing 1830-1900 (1980-82), 149, no. 116 (repr.). Text by Gabriel P. Weisberg.", "opening_date": "1900-01-01T00:00:00"}]}, "provenance": [{"description": "Galerie Fran\u00e7ois Delestre, Paris. Mr. and Mrs. Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In this painting, Cals even includes the metal pitcher that holds the liquid in which the <em>perdrix au chou </em>(partridge with cabbage) will be cooked.", "description": "During the 19th century, a number of painters used common objects (rather than rare or refined objects) to create still lifes that some critics judged as unfit for the drawing room: studies of carrots, cabbages, asparagus, oysters, onions, eggs, and cooking utensils. Often these subjects were chosen for their mealtime associations. The food represented on the table in this painting\u2014a partridge, onions, and cabbage\u2014are the main ingredients for the well-known dish <em>perdrix au chou</em> (partridge with cabbage). Cals, however, was also interested in exploring underlying compositional design principles and studying the shapes of the objects he depicted. Cals lived and worked in and around Paris for most of his life, though in 1871 he moved to Normandy. In 1874 he participated in the first Impressionist exhibition and continued to do so until 1879. Although still lifes were an important part of his production, they were not his specialty. He preferred to work outdoors, in places chosen during his daily strolls. Art critic Edmond About, who was usually not very generous with compliments, characterized Cals as the most sincere and genuine artist he had ever known.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474493"], "internet_archive": ["https://archive.org/details/clevelandart-1980.242-still-life-with-vege"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: p. 212, no. 30", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 98-99, Vol. I, no. 36", "url": ""}], "url": "https://clevelandart.org/art/1980.242", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.242/1980.242_web.jpg", "width": "1100", "height": "893", "filesize": "141881", "filename": "1980.242_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.242/1980.242_print.jpg", "width": "3400", "height": "2761", "filesize": "1778653", "filename": "1980.242_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.242/1980.242_full.tif", "width": "6954", "height": "5649", "filesize": "117874348", "filename": "1980.242_full.tif"}}, "alternate_images": [{"date_created": "2013-08-06T09:29:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.242/1980.242_alt0_web.jpg", "width": "1098", "height": "893", "filesize": "233085"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.242/1980.242_alt0_print.jpg", "width": "3400", "height": "2765", "filesize": "2844250"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.242/1980.242_alt0_full.tif", "width": "7195", "height": "5853", "filesize": "126360920"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150028, "creators": [{"id": 1574, "description": "Adolphe-F\u00e9lix Cals (French, 1810\u20131880)", "extent": null, "qualifier": null, "role": "artist", "biography": "After taking some printmaking and drawing lessons, Adolphe F\u00e9lix Cals entered the studio of Cogniet (q.v.) at the \u00c9cole des Beaux-Arts in 1828. His academic training resulted in a warm palette and an attention to detail, but at the same time he also developed an unusual interest in depicting the wretched existence of the poor. In the 1830s he went his own course and mostly painted landscapes around Paris. He made his debut at the Salon in 1835 and exhibited regularly until 1870, although he initially received little recognition for his landscapes and genre scenes that addressed social issues and reflected his own impoverished existence. Cals married a young aristocrat, Ernance de Provisy, who eventually went insane. He then raised their daughter, who suffered the same fate as her mother. In 1848 Cals met the art dealer \"le P\u00e8re Martin\" who steadily supported him and other painters, such as Millet (q.v.) and Corot (q.v.). Another meeting that proved crucial to Cals was one with Count Doria in 1858, who became his most important patron. After several rejections of his work at the Salon, Cals participated in the Salon des Refus\u00e9s in 1863. Cals, who had lived and worked mainly in and around Paris all his life, then left the city for Normandy (Honfleur and the Saint Sim\u00e9on farm) in 1871 and remained there until his death. He was a close friend of Jongkind (q.v.), and in 1873 the two were together in Honfleur, where many other like-minded artists such as Boudin (q.v.) gathered to study out of doors. In 1874 Cals participated in the first impressionist exhibition and continued to do so until 1879. His style evolved accordingly, and he applied a much freer brush stroke in his later work. Art critic Edmond About, who was usually not very generous with compliments, characterized Cals as the most sincere and the most genuine artist he had ever known.", "name_in_original_language": null, "birth_year": "1810", "death_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1858, "date_added_to_oa": null, "date_text": "1858", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:37.534000"}, {"id": 152429, "accession_number": "1985.257", "share_license_status": "CC0", "tombstone": "Lady with a Parasol, early 1800s. Koikawa Harumasa (Japanese). Hanging scroll; ink, color, gold, and silver pigments on paper; mounted: 189.4 x 40 cm (74 9/16 x 15 3/4 in.); painting only: 103 x 27.6 cm (40 9/16 x 10 7/8 in.). 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"alternate_titles": ["Lady with a Parasol"], "is_highlight": false, "updated_at": "2026-03-27 00:01:29.251000"}, {"id": 153403, "accession_number": "1986.87", "share_license_status": "CC0", "tombstone": "Jar with Design in Underglaze Iron (\ubc31\uc790 \ucca0\ud654\ud638), 1800s\u20131900s. Korea, Joseon dynasty (1392\u20131910). Porcelain with underglaze iron; outer diameter: 34.2 cm (13 7/16 in.); overall: 33 cm (13 in.). The Cleveland Museum of Art, L. E. Holden Fund, 1986.87", "current_location": null, "title": "Jar with Design in Underglaze Iron", "title_in_original_language": "\ubc31\uc790 \ucca0\ud654\ud638", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "porcelain with underglaze iron", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "measurements": "Outer diameter: 34.2 cm (13 7/16 in.); Overall: 33 cm (13 in.)", "dimensions": {"outer diameter": {"width": 0.342}, "overall": {"height": 0.33}, "diameter of mouth": {"width": 0.199}, "diameter of base": {"width": 0.128}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 290449, "title": "Korean Gallery 236 Rotation", "description": "<i>Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 13-July 10, 2017).", "opening_date": "2017-01-13T05:00:00"}, {"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Robert W. Moore, Los Angeles, CA", "citations": [], "footnotes": null, "date": "?\u20131986", "sortorder": 1}, {"description": "(Christie's, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1986", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131986", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This type of Korean porcelain work featuring unfinished and raw quality inspired many European ceramists including Bernard Leach (1887\u20131979), the father of British studio pottery.", "description": "The potter\u2019s splashed sketchy brushwork in underglaze over the somewhat rough surface gives this jar a strikingly modern look. This type of Korean porcelain work featuring unfinished and raw qualities served as a source of inspiration for many European ceramists in the mid-1900s, particularly British studio potters who searched for a new set of aesthetics that favored bold and abstract design.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939334"], "internet_archive": ["https://archive.org/details/clevelandart-1986.87-jar-with-design-in-u"]}, "citations": [{"citation": "Kang, Kyeong-sook. <em>History of Korean Ceramics</em> [\u97d3\u570b\u9676\u78c1\u53f2]. Seoul: Yekyong, 2012.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1986.87", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.87/1986.87_web.jpg", "width": "1015", "height": "893", "filesize": "89037", "filename": "1986.87_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.87/1986.87_print.jpg", "width": "3400", "height": "2990", "filesize": "1241444", "filename": "1986.87_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.87/1986.87_full.tif", "width": "4392", "height": "3863", "filesize": "50933508", "filename": "1986.87_full.tif"}}, "alternate_images": [], "creditline": "L. E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153403, "creators": [], "legal_status": "accessioned", "accession_date": "1986-11-19T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:48.886000"}, {"id": 155865, "accession_number": "1991.168", "share_license_status": "CC0", "tombstone": "Tiger Hunt of Ram Singh II, c. 1830\u201340. Northwestern India, Rajasthan, Rajput kingdom of Kota, court of Ram Singh II (reigned 1826\u201366). Gum tempera, ink, and gold on paper; painting: 25.3 x 49.1 cm (9 15/16 x 19 5/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Dr. Norman Zaworski, 1991.168", "current_location": null, "title": "Tiger Hunt of Ram Singh II", "creation_date": "c. 1830\u201340", "creation_date_earliest": 1825, "creation_date_latest": 1845, "artists_tags": [], "culture": ["Northwestern India, Rajasthan, Rajput kingdom of Kota, court of Ram Singh II (reigned 1826\u201366)"], "technique": "Gum tempera, ink, and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Painting: 25.3 x 49.1 cm (9 15/16 x 19 5/16 in.)", "dimensions": {"painting": {"height": 0.253, "width": 0.491}, "with mat": {"height": 0.406, "width": 0.532}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[[recto, upper margin, in white Devanagari script]] \u015ar\u012b m\u0101h\u0101r\u0101o r\u0101m s\u012bnghj\u012b s\u012bk\u0101r ke r\u0101y\u0101 k\u012b b\u012b\u1e0d\u0101 k\u012b c\u0101c k\u012b \nC\u0101mla\u1e47\u012b n\u0101va k\u012bya sav\u0101ri", "inscription_translation": "Maharao Ram Singh [II] hunting tigers and bears [while] riding in a boat", "inscription_remark": "", "sortorder": null}, {"inscription": "[[verso, in blue ink]] 105", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. 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Noisemakers with a firebrand drive the tiger out of the forest, and men at the right keep bears at bay. The women and musicians in two small boats look on in admiration.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476667"], "internet_archive": ["https://archive.org/details/clevelandart-1991.168-tiger-hunt-of-ram-si"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1992.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (1993): 38-79.", "page_number": "Reproduced: p. 57; Mentioned: p. 79", "url": "https://www.jstor.org/stable/25161388"}, {"citation": "<em>T\u014dy\u014d kaiga no seika: tokubetsuten: Kur\u012bvurando Bijutsukan no korekushon kara</em> [\u6771\u6d0b\u7d75\u753b\u306e\u7cbe\u83ef: \u7279\u522b\u5c55: \u30af\u30ea\u30fc\u30f4\u30e9\u30f3\u30c8\u7f8e\u8853\u9928\u306e\u30b3\u30ec\u30af\u30b7\u30e7\u30f3\u304b\u3089= Highlights of Asian painting from the Cleveland Museum of Art]. 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Central Africa, Democratic Republic of the Congo or Cabinda, Kongo people. Copper alloy; overall: 16.5 x 12.5 x 2.5 cm (6 1/2 x 4 15/16 x 1 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.445", "current_location": null, "title": "Corpus (Crucified Christ)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Central Africa, Democratic Republic of the Congo or Cabinda, Kongo people"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 16.5 x 12.5 x 2.5 cm (6 1/2 x 4 15/16 x 1 in.)", "dimensions": {"overall": {"height": 0.165, "width": 0.125, "depth": 0.025}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Mus\u00e9es royaux d'Art et d'Histoire, Brussels, Belgium (1945-1949)", "opening_date": "1945-01-01T00:00:00"}, {"description": "Leuven, Belgium", "opening_date": null}, {"description": "Royal Museum for Central Africa, Tervuren, Belgium.", "opening_date": null}]}, "provenance": [{"description": "Charles Ralet, Brussels, BE, 1945, sold to Jef and Ren\u00e9 Vanderstraete", "citations": [], "footnotes": [], "date": "?-1945", "sortorder": 1}, {"description": "Jef and Ren\u00e9 Vanderstraete, Lasne, BE, 1959, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": null, "date": "1945-1959", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1959-2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": null, "date": "2010", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure combines Kongo artists\u2019 attention to symmetry with the Western depiction of Christ, lifeless on the cross.", "description": "One of two Christian-inspired objects in the Delenne collection identifying the far-reaching networks of trade, diplomacy, religion, and cross-cultural exchange. Kongo Christian symbols were created as spiritual tools to help explain and alleviate the turbulent situation between Central African religion and Catholicism. This figurine is geometric in style, combining both Christian ideals and preexisting Kongo artistic practices. Its pierced hands and feet link him to crucifixion images.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075099"], "internet_archive": ["https://archive.org/details/clevelandart-2010.445-corpus-crucified-chr"]}, "citations": [{"citation": "de Borchgrave d'Alt\u00e9na, J. \"Christs de l'ancien Congo.\" <em>L'Artisan et les Arts Liturgiques</em> [special issue on Art chr\u00e9tien du Congo] 18, vol 4 (1949): 376.", "page_number": "Reproduced: p. 376, fig. 1", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 40-41, 54-58, 108.", "page_number": "Reproduced: p. 42; mentioned: pp. 40, 108 112, cat. 5", "url": null}], "url": "https://clevelandart.org/art/2010.445", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.445/2010.445_web.jpg", "width": "737", "height": "893", "filesize": "309190", "filename": "2010.445_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.445/2010.445_print.jpg", "width": "2807", "height": "3400", "filesize": "5656143", "filename": "2010.445_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.445/2010.445_full.tif", "width": "3953", "height": "4787", "filesize": "56812120", "filename": "2010.445_full.tif"}}, "alternate_images": [{"date_created": "2011-05-16T14:26:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.445/2010.445_alt0_web.jpg", "width": "777", "height": "893", "filesize": "344159"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.445/2010.445_alt0_print.jpg", "width": "2958", "height": "3400", "filesize": "6167111"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.445/2010.445_alt0_full.tif", "width": "3801", "height": "4368", "filesize": "49849860"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168740, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Crucified Christ (Fragment of a Crucifix)"], "is_highlight": false, "updated_at": "2026-03-27 00:06:17.349000"}, {"id": 693461, "accession_number": "2025.149", "share_license_status": "CC0", "tombstone": "The Exit, 1894. F\u00e9lix Vallotton (Swiss French, 1865\u20131925). India ink and graphite on paper; sheet: 36.2 x 26.4 cm (14 1/4 x 10 3/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2025.149", "current_location": null, "title": "The Exit", "creation_date": "1894", "creation_date_earliest": 1894, "creation_date_latest": 1894, "artists_tags": ["Nabis", "male"], "culture": ["France"], "technique": "India ink and graphite on paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 36.2 x 26.4 cm (14 1/4 x 10 3/8 in.)", "dimensions": {"sheet": {"height": 0.362, "width": 0.264}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>F\u00e9lix Vallotton: A Retrospective. </em>Yale University, New Haven, CT (1992), Museum of Fine Arts, Houston, Houston, TX (1992), Van Gogh Museum, Amsterdam, Netherlands (1992), Mus\u00e9e Cantonal, Lausanne, Switzerland (1992).", "opening_date": "1992-01-01T05:00:00Z"}, {"description": "<em>Background to Modernism: Prints and Drawings, 1889\u20131906, </em>Mead Art Gallery, Amherst, MA (October 9\u2013November 16, 1979).", "opening_date": "1979-10-09T04:00:00Z"}, {"description": "<em>The Graphic Art of F\u00e9lix Vallotton. </em>Grunwald Graphic Arts Foundation, Los Angeles, CA (October 24\u2013November 19, 1972).", "opening_date": "1972-10-24T04:00:00Z"}, {"description": "<em>Neo-Impressionists and Nabis in the Collection of Arthur G. Altschul. </em>Yale University, New Haven, CT (1965).", "opening_date": "1965-01-01T05:00:00Z"}]}, "provenance": [{"description": "Private Collection", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Arthur G. Altschul [1920\u20132002], New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Galerie Hopkins, Paris, France", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "St\u00e9phane Custot, London, England", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Waddington Custot, London, England, sold to The Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?\u20132025", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 9, 2025\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was one of five that Vallotton created for reproduction in <em>Le Courrier Fran\u00e7ais</em> in 1894.", "description": "Swiss-born artist F\u00e9lix Vallotton was known for boldly graphic images that depicted\u2014often satirically\u2014the lives of the Parisian bourgeoisie. He used this style, which featured flat planes of black and white, to produce both woodcuts and illustrations for popular journals. This drawing was reproduced in an 1894 issue of the popular arts and culture weekly <em>Le Courrier Fran\u00e7ais. </em>It depicts a sea of top-hat-clad men and veiled women departing a Parisian theater, probably the Od\u00e9on, with a sense of chaos that belies their formal attire. Like many of his time, Vallotton was interested in the psychology of crowds and the impact of urban life on the inhabitants of modern cities like Paris.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Herbert, Robert L., and Yale University Art Gallery. Neo-Impressionists and Nabis in the Collection of Arthur G. Altschul. New Haven: Yale University Art Gallery, 1965.", "page_number": "", "url": ""}, {"citation": "Vallotton, Fe\u0301lix, Muse\u0301e cantonal des beaux-arts Lausanne, and Galerie Paul Vallotton. La Galerie Paul Vallotton SA a L\u2019honneur de Pre\u0301Senter, Du 19 Novembre 1992 Au 30 Janvier 1993, Une Se\u0301Lection d\u2019\u0152uvres de Fe\u0301Lix Vallotton. Lausanne: La Galerie, 1992.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2025.149", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.149/2025.149_web.jpg", "width": "664", "height": "900", "filesize": "253899", "filename": "2025.149_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.149/2025.149_print.jpg", "width": "2510", "height": "3400", "filesize": "3677891", "filename": "2025.149_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.149/2025.149_full.tif", "width": "8367", "height": "11336", "filesize": "284576494", "filename": "2025.149_full.tif"}}, "alternate_images": [], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 693461, "creators": [{"id": 8972, "description": "F\u00e9lix Vallotton (Swiss French, 1865\u20131925)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1865", "death_year": "1925", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-06-09T04:00:00Z", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "1894", "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": "2026-03-27 00:10:17.907000"}, {"id": 165427, "accession_number": "2007.277", "share_license_status": "CC0", "tombstone": "Vase Bertin, c. 1855. Jules-Constant Peyre (French, 1811\u20131870?), L\u00e9opold Jules G\u00e9ly (French), S\u00e8vres Porcelain Factory (French, est. 1756). Porcelain with p\u00e2te-sur-p\u00e2te decoration; diameter: 45.8 cm (18 1/16 in.); overall: 99 cm (39 in.). The Cleveland Museum of Art, Gift of Darrell, Steven, Brian and Neil Young in memory of their parents, Mardelle J. and Howard S. Young, 2007.277", "current_location": "221 19th Century Decorative Arts", "title": "Vase Bertin", "creation_date": "c. 1855", "creation_date_earliest": 1850, "creation_date_latest": 1890, "artists_tags": ["male", "gender unknown"], "culture": ["France, 19th century"], "technique": "porcelain with p\u00e2te-sur-p\u00e2te decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Diameter: 45.8 cm (18 1/16 in.); Overall: 99 cm (39 in.)", "dimensions": {"diameter": {"width": 0.458}, "overall": {"height": 0.99}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 223326, "title": "Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939", "description": "<i>Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (April 14-August 19, 2012); Carnegie Museum of Art, Pittsburgh, PA (October 13, 2012-February 24, 2013); New Orleans Museum of Art, New Orleans, LA (April 12-August 4, 2013); Mint Museum of Art, Charlotte, NC (September 21, 2013-January 19, 2014).", "opening_date": "2012-04-14T00:00:00"}], "legacy": [{"description": "The Nelson-Atkins Museum of Art, Kansas City (April 14-August 19, 2012), Carnegie Museum of Art, Pittsburgh (October 13, 2012-February 24, 2013), New Orleans Museum of Art (April 12-August 4, 2013), and the The Mint Museum, Charlotte (September 21, 2013-January 19, 2014):  \"Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939\"", "opening_date": "2012-04-14T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60758735"], "internet_archive": ["https://archive.org/details/clevelandart-2007.277-vase-bertin"]}, "citations": [{"citation": "\"Collections.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 53, no. 4 (July/August 2013): 16.", "page_number": "Mentioned and reproduced: p. 16", "url": "https://archive.org/details/CMAMM2013-04/page/n15/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 140", "url": ""}, {"citation": "\"A Walking Tour.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>54, no. 1 (January/February 2014): 8-33.", "page_number": "Mentioned and reproduced: p. 22", "url": "https://archive.org/details/CMAMM2014-01/page/n21/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 24", "url": ""}], "url": "https://clevelandart.org/art/2007.277", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2007.277/2007.277_web.jpg", "width": "622", "height": "893", "filesize": "42071", "filename": "2007.277_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2007.277/2007.277_print.jpg", "width": "2367", "height": "3400", "filesize": "422926", "filename": "2007.277_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2007.277/2007.277_full.tif", "width": "4416", "height": "6343", "filesize": "84066828", "filename": "2007.277_full.tif"}}, "alternate_images": [{"date_created": "2008-06-03T13:57:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt0_web.jpg", "width": "653", "height": "893", "filesize": "208963"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt0_print.jpg", "width": "2486", "height": "3400", "filesize": "3439155"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt0_full.tif", "width": "4574", "height": "6256", "filesize": "85882804"}}, {"date_created": "2008-06-03T14:39:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt1_web.jpg", "width": "624", "height": "893", "filesize": "207695"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt1_print.jpg", "width": "2374", "height": "3400", "filesize": "3289559"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt1_full.tif", "width": "4422", "height": "6333", "filesize": "84048544"}}, {"date_created": "2008-06-03T14:56:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt2_web.jpg", "width": "630", "height": "893", "filesize": "207135"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt2_print.jpg", "width": "2399", "height": "3400", "filesize": "3348848"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt2_full.tif", "width": "4419", "height": "6263", "filesize": "83066280"}}, {"date_created": "2008-06-03T15:26:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt3_web.jpg", "width": "1263", "height": "780", "filesize": "490557"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt3_print.jpg", "width": "3400", "height": "2101", "filesize": "3902154"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt3_full.tif", "width": "5458", "height": "3372", "filesize": "55244028"}}, {"date_created": "2008-06-03T15:51:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt4_web.jpg", "width": "1261", "height": "893", "filesize": "674159"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt4_print.jpg", "width": "3400", "height": "2408", "filesize": "4920687"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt4_full.tif", "width": "6668", "height": "4722", "filesize": "94489064"}}, {"date_created": "2008-06-03T16:04:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt5_web.jpg", "width": "1263", "height": "775", "filesize": "561940"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt5_print.jpg", "width": "3400", "height": "2087", "filesize": "4165628"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.277/2007.277_alt5_full.tif", "width": "6668", "height": "4092", "filesize": "81886936"}}], "creditline": "Gift of Darrell, Steven, Brian and Neil Young in memory of their parents, Mardelle J. and Howard S. Young", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165427, "creators": [{"id": 56824, "description": "Jules-Constant Peyre (French, 1811\u20131870?)", "extent": null, "qualifier": null, "role": "modeled by", "biography": null, "name_in_original_language": null, "birth_year": "1811", "death_year": "1870", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 56527, "description": "L\u00e9opold Jules G\u00e9ly (French)", "extent": null, "qualifier": null, "role": "decorated by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 11883, "description": "S\u00e8vres Porcelain Factory (French, est. 1756)", "extent": null, "qualifier": null, "role": "artist", "biography": "French national ceramic factory.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "c. 1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:15.975000"}, {"id": 124414, "accession_number": "1945.38", "share_license_status": "CC0", "tombstone": "The Peaceable Kingdom, c. 1816\u201318. Edward Hicks (American, 1780\u20131849). Oil on canvas; unframed: 47.6 x 59.7 cm (18 3/4 x 23 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1945.38", "current_location": null, "title": "The Peaceable Kingdom", "creation_date": "c. 1816\u201318", "creation_date_earliest": 1816, "creation_date_latest": 1818, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Unframed: 47.6 x 59.7 cm (18 3/4 x 23 1/2 in.)", "dimensions": {"unframed": {"height": 0.476, "width": 0.597}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 355645, "title": "Primitive Art and Folk Art", "description": "<i>Primitive Art and Folk Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 15-May 15, 1951).", "opening_date": "1951-03-15T05:00:00"}, {"id": 301477, "title": "In Memoriam: Leonard C. Hanna, Jr.", "description": "<i>In Memoriam: Leonard C. Hanna, Jr.</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 7, 1958).", "opening_date": "1958-03-04T05:00:00"}, {"id": 518483, "title": "Works of Edward Hicks", "description": "<i>Works of Edward Hicks</i>. Abby Aldrich Rockefeller Folk Art Center, Williamsburg, VA, Williamsburg, VA (organizer) (September 1-October 31, 1960).", "opening_date": "1960-09-01T04:00:00"}, {"id": 515995, "title": "Four Pennsylvania Self-Taught Artists: Edward Hicks, Joseph Pickett, John Kane, Horace Pippin", "description": "<i>Four Pennsylvania Self-Taught Artists: Edward Hicks, Joseph Pickett, John Kane, Horace Pippin</i>. Carnegie Museum of Art, Pittsburgh, PA (organizer) (October 21-December 4, 1966); Corcoran Gallery of Art, Washington, DC (January 6-February 19, 1967).", "opening_date": "1966-10-21T04:00:00"}, {"id": 445172, "title": "The Hand and the Spirit: Religious Art in America 1700 - 1900", "description": "<i>The Hand and the Spirit: Religious Art in America 1700 - 1900</i>. University of California, Berkeley. University Art Museum, Berkeley, CA (organizer) (June 28-August 27, 1972); National Collection of Fine Arts, Washington, DC (September 29-November 15, 1972); The Dallas Museum of Art, Dallas, TX (December 10, 1972-January 14, 1973); Indianapolis Museum of Art, Indianapolis, IN (February 20-April 15, 1973).", "opening_date": "1972-06-28T04:00:00"}, {"id": 218334, "title": "The Kingdoms of Edward Hicks", "description": "<i>The Kingdoms of Edward Hicks</i>. Abby Aldrich Rockefeller Folk Art Center, Williamsburg, VA (February 5-September 5, 1999); Philadelphia Museum of Art, Philadelphia, PA (October 10, 1999-January 2, 2000); Denver Art Museum, Denver, CO (February 5-April 30, 2000); Fenimore Art Museum, Cooperstown, NY (June 3-September 4, 2000); Fine Arts Museums of San Francisco, de Young Museum, San Francisco, CA (September 24, 2000-January 7, 2001).", "opening_date": "1999-02-05T00:00:00"}], "legacy": [{"description": "Philadelphia, Friends Historical Association (1944).", "opening_date": "1944-01-01T00:00:00"}, {"description": "Akron, OH, Akron Art Institute, 40 American Painters: A Survey of American Painting from Colonial to Modern Times (December, 1945), illus. cat. no. 6.", "opening_date": "1945-12-01T00:00:00"}, {"description": "Cincinnati, OH, Cincinnati Art Museum, Rediscoveries in American Painting (3 October-6 November 1955), cat. no. 55, listed p. 26, not illus.", "opening_date": "1955-10-03T00:00:00"}, {"description": "Oberlin, OH, Allen Memorial Art Museum, Anniversary Exhibition of Oberlin College (15-30 October 1958).", "opening_date": "1958-10-15T00:00:00"}, {"description": "Phoenix, AZ, Phoenix Art Museum, Animals, Real and Imaginary (15 November-1 March 1960)", "opening_date": "1960-11-15T00:00:00"}, {"description": "Williamsburg, VA, Abby Aldrich Rockefeller Folk Art Collection, Edward Hicks 1780-184 9: A Special Exhibition Devoted to His Life and Work (30 September-30 October 1960), illus. cat. no. 5, p. 10.", "opening_date": "1960-09-30T00:00:00"}, {"description": "Pittsburgh, PA, Carnegie Institute Museum of Art, Hicks, Kane, Pippin: Three Self-Taught Pennsylvania Artists (21 October-4 December 1966); traveled to Washington, DC, The Corcoran Gallery of Art (6 January -19 February 1967); illus. cat. no. 1, dates the work c. 1820.", "opening_date": "1966-10-21T00:00:00"}, {"description": "Berkeley, University of California Art Museum, The Hand and the Spirit: Religious Art in America 1700-1900 (28 June-27 August 1972); traveled to Washington, DC, National Collection of Fine Arts (29 September-5 November 1972); to Dallas, Dallas Museum of Fine Arts (10 December 1972-14 January 1973); to Indianapolis, Indianapolis Museum of Art (20 February-15 April 1973); cat. no. 37; not illustrated; dated c. 1820-1830.", "opening_date": "1972-06-28T00:00:00"}, {"description": "New York, NY, Andrew Crispo Gallery, Edward Hicks: A Gentle Spirit (text by Eleanore Price Mather), (May 16-June 28 1975).", "opening_date": "1975-06-28T00:00:00"}, {"description": "Cleveland, Cleveland Museum of Art, American Folk Art from the Traditional to the Naive (4 October-24 December 1978); illus. cat. no. 57, p. 86.", "opening_date": "1978-10-04T00:00:00"}, {"description": "Williamsburg, VA, The Colonial Williamsburg Foundation, Abby Aldrich Rockefeller Folk Art Center, The Kingdoms of Edward Hicks (5 February-5 September 1999); traveled to Philadelphia, Philadelphia Museum of Art (10 October 1999-2 January 2000); to Denver, Denver Art Museum (5 February-30 April 2000); to new York, NYSHA Fenimore Museum (3 June-6 September 2000); to San Francisco, Folk Art Museum of San Francisco and de Young (24 September 2000-7 January 2001), illus. no. 28, p. 52, dated 1816-1818; details illus. nos. 79, 80, p. 91, no. 81, p. 92, listed in checklist, no. 1, p. 189.", "opening_date": "1999-02-05T00:00:00"}]}, "provenance": [{"description": "Hayhurst Family, Lambertville, NJ; Lewis's Antique Shop (Lewis Steinberg and David Y. Ellinger), Hatboro, PA [dealer]; John E. Abbott, New York, NY; Edith Gregor Halpert (The Downtown Gallery), New York, NY [dealer]; Valentine Galleries, New York, NY [dealer]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hicks painted more than 60 versions of the Peaceable Kingdom, and this example is likely the first.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515158"], "internet_archive": ["https://archive.org/details/clevelandart-1945.38-the-peaceable-kingdo"]}, "citations": [{"citation": "Schwartz, Sanford. <em>On Edward Hicks.</em> (Seattle, WA: 2021).", "page_number": "Mentioned PP. 89-90, 92, 102-104, 146; reproduced P. 89, 103 (detail)", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 531", "url": "https://archive.org/details/CMAHandbook1958/page/n98"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1966/page/n208"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}], "url": "https://clevelandart.org/art/1945.38", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1945.38/1945.38_web.jpg", "width": "1138", "height": "893", "filesize": "846081", "filename": "1945.38_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1945.38/1945.38_print.jpg", "width": "3400", "height": "2669", "filesize": "7970522", "filename": "1945.38_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1945.38/1945.38_full.tif", "width": "5735", "height": "4503", "filesize": "77502560", "filename": "1945.38_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1945.38/1945.38_alt0_web.jpg", "width": "1148", "height": "893", "filesize": "940239"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1945.38/1945.38_alt0_print.jpg", "width": "1975", "height": "1536", "filesize": "2859040"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1945.38/1945.38_alt0_full.tif", "width": "1975", "height": "1536", "filesize": "9104052"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124414, "creators": [{"id": 2593, "description": "Edward Hicks (American, 1780\u20131849)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1780", "death_year": "1849", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1945-04-30T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "c. 1816\u201318", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:20.045000"}, {"id": 172948, "accession_number": "1947.2609", "share_license_status": "CC0", "tombstone": "The Cowherdess, Eragny, 1886. Camille Pissarro (French, 1830\u20131903). Crayon; sheet: 43.6 x 29.1 cm (17 3/16 x 11 7/16 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1947.2609", "current_location": null, "title": "The Cowherdess, Eragny", "creation_date": "1886", "creation_date_earliest": 1886, "creation_date_latest": 1886, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 19th century"], "technique": "crayon", "support_materials": [{"description": "cream(3) modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 43.6 x 29.1 cm (17 3/16 x 11 7/16 in.)", "dimensions": {"sheet": {"height": 0.436, "width": 0.291}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left, in blue crayon: 39A", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 310038, "title": "The Graphic Art of the Barbizon School", "description": "<i>The Graphic Art of the Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-May 17, 1987).", "opening_date": "1987-03-17T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "<em>Nineteenth Century Master Drawings. </em>Newark Museum (March 16 - April 30, 1961).", "opening_date": "1961-03-16T00:00:00"}, {"description": "CMA, Treasures on Paper (May 10-July 24, 1988).", "opening_date": "1988-05-10T00:00:00"}, {"description": "CMA, National Schools of Style (June 14-Sep. 18, 1983).", "opening_date": "1983-06-14T00:00:00"}, {"description": "CMA, Idea to Image: Preparatory Studies from the Renaissance to Impressionism (1980), pp. 35, 38-9, illus.", "opening_date": "1980-01-01T00:00:00"}, {"description": "CMA, 17th and 18th Century Genre and French Drawings (May 31-Aug. 19, 1979).", "opening_date": "1979-05-31T00:00:00"}, {"description": "CMA, \"Gallery J--Drawings\" (July 29, 1975-Feb. 1976?) (is among a list of drawings in Gallery J, this list being found at the end of a list of prints that were in other galleries from July 29, 1975-Feb. 1976 for a little show called \"The Vocabulary of Prints\"--see exhs. file).", "opening_date": "1975-07-29T00:00:00"}, {"description": "CMA, \"Gallery List of Drawings\" (Dec. 1, 1970-Jan. 31, 1971; re-opened Mar. 16, 1971).", "opening_date": "1970-12-01T00:00:00"}, {"description": "Bloomington, Indiana University Fine Arts Museum, Nineteenth Century French Drawings (cat.: The Academic Tradition) (June 19-Aug. 1968), no. 78, illus.", "opening_date": "2019-06-01T00:00:00"}, {"description": "CMA, 19th and 20th Century Drawings (Feb. 19-Mar. 24, 1965).", "opening_date": "1965-02-19T00:00:00"}, {"description": "Ann Arbor, University of Michigan Museum of Art, A Generation of Draughtsmen (or, French Drawings of the 1880s?) (Apr. 22 (or 25?)-May 29, 1962).", "opening_date": "1962-05-29T00:00:00"}, {"description": "CMA, \"Drawings from the Collection\" (\"rearranged Jan. 21, 1953\").", "opening_date": "1953-01-21T00:00:00"}]}, "provenance": [{"description": "estate of the artist (Lugt Suppl. 613a, lower right, in black ink).  Lucien Pissarro, London (according to department card and Shoolman and Slatkin 1950, p. 170)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2609.1947"], "did_you_know": null, "description": "This drawing of a peasant girl seen from the back with her bodice cinched at the waist was a study for a figure who appeared in an oil painting, Vach\u00e8re \u00e0 Eragny, 1886, and later in a watercolor of a fan painted in 1890. In a letter to his son, Pissarro mentioned being particularly pleased with the figure.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117230201"], "internet_archive": ["https://archive.org/details/clevelandart-1947.2609-the-cowherdess-eragn"]}, "citations": [{"citation": "Francis, Henry. \"A Black Crayon Drawing by Camille Pissarro.\" <em>The Bulletin of the Cleveland Museum of Art </em>35, no. 6 (June 1948): 103-104.", "page_number": "Reproduced: front cover; Mentioned: p. 103", "url": "https://www.jstor.org/stable/25141468"}, {"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. 603", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1966/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 174", "url": "https://archive.org/details/CMAHandbook1969/page/n198"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 215", "url": "https://archive.org/details/CMAHandbook1978/page/n235"}], "url": "https://clevelandart.org/art/1947.2609", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.2609/1947.2609_web.jpg", "width": "610", "height": "900", "filesize": "154163", "filename": "1947.2609_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.2609/1947.2609_print.jpg", "width": "2306", "height": "3400", "filesize": "2040777", "filename": "1947.2609_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.2609/1947.2609_full.tif", "width": "5152", "height": "7596", "filesize": "117431656", "filename": "1947.2609_full.tif"}}, "alternate_images": [{"date_created": "2015-02-19T13:20:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2609/1947.2609_alt0_web.jpg", "width": "613", "height": "900", "filesize": "125401"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2609/1947.2609_alt0_print.jpg", "width": "2314", "height": "3400", "filesize": "2145440"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.2609/1947.2609_alt0_full.tif", "width": "5164", "height": "7587", "filesize": "117564396"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 172948, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "1886", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Shepherdess"], "is_highlight": false, "updated_at": "2026-03-27 00:09:59.810000"}, {"id": 154245, "accession_number": "1988.58", "share_license_status": "CC0", "tombstone": "Child's Throne, 1822. Pierre-Marie Balny le Jeune (French, 1832). Carved and gilded wood, leather upholstery; overall: 84 x 45.1 x 42 cm (33 1/16 x 17 3/4 x 16 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1988.58", "current_location": null, "title": "Child's Throne", "creation_date": "1822", "creation_date_earliest": 1822, "creation_date_latest": 1822, "artists_tags": ["male"], "culture": ["France, Paris"], "technique": "carved and gilded wood, leather upholstery", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 84 x 45.1 x 42 cm (33 1/16 x 17 3/4 x 16 9/16 in.)", "dimensions": {"overall": {"height": 0.84, "width": 0.451, "depth": 0.42}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed with stencils inside back rail: BLONDEL TAPISSIER/RUE ST.  ANTOINE N 72 \r\n                                                                         1822\r\ninscribed in ink lower edge back rail: 12 JANVIER 18[22?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 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": "made for Henri V, last of the direct Bourbon line (b. 1820).  (Mrs. Caroline Imbert, Zurich).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This chair was made for the young, presumed successor to the French throne who ruled briefly as Henri V in 1830, the last of the direct Bourbon line. He is depicted at the center of the top rail protected by female figures representing France and Minerva, the Roman goddess of wisdom. Fleurs-de-lis and the Gallic rooster, symbols of French royalty and the French people, decorate the upholstery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941023"], "internet_archive": ["https://archive.org/details/clevelandart-1988.58-child-s-throne"]}, "citations": [{"citation": "\u201cThe Year in Review for 1988.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 76, no. 2 (February 1989): 30\u201375.", "page_number": "Reproduced: p. 60; Mentioned: p. 68, no. 18", "url": "http://www.jstor.org/stable/25160061"}], "url": "https://clevelandart.org/art/1988.58", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.58/1988.58_web.jpg", "width": "656", "height": "893", "filesize": "333000", "filename": "1988.58_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.58/1988.58_print.jpg", "width": "2497", "height": "3400", "filesize": "4929853", "filename": "1988.58_print.jpg"}, "full": {"url": 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"https://openaccess-cdn.clevelandart.org/alternate/1988.58/1988.58_alt36_print.jpg", "width": "2494", "height": "3400", "filesize": "1010123"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.58/1988.58_alt36_full.tif", "width": "3504", "height": "4776", "filesize": "50228768"}}, {"date_created": "2012-01-23T16:56:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.58/1988.58_alt37_web.jpg", "width": "655", "height": "893", "filesize": "85282"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.58/1988.58_alt37_print.jpg", "width": "2494", "height": "3400", "filesize": "994599"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.58/1988.58_alt37_full.tif", "width": "3504", "height": "4776", "filesize": "50228868"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154245, "creators": [{"id": 5810, "description": "Pierre-Marie Balny le Jeune (French, 1832)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "death_year": "1832", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1988-09-22T00:00:00", "sortable_date": 1822, "date_added_to_oa": null, "date_text": "1822", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:09.648000"}, {"id": 121283, "accession_number": "1942.1153", "share_license_status": "CC0", "tombstone": "Portrait of a Young Man, c. 1805. Andrew Plimer (British, 1763\u20131837). Watercolor on ivory in original gold frame; framed: 8.3 x 7 cm (3 1/4 x 2 3/4 in.); unframed: 7.9 x 6.5 cm (3 1/8 x 2 9/16 in.). The Cleveland Museum of Art, The Edward B. Greene Collection, 1942.1153", "current_location": null, "title": "Portrait of a Young Man", "creation_date": "c. 1805", "creation_date_earliest": 1800, "creation_date_latest": 1810, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor on ivory in original gold frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 8.3 x 7 cm (3 1/4 x 2 3/4 in.); Unframed: 7.9 x 6.5 cm (3 1/8 x 2 9/16 in.)", "dimensions": {"framed": {"height": 0.083, "width": 0.07}, "unframed": {"height": 0.079, "width": 0.065}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscription at lower left indiscernible\r\nlabel at top of back: 266", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": [{"description": "<em>Main Gallery Rotation (Gallery 202), </em>The Cleveland Museum of Art, Cleveland, OH (January 5, 2009 - April 6, 2009).", "opening_date": "2009-01-05T00:00:00"}]}, "provenance": [{"description": "(Leo Schidlof (1886-1966), Paris, France, sold to Edward B. Greene)", "citations": [], "footnotes": [], "date": "-1928", "sortorder": null}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1928-1942", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This sitter has been traditionally identified as a member of the famous Baring banking family although which brother we are unsure.", "description": "This miniature is an extremely fi ne example of Andrew Plimer\u2019s mature work. Painted around 1805, the artist eschews the Richard Cosway-esque blue sky background he so often adopted for an elaborate network of crosshatching over a rich brown ground, into which the sitter almost dissolves. He has gray eyes and light brown hair and wears a grayish-brown coat and a white collar. His gaze firmly meets that of the viewer. The painting is housed in its original gold frame, the verso of which has a curl of light brown hair fastened with a band of pearls on white opalescent glass under clear glass. There is also a paper label of unknown origin at the top, on which is written \u201c226.\u201d The sitter\u2019s hair is worn \u00e0 l\u2019antique (hair cut short and worn in curls, especially around the forehead), a style sported by men after the turn of the century that harks back to the coiffures of statesmen of ancient Rome.1 In addition, this sitter\u2019s brown hair is completely unpowdered, as was fashionable among young men at the turn of the century. The hair is beautifully delineated by small, undulating parallel lines. <br>This sitter has been traditionally identified as a member of the famous Baring banking family. There is a miniature portrait of Thomas Baring (1772\u20131848) painted by George Engleheart (1752\u20131829) in 1803 in the museum\u2019s collection. His brother George Baring (1781\u20131854) was also painted by Engleheart around 1805. The young man in this portrait by Plimer might also be one of the other three Baring brothers: Alexander, 1st Baron Ashburton (1774\u20131848), Henry (1776\u20131848), or William (1779\u20131820). Of the four brothers with extant portraits, the Plimer sitter bears the closest resemblance to Alexander because of his piercing, narrow eyes. Yet the c. 1810 portrait of Alexander by Thomas Lawrence is too dissimilar, having features that could not have been the product of an intervening period of only five years. Since it does not bear a striking likeness to any of these extant portraits, this miniature cannot be definitively identified as a member of the Baring family. Both of the Baring family portrait miniatures in Cleveland\u2019s <br>collection were purchased by Edward Greene from the dealer Leo Schidlof on 6 August 1928, suggesting that they may have come from the same collection before entering into Schidlof\u2019s hands.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80017088"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1153-portrait-of-a-young"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Portrait Miniatures: The Edward B. Greene Collection. </em>Cleveland, OH: The Cleveland Museum of Art,1951.", "page_number": "Reproduced: no. 27, pl. XXI", "url": "https://archive.org/details/PortraitMiniatures/page/n67"}, {"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 300", "url": ""}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives.</em> 2013.", "page_number": "Mentioned: p.83", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl. <em>British Portrait Miniatures: The Cleveland Museum of Art.</em> 2013.", "page_number": "Cat. no. 58, pp. 229231", "url": ""}], "url": "https://clevelandart.org/art/1942.1153", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1153/1942.1153_web.jpg", "width": "670", "height": "893", "filesize": "88319", "filename": "1942.1153_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1153/1942.1153_print.jpg", "width": "2550", "height": "3400", "filesize": "1043777", "filename": "1942.1153_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1153/1942.1153_full.tif", "width": "6000", "height": "8000", "filesize": "144022032", "filename": "1942.1153_full.tif"}}, "alternate_images": [{"date_created": "2008-01-02T18:23:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt0_web.jpg", "width": "622", "height": "893", "filesize": "359638"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt0_print.jpg", "width": "2370", "height": "3400", "filesize": "4222893"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt0_full.tif", "width": "3784", "height": "5429", "filesize": "61661484"}}, {"date_created": "2008-10-07T17:27:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt1_web.jpg", "width": "706", "height": "893", "filesize": "389952"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt1_print.jpg", "width": "2687", "height": "3400", "filesize": "4566204"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt1_full.tif", "width": "3552", "height": "4495", "filesize": "47929936"}}, {"date_created": "2013-02-08T19:10:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt2_web.jpg", "width": "670", "height": "893", "filesize": "95368"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "1072236"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1153/1942.1153_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144021872"}}], "creditline": "The Edward B. Greene Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121283, "creators": [{"id": 3718, "description": "Andrew Plimer (British, 1763\u20131837)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born the sons of a clockmaker, Nathaniel Plimer and his younger brother Andrew initially trained in their father's profession, although they grew restless with this trade, and ran off to live with Gypsies for two years. By 1781, they were together in London, and determined to practice art. Both took up residence with established artists. Nathaniel worked as a servant to the enamellist, Henry Bone, whereas Andrew became the valet to the portrait and miniature painter, Richard Cosway. \r\n\r\nCosway discovered Andrew copying one of his miniatures and introduced him to miniature painting. Andrew assimilated his master's airy execution and adapted Cosway's linear brushwork which leaves much of the bare ivory visible. He also employed Cosway's use of large, expressive eyes which made his miniatures appear soulfully elegant, earning him high praise amongst legions of admirers. A quick study, Andrew set up his own studio by 1786 and he exhibited regularly at the Royal Academy of Arts from 1786-1830. \r\n\r\nAndrew Plimer's works fall into two phases. In the first, his sitters appear more naturalistically rendered than those painted after around 1789. During the earlier period he frequently included his initials, \"A.P.,\" on the front of the miniature, followed by a date. By contrast, he did not sign or date works in the second phase. Furthermore, in Andrew's second phase of work, he reduced his palette and perhaps due to his high output, sitters share many visual characteristics; in particular, his women have elongated necks, long noses and large appealing eyes.", "name_in_original_language": null, "birth_year": "1763", "death_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-31T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c. 1805", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:54.594000"}, {"id": 138880, "accession_number": "1963.251", "share_license_status": "CC0", "tombstone": "Satyress and Child, 1803. Clodion (French, 1738\u20131814). Terracotta; diameter: 30.7 cm (12 1/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Ralph King, 1963.251", "current_location": null, "title": "Satyress and Child", "creation_date": "1803", "creation_date_earliest": 1803, "creation_date_latest": 1803, "artists_tags": ["male"], "culture": ["France, early 19th Century"], "technique": "terracotta", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Diameter: 30.7 cm (12 1/16 in.)", "dimensions": {"diameter": {"height": 0.307}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed recto lower right:  CLODION; inscribed verso:  A/L'ami Jean/Souvenir offert/ en mai/ 1803.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 304705, "title": "Neo-classicism: Style and Motif", "description": "<i>Neo-classicism: Style and Motif</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 23-October 31, 1964).", "opening_date": "1964-09-23T04:00:00"}, {"id": 310227, "title": "The Persistence of Classicism in Sculpture", "description": "<i>The Persistence of Classicism in Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1988-January 15, 1989).", "opening_date": "1988-11-16T05:00:00"}], "legacy": []}, "provenance": [{"description": "Henri B.-Lasquin (sold, Paris, H\u00f4tel Drouot, December 4-6, 1919, lot. 240", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Private collection, (sold, Paris, Galerie Georges Petit, December 5, 1929, lot 25", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Blumka Gallery (New York, New York), by exchange for 1915.387, 1915.72, and 1915.74 (all originally gift of Mr. and Mrs. Ralph E. King) , to the Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An invention of European artists of the post-Roman period, a satyress is the female equivalent of the male satyr in classical antiquity. Part human and part goat or horse, the satyress can be recognized by her animal legs and hoofs.", "description": "Born in Nancy to a family of artists, Clodion was one of the leading French sculptors of the ancien r\u00e9gime and Napoleonic era. He went to Paris to study sculpture in 1755 and worked in Rome from 1767 to 1771. Although inspired by the art of classical antiquity, as seen in the mythological subject of this terracotta relief, Clodion continued to model forms with a softness and delicacy reflective of his training during the Rococo period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80035054"], "internet_archive": ["https://archive.org/details/clevelandart-1963.251-satyress-and-child"]}, "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. 157", "url": "https://archive.org/details/CMAHandbook1966/page/n181"}, {"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. 157", "url": "https://archive.org/details/CMAHandbook1969/page/n181"}, {"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. 188", "url": "https://archive.org/details/CMAHandbook1978/page/n208"}, {"citation": "Ditner, David Charles. <em>Seventeenth and Eighteenth Century European Sculpture in the Cleveland Museum of Art</em>. 1986.", "page_number": "Reproduced: p. 224", "url": null}], "url": "https://clevelandart.org/art/1963.251", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1963.251/1963.251_web.jpg", "width": "910", "height": "893", "filesize": "560471", "filename": "1963.251_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1963.251/1963.251_print.jpg", "width": "3400", "height": "3335", "filesize": "6943975", "filename": "1963.251_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1963.251/1963.251_full.tif", "width": "4823", "height": "4731", "filesize": "68509460", "filename": "1963.251_full.tif"}}, "alternate_images": [{"date_created": "2010-01-06T19:40:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1963.251/1963.251_alt0_web.jpg", "width": "965", "height": "893", "filesize": "577759"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1963.251/1963.251_alt0_print.jpg", "width": "3400", "height": "3147", "filesize": "7908623"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1963.251/1963.251_alt0_full.tif", "width": "5260", "height": "4869", "filesize": "76866332"}}], "creditline": "Gift of Mr. and Mrs. Ralph King", "image_credit": null, "sketchfab_id": "dc9d463388b948b6a06e065191a1e751", "sketchfab_url": "https://sketchfab.com/models/dc9d463388b948b6a06e065191a1e751", "gallery_donor_text": null, "athena_id": 138880, "creators": [{"id": 8537, "description": "Clodion (French, 1738\u20131814)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1738", "death_year": "1814", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1963-05-11T00:00:00", "sortable_date": 1803, "date_added_to_oa": null, "date_text": "1803", "collapse_artists": false, "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": true, "updated_at": "2026-04-10 07:01:26.602000"}, {"id": 143141, "accession_number": "1967.126", "share_license_status": "CC0", "tombstone": "Madame Case, after September 1900, probably summer 1901. Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906). Oil on fabric; unframed: 46.2 x 38.1 cm (18 3/16 x 15 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1967.126", "current_location": null, "title": "Madame Case", "creation_date": "after September 1900, probably summer 1901", "creation_date_earliest": 1900, "creation_date_latest": 1901, "artists_tags": ["male"], "culture": ["France, late 19th-early 20th Century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 46.2 x 38.1 cm (18 3/16 x 15 in.)", "dimensions": {"unframed": {"height": 0.462, "width": 0.381}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed sgraffito into paint at bottom left: Eug\u00e8ne Carri\u00e8re en toute affection \u00e0 Jules Case\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 517862, "title": "Eugene Carriere Retrospective", "description": "<i>Eugene Carriere Retrospective</i>. High Museum of Art, Atlanta, GA (November 2, 1968-January 26, 1969); Allentown Art Museum, Allentown, PA (organizer) (November 2, 1968-January 26, 1969); Akron Art Museum, Akron, OH (February 16-August 3, 1969); Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (November 15, 1969-January 11, 1970); Minneapolis Institute of Art, Minneapolis, MN (February 22-April 5, 1970).", "opening_date": "1968-11-02T05:00:00"}], "legacy": [{"description": "Allentown (Pa.) Art Museum; Atlanta, High Museum of Art; Akron (Ohio) Art Institute; San Francisco, California Palace of the Legion of Honor; Minneapolis Institute of Art. Eug\u00e8ne Carri\u00e8re 1849-1906: Seer of the Real (1969-70), no. 4 (repr.).", "opening_date": "1906-01-01T00:00:00"}]}, "provenance": [{"description": "Commissioned by Jules Case, Paris, after the death of his wife, 1900. Brook St. Gallery Ltd., London. Bought by the CMA in 1967.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The painting evokes an illusory, dreamy quality that may reflect the fact that Carri\u00e8re never met his model.", "description": "This painting may depict the wife of the artist's close friend, writer Jules Case. In a letter written after her death, Case asked the artist to paint her portrait from an enlarged photograph. \"My dear friend,\" Case wrote, \"would you preserve the only face which, from now on, can bring me some little joy, if one can use this word for a sentiment mixed with so much suffering.\" Carri\u00e8re emphasized the poetic mood by placing the shadowy figure in a vague, dreamlike space. Known for his evocative paintings of women and children, Eug\u00e8ne Carri\u00e8re was loosely associated with the French Symbolist movement, which aimed at expressing inner, spiritual life and emotions rather than the outward appearance of physical reality.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469743"], "internet_archive": ["https://archive.org/details/clevelandart-1967.126-madame-case"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 324; Mentioned: p. 343, no. 51", "url": "http://www.jstor.org/stable/25152183"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 179", "url": "https://archive.org/details/CMAHandbook1969/page/n203"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 218", "url": "https://archive.org/details/CMAHandbook1978/page/n238"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 104-105, Vol. I, no. 39", "url": ""}], "url": "https://clevelandart.org/art/1967.126", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.126/1967.126_web.jpg", "width": "740", "height": "893", "filesize": "120419", "filename": "1967.126_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.126/1967.126_print.jpg", "width": "2816", "height": "3400", "filesize": "2535356", "filename": "1967.126_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.126/1967.126_full.tif", "width": "4807", "height": "5803", "filesize": "83706944", "filename": "1967.126_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.126/1967.126_alt0_web.jpg", "width": "749", "height": "893", "filesize": "600735"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.126/1967.126_alt0_print.jpg", "width": "1536", "height": "1832", "filesize": "2817455"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.126/1967.126_alt0_full.tif", "width": "1536", "height": "1832", "filesize": "8444972"}}, {"date_created": "2013-05-21T17:41:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.126/1967.126_alt1_web.jpg", "width": "826", "height": "893", "filesize": "137216"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.126/1967.126_alt1_print.jpg", "width": "3146", "height": "3400", "filesize": "2115253"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.126/1967.126_alt1_full.tif", "width": "6000", "height": "6484", "filesize": "116733904"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143141, "creators": [{"id": 1739, "description": "Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Carri\u00e8re grew up in Strasbourg, the sixth of seven children in a working-class family. He attended the city's academy in 1862 and two years later worked as a commercial lithographer. In 1869 Carri\u00e8re moved to Paris, where he discovered the art of the Old Masters, Rubens in particular, which influenced his decision to become an artist. He entered the \u00c9cole des Beaux-Arts and studied under one of the foremost academic painters, Alexandre Cabanel (1823-1889). His training was suspended, however, with the outbreak of the Franco-Prussian War (1870-71). Shortly after enlisting, he was captured by the Germans and taken to Dresden where he was held prisoner for one year. At the end of the war he returned to Paris to resume his studies under Cabanel, and to support himself he worked for a lithographer friend, Jules Ch\u00e9ret (1836-1932). Carri\u00e8re's painting career took off slowly, and in the Salons of 1876, 1877, and 1878 his paintings received little recognition. In 1878 he married Sophie Desmonceaux (with whom he would have seven children), and the couple spent six months in London where he discovered the works of Turner (q.v.). Back in Paris, he spent the next decade working odd jobs, most often in printshops in order to sustain his family. Through his brother, a ceramist, Carri\u00e8re began working in 1880 for the S\u00e8vres porcelain factory and there met sculptor Auguste Rodin (1840-1917). This friendly and steady associ-ation inspired each artist's work. In 1879 Carri\u00e8re had painted his first maternit\u00e9 entitled Jeune m\u00e8re (Mus\u00e9e Calvet, Avignon), a subject to which he would return throughout his career. His success as a painter began at the Salon of 1884 when his entry received an honorable mention. His good fortune continued with awards at the Salons of 1885 and 1887. Two years later, a medal at the Universal Exposition and the Legion of Honor indicated how well his work was received by critics, artists, and writers. From 1890 through 1897, Carri\u00e8re lived his most fruitful years as an artist, began making lithographs, and frequently traveled abroad. He was connected with most of the important critics and avant-garde artists of the time, such as Bonnard (q.v.), Gauguin (q.v.), Vuillard (q.v.), Maurice Denis (1870-1943), and Paul S\u00e9rusier (1864-1927). He was also admired by the symbolists for the dreamlike quality of his paintings. In 1890 he associated himself with Meissonier (q.v.), Rodin, F\u00e9lix Bracquemond (1833-1914), and Puvis de Chavannes (q.v.), who founded the Soci\u00e9t\u00e9 Nationale des Beaux-Arts in opposition to the official system of the Salon des Artistes Fran\u00e7ais. In 1903, in an effort to oppose restrictive rules of the Soci\u00e9t\u00e9 Nationale, Carri\u00e8re established a new salon, the Salon d'Automne, and was named its president.", "name_in_original_language": null, "birth_year": "1849", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-10-27T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "after September 1900, probably summer 1901", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Madame C."], "is_highlight": false, "updated_at": "2026-03-27 00:03:10.488000"}, {"id": 155627, "accession_number": "1990.70", "share_license_status": "CC0", "tombstone": "Poet Fisherman (\uc7a5\uc9c0\ud654 \uc5b4\ubd80\uc0ac (\u5f35\u5fd7\u548c\u6f01\u7236\u8a5e)), 1800s. Korea, Joseon dynasty (1392\u20131910). Album leaf from a set; ink and color on silk; overall: 22.5 x 24 cm (8 7/8 x 9 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1990.70", "current_location": null, "title": "Poet Fisherman", "title_in_original_language": "\uc7a5\uc9c0\ud654 \uc5b4\ubd80\uc0ac (\u5f35\u5fd7\u548c\u6f01\u7236\u8a5e)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "album leaf from a set; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Overall: 22.5 x 24 cm (8 7/8 x 9 7/16 in.)", "dimensions": {"overall": {"height": 0.225, "width": 0.24}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5c45\u6c5f\u6e56\u81ea\u7a31\u70df\u6ce2\u91e3\u5f92\n\u5782\u91e3\uf967\u5f79\u990c\n\u5fd7\u4e0d\u5728\u9b5a\u4e5f", "inscription_translation": "inscription in upper right.", "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 120)</em>. The Cleveland Museum of Art, Cleveland, OH (July 22-October 26, 2003).", "opening_date": "2003-07-22T00:00:00"}]}, "provenance": [{"description": "(Kang Collection, New York, NY, sold to the Cleveland)", "citations": [], "footnotes": null, "date": "?\u20131990", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1990\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The lid that covers a tall crackle-patterned jar is a large lotus leaf.", "description": "This album leaf depicts the 8th-century Chinese official and Daoist scholar Zhang Zhihe sitting on a raft buffeted by waves. He drinks wine from a small cup, and gazes up at a crane flying above him. Behind him are two large jars, one covered with an overturned lotus leaf. The handle of a ladle emerges from the other. His fishing rod is balanced at his side, but its line is twisted uselessly. Based on its iconography, the painting is likely modeled after an image from an illustrated woodblock edition of the Chinese text <em>Liexian Zuan</em> (Biographies of Exemplary Immortals).<br><br>The biographical inscription above him reads, \"he is a recluse among the rivers and lakes. He calls himself \u2018Fishing Disciple Amidst Mists and Waves.\u2019 He is always fishing without bait for Zhi has no need for fish.\" A rectangular seal in relief appears to the right of the inscription, while a square seal in relief appears to the left. Neither is legible.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476532"], "internet_archive": ["https://archive.org/details/clevelandart-1990.70-poet-fisherman"]}, "citations": [{"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Mentioned andReproduced: pp. 44\u201345, no. 22", "url": ""}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Narrative Figure Paintings of the Joseon Dynasty</em> [\uc870\uc120 \uc2dc\ub300 \uace0\uc0ac \uc778\ubb3c\ud654]. Seoul: National Museum of Korea, 2016.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 185, no. 115", "url": ""}], "url": "https://clevelandart.org/art/1990.70", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.70/1990.70_web.jpg", "width": "947", "height": "893", "filesize": "703508", "filename": "1990.70_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.70/1990.70_print.jpg", "width": "3400", "height": "3206", "filesize": "11195693", "filename": "1990.70_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.70/1990.70_full.tif", "width": "4329", "height": "4082", "filesize": "53041632", "filename": "1990.70_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155627, "creators": [], "legal_status": "accessioned", "accession_date": "1990-09-06T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Scholar Enjoying his Leisure"], "is_highlight": false, "updated_at": "2026-03-27 00:06:55.145000"}, {"id": 155930, "accession_number": "1991.22", "share_license_status": "CC0", "tombstone": "Traveler in a Woodland Landscape, 1806. John Sell Cotman (British, 1782\u20131842). Graphite and gray wash; sheet: 30.3 x 21 cm (11 15/16 x 8 1/4 in.). The Cleveland Museum of Art, Delia E. Holden Fund, 1991.22", "current_location": null, "title": "Traveler in a Woodland Landscape", "creation_date": "1806", "creation_date_earliest": 1806, "creation_date_latest": 1806, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "graphite and gray wash", "support_materials": [{"description": "beige wrapping paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 30.3 x 21 cm (11 15/16 x 8 1/4 in.)", "dimensions": {"sheet": {"height": 0.303, "width": 0.21}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311440, "title": "Notable Acquisitions", "description": "<i>Notable Acquisitions</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 15, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Eric Hinde", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(Davis and Langdale, New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1991", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1991-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is closely related to one in the collection of the Norwich Castle Museum, in which a similarly abstracted figure retreats beneath embowering trees twisted in fantastic shapes.", "description": "John Sell Cotman left his native Norfolk at the young age of 16 and traveled to London with the aspiration to be an artist. His work evolved at a rapid pace as he developed a highly original style remarkable for its simple elegance and schematic treatment of the natural world. This landscape was made soon after a trip to Yorkshire. Cotman largely ignored the noteworthy landmarks of the area, preferring obscure views\u2014trees, crumbling stone walls, and dilapidated fences. Inspired by the Greta woods, the straining bows of the trees form a beautifully balanced structure of geometric and amorphous shapes.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944585"], "internet_archive": ["https://archive.org/details/clevelandart-1991.22-traveler-in-a-woodla"]}, "citations": [{"citation": "Rajnai, Miklo\u0301s and Marjorie Allthorpe-Guyton. <em>John Sell Cotman, 1782-1842: Early Drawings (1798-1812) in Norwich Castle Museum</em>. Norwich, UK: Norfolk Museums Service, 1979.", "page_number": "Mentioned: p. 58, no. 49, and p. 58, n. 7, no. 48", "url": null}, {"citation": "Turner, Evan H. et al. \"Notable Acquisitions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 78, no. 3 (June 1991): 63-147.", "page_number": "Reproduced: p. 77", "url": "www.jstor.org/stable/25161319"}, {"citation": "Hill, David. <em>Cotman in the North: Watercolours of Durham and Yorkshire</em>. New Haven: Yale University Press, 2005.", "page_number": "Mentioned: p. 173, n. 20", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 56-7, 144, no. 17; Reproduced: p. 57", "url": null}], "url": "https://clevelandart.org/art/1991.22", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.22/1991.22_web.jpg", "width": "635", "height": "893", "filesize": "498584", "filename": "1991.22_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.22/1991.22_print.jpg", "width": "2417", "height": "3400", "filesize": "3725633", "filename": "1991.22_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.22/1991.22_full.tif", "width": "3630", "height": "5107", "filesize": "55649916", "filename": "1991.22_full.tif"}}, "alternate_images": [{"date_created": "2007-08-20T17:53:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.22/1991.22_alt0_web.jpg", "width": "625", "height": "893", "filesize": "476999"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.22/1991.22_alt0_print.jpg", "width": "2381", "height": "3400", "filesize": "6927394"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.22/1991.22_alt0_full.tif", "width": "3552", "height": "5072", "filesize": "54080744"}}], "creditline": "Delia E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155930, "creators": [{"id": 1539, "description": "John Sell Cotman (British, 1782\u20131842)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1782", "death_year": "1842", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-03-27T00:00:00", "sortable_date": 1806, "date_added_to_oa": null, "date_text": "1806", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:39.037000"}, {"id": 160459, "accession_number": "1998.286.a", "share_license_status": "CC0", "tombstone": "Painting of One Hundred Themes (obverse) (\ubc31\ub0a9\ub3c4 [\u767e\u7d0d\u5716]), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk; image: 117.7 x 33.5 cm (46 5/16 x 13 3/16 in.); panel: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.). The Cleveland Museum of Art, Bequest of Gordon K. Mott, 1998.286.a", "current_location": null, "title": "Painting of One Hundred Themes (obverse)", "title_in_original_language": "\ubc31\ub0a9\ub3c4 [\u767e\u7d0d\u5716]", "creation_date": "late 1800s", "creation_date_earliest": 1869, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 117.7 x 33.5 cm (46 5/16 x 13 3/16 in.); Panel: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.)", "dimensions": {"image": {"height": 1.177, "width": 0.335}, "panel": {"height": 1.645, "width": 0.436}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 237)</em>. The Cleveland Museum of Art, Cleveland, OH (January 12-July 20, 2015).", "opening_date": "2015-01-12T00:00:00"}]}, "provenance": [{"description": "Collection in Pusan, Korea, to Gordon K. Mott", "citations": [], "footnotes": [], "date": "?-1955", "sortorder": 1}, {"description": "Gordon K. Mott [1914-1998], Lakewood, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1955-1998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1998-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Depicting small images of various subjects became one of the most popular types of painting toward the end of the 19th century.", "description": "This screen depicts paintings on one side and poems on the other\u2014an economical format often used in Korea to allow the viewer to enjoy both sides of one screen. The front features an assortment of bird-and-flower, landscape, and figural paintings executed according to the brush manner of more than 50 artists. A calligrapher has brushed several Chinese poems about the four seasons on the reverse side, among them \"Composing in the Daytime of Summer\" by Tang poet Liu Zongyuan (773\u2013819) and \"Composing when Spring Begins\" by Song scholar Zhang Shi (1133\u20131180).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477616"], "internet_archive": ["https://archive.org/details/clevelandart-1998.286.a-painting-of-one-hund"]}, "citations": [{"citation": "Kim, Chwijeong. \"New Trend and Japhwabyung of Painting Circles During the Period of Modernization \uac1c\ud654\uae30 \ud654\ub2e8\uc758 \uc2e0\uacbd\ud5a5\uacfc \uc7a1\ud654\ubcd1.\" Misulsanondan 27, vol. 12 (2008): 253-287.", "page_number": null, "url": null}, {"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. 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Mott", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160459, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1869, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1998.286", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-08 11:09:03.244000"}, {"id": 161286, "accession_number": "1999.6", "share_license_status": "CC0", "tombstone": "Pipa (Loquats) (\u6787\u6777\u5716), c. 1888\u201389. Xugu (Chinese, 1823\u20131896). Hanging scroll; ink and color on paper; painting: 112.6 x 52.2 cm (44 5/16 x 20 9/16 in.); overall (no knobs): 231 x 70.5 cm (90 15/16 x 27 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.6", "current_location": null, "title": "Pipa (Loquats)", "title_in_original_language": "\u6787\u6777\u5716", "creation_date": "c. 1888\u201389", "creation_date_earliest": 1888, "creation_date_latest": 1889, "artists_tags": ["male"], "culture": ["China, Yangzhou, Qing dynasty (1644-1911)"], "technique": "Hanging scroll; ink and color on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting: 112.6 x 52.2 cm (44 5/16 x 20 9/16 in.); Overall (no knobs): 231 x 70.5 cm (90 15/16 x 27 3/4 in.)", "dimensions": {"image": {"height": 1.125, "width": 0.52}, "overall": {"height": 2.33, "width": 0.705}, "painting": {"height": 1.126, "width": 0.522}, "overall (no knobs)": {"height": 2.31, "width": 0.705}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u53cb\u5c71\u4ec1\u5144\u5927\u4eba\u5c6c\u5373\u6559\u4e4b\uff0c\u865b\u8c37. [\u5370]\u865b\u8c37\u66f8\u756b", "inscription_translation": "Artist\u2019s inscription and seal: \n[The painting] was dedicated to Youshan Ren xiong da ren. Xugu.", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u672a\u63a5\u865b\u516c\u4e00\u7d93\u66f82\uff0c\u591c\u81fa\u756b\u8208\u8fd1\u4f55\u5982\u3002/\n\u807e\u4e1e\u4eca\u65e5\u72c2\u8ac7\u85dd\uff0c\u66f4\u6709\u8ab0\u4eba\u80fd\u8d77\u4e88\u3002\n\n\u96e8\u4ead\u4ee5\u53cb\u5c71\u6240\u8cbd\u865b\u8c37\u548c\u4e0a\u756b\u5c6c\uff0c\u9898\u65bc\u6cf0\u5c71\u6b98\u77f3\u6a13\u4e2d\uff0c\u620a\u620c\u4e09\u65e5\u4e8c\u5341\u65e5\uff0c\u9ad8\u9095\u5e76\u8a18\u3002", "inscription_translation": "Inscription by Gao Yong \u9ad8\u9095 (1820\u20131921), dated 1898:  \n\nThe book of poetry by Master Xu[gu] is still open./\nOn this night terrace, can any painting inspiration get close?/\nThe present Deaf Assistant Magistrate [i.e. Gao Yong] discusses art with all the fervor./\nIs anyone there to inspire me?\n\nMonk Xugu\u2019s painting for Youshan is presented to Yuting. Inscribed and recorded by Gao Yong, at Canshi Lou in Mount Tai, on the 20th day, 3rd month of the wuxu year [1898].", "inscription_remark": null, "sortorder": 2}, {"inscription": "\u865a\u8c37\u4e0a\u4eba\uff0c\u4f59\u672a\u898b\u5176\u4eba\u3002\u89c0\u9ad8\u807e\u984c\u5927\u6c0f\uff0c\u4ea6\u6d77\u4e0a\u9ad8\u6d41\u4e5f\u3002\u5176\u756b\u4e0b\u7b46\u5982\u98a8\uff0c\u96a8\u610f\u6d82\u62b9\uff0c\u7686\u6210\u9038\u8da3\u3002\u6b64\u5e40\u756b\u6787\u6777\u7e8d\u7e8d\u5982\u7f00\u91d1\uff0c\u5750\u5176\u4e0b\u82e5\u54bd\u6d1e\u5ead\u4e94\u6708\u6dbc\u4e5f\uff01\n\n\u96e8\u4ead\u541b\u6240\u85cf\uff0c\u4eca\u4ee5\u8cbd\u980c\u5468\u5148\u751f\u3002\u6e05\u9053\u4eba\u984c\u3002", "inscription_translation": "Inscription by Li Ruiqing \u674e\u745e\u6e05 (1867\u20131920):  \n\nI have not had the fortune of meeting Master Xugu. From the writing of the Deaf-Mute Gao [i.e. Gao Yong], he must have been a lofty presence in Shanghai. In this painting, his brush sweeps across like wind. Whatever he does turns into untrammeled poetry. It depicts the loquats as bundles of gold. Were one to sit below the tree, it would be like inhaling the cool atmosphere in the fifth month at Lake Dongting!\n\nYuting once collected this work. Now it is given to [Zhang] Songzhou. Inscribed by Qing Daoren.", "inscription_remark": null, "sortorder": 3}], "exhibitions": {"current": [{"id": 312307, "title": "Power and Possession: Chinese Calligraphy and Inscribed Objects \u2013 Chinese Gallery Rotation 240a, 241c", "description": "<i>Power and Possession: Chinese Calligraphy and Inscribed Objects \u2013 Chinese Gallery Rotation 240a, 241c</i>. The Cleveland Museum of Art (organizer) (August 13, 2018-February 3, 2019).", "opening_date": "2018-08-13T04:00:00"}, {"id": 521183, "title": "When Salt was Gold: Yangzhou, City of Riches and Art", "description": "<i>When Salt was Gold: Yangzhou, City of Riches and Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 12-November 5, 2023).", "opening_date": "2023-05-12T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 119)</em>. The Cleveland Museum of Art, Cleveland, OH (March 16-July 13, 2004).", "opening_date": "2004-03-16T05:00:00Z"}]}, "provenance": [{"description": "Youshan \u53cb\u5c71 [late 19th century], given to Yuting", "citations": [], "footnotes": null, "date": "c. 1888-89\u2013?", "sortorder": 1}, {"description": "Yuting \u96e8\u4ead [late 19th century]", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Zhang Songzhou \u5f35\u980c\u5468 [b. 1873], by descent to Zhang Bihan", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "Zhang Bihan (Chang Pi-han) \u5f35\u78a7\u5bd2 [1909\u20131995], Piedmont, CA", "citations": [], "footnotes": null, "date": "?\u20131995", "sortorder": 4}, {"description": "(Kaikodo America, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131999", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1999\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Xugu inscribed his painting on the right, dedicating it to a Mr. Youshan. Two additional inscriptions by other writers were added later, each time the painting changed owners.", "description": "The loquat is a plant native to China that produces a juicy, yellow fruit in early summer. The artist may have intentionally extended the branches beyond the paper to emphasize the abundance of fruit. Xugu\u2019s subjects of flowers, goldfish, and loquats express wishes for abundance and wealth, and must have appealed to his patrons.<br><br>Xugu gave up his career as a military official during the Taiping rebellion (1850\u201364) and became an itinerant monk who painted for a living. He spent the later years of his life in Shanghai and his fame as an artist is associated with that city.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477955"], "internet_archive": ["https://archive.org/details/clevelandart-1999.6-pipa-loquats"]}, "citations": [{"citation": "\"In the Company of Spirits.\" <em>Kaikodo Journal</em>, XI (Spring 1999): pp. 128-29, 272-273.", "page_number": "Mentioned and Reproduced: cat. no. 30", "url": null}, {"citation": "Chung, Anita. \"The Life, Art, and Travels of Xugu (1823-1896).\" <em>Kaikodo Journal</em>, XI (Spring 1999): pp. 44-51.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art, \u201cMajor Benin Bronze Plaque, Rembrandt Print, Other Works of Art Enter CMA Collection,\u201d March 12, 1999, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4240"}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. 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William Essex (British, 1784\u20131869). Enamel on copper, gilt metal and plush mount in a turned wood frame; framed: 13.5 x 11.5 cm (5 5/16 x 4 1/2 in.); unframed: 6.6 x 5 cm (2 5/8 x 1 15/16 in.). The Cleveland Museum of Art, Gift of Mabel Porozynski in honor and remembrance of Eugene Porozynski, 2000.106", "current_location": null, "title": "Portrait of Napoleon I, Emperor of the French", "creation_date": "1841", "creation_date_earliest": 1841, "creation_date_latest": 1841, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "enamel on copper, gilt metal and plush mount in a turned wood frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 13.5 x 11.5 cm (5 5/16 x 4 1/2 in.); Unframed: 6.6 x 5 cm (2 5/8 x 1 15/16 in.)", "dimensions": {"framed": {"height": 0.135, "width": 0.115}, "unframed": {"height": 0.066, "width": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed in enamel on verso: \"Napoleon Buonaparte Painted by W. Essex. Jan 1841 Enamel painter to Her Majesty after a min.e painted expressly for the Empress Marie Louise by T.B.T. Duchesne. D 1814\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. 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Partly for this reason enamel was considered ideal for reproducing famous paintings and treasured portraits in a reduced and luminous form. The complicated and labor-intensive process of enameling required the artist to fire numerous layers of colored metal oxide at different temperatures. This process made it difficult to produce a faithful portrait likeness, though masters of the medium were able create portraits of remarkable subtlety imbued with the sitter's personality. The desire for portraits of Napoleon Bonaparte helped to create a market for miniatures that William Essex was fueling long after the emperor's death.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79984057"], "internet_archive": ["https://archive.org/details/clevelandart-2000.106-portrait-of-napoleon"]}, "citations": [{"citation": "Royal Academy of Arts (Great Britain). <em>Royal Academy Exhibition</em>. 1853.", "page_number": "no. 647", "url": ""}, {"citation": "Cincinnati Art Museum, Julie Aronson, and Marjorie E. Wieseman<em>. Perfect Likeness: European and American Portrait Miniatures from the Cincinnati Art Museum.</em> New Haven [Conn.]: Yale University Press, 2006.", "page_number": "pp. 147-48, no. 51", "url": ""}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives.</em> 2013.", "page_number": "Mentioned: p. 85", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl.<em> British Portrait Miniatures: The Cleveland Museum of Art. </em>2013.", "page_number": "Cat. no. 72, pp. 275-278", "url": ""}], "url": "https://clevelandart.org/art/2000.106", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2000.106/2000.106_web.jpg", "width": "763", "height": "893", "filesize": "124804", "filename": "2000.106_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2000.106/2000.106_print.jpg", "width": "2906", "height": "3400", "filesize": "1148325", "filename": "2000.106_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2000.106/2000.106_full.tif", "width": "5871", "height": "6867", "filesize": "120985668", "filename": "2000.106_full.tif"}}, "alternate_images": [{"date_created": "2007-12-18T15:52:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2000.106/2000.106_alt0_web.jpg", "width": "735", "height": "893", "filesize": "462050"}, "print": 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"qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1869", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2000-09-18T00:00:00", "sortable_date": 1841, "date_added_to_oa": null, "date_text": "1841", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:02.526000"}, {"id": 166544, "accession_number": "2008.31", "share_license_status": "CC0", "tombstone": "Nursemaids\u2019 Promenade, Frieze of Carriages, 1895. Pierre Bonnard (French, 1867\u20131947). Color lithographs on wove paper, screen with four panels; sheet: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.); image: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.). The Cleveland Museum of Art, Gift of Nancy and Joseph P. Keithley by exchange, 2008.31", "current_location": null, "title": "Nursemaids\u2019 Promenade, Frieze of Carriages", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "color lithographs on wove paper, screen with four panels", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.); Image: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.)", "dimensions": {"sheet": {"height": 1.374, "width": 0.473}, "image": {"height": 1.374, "width": 0.473}}, "state_of_the_work": null, "edition_of_the_work": "edition of 100", "copyright": null, "inscriptions": [{"inscription": "signed on 2008.31.c, lower right, on stone: PB", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "Edmond Sagot [1857-1917, Lugt 2253/4], Paris", "citations": [], "footnotes": [], "date": "after 1895-by 1917", "sortorder": 1}, {"description": "Maurice Le Garrec [1881-1937; Lugt 1766a] Paris, by descent", "citations": [], "footnotes": [], "date": "by 1917-?", "sortorder": 2}, {"description": "(C. G. Boerner, New York, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "before 2008", "sortorder": 3}, {"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although this screen was issued in an edition of 110, only about 20 copies survive today.", "description": "This charming scene of a nanny and her three charges extends across four panels meant to be mounted as a folding screen. Pierre Bonnard emulated the solidly colored flat forms of Japanese color woodcut prints, which he collected. He featured the screen in his first solo exhibition at Paris's prestigious Galeries Durand-Ruel in 1896.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996935"], "internet_archive": ["https://archive.org/details/clevelandart-2008.31-nursemaids-promenade"]}, "citations": [{"citation": "Bouvet, Francis. <em>Bonnard: The Complete Graphic Work</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: no. 55", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 224-225; Reproduced: P. 240-241, no. 153", "url": ""}, {"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 453-454, fig. 227", "url": ""}, {"citation": "Chapin, Mary Weaver. \"Pierre Bonnard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 102-127. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 106-107; Mentioned: p. 254-257", "url": ""}], "catalogue_raisonne": "Bouvet 55", "url": "https://clevelandart.org/art/2008.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.31/2008.31_web.jpg", "width": "900", "height": "642", "filesize": "", "filename": "2008.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.31/2008.31_print.jpg", "width": "3400", "height": "2425", "filesize": "", "filename": "2008.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.31/2008.31_full.tif", "width": "8751", "height": "6241", "filesize": "", "filename": "2008.31_full.tif"}}, "alternate_images": [{"date_created": "2008-09-08T18:27:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.31/2008.31_alt0_web.jpg", "width": "310", "height": "900", "filesize": "67494"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.31/2008.31_alt0_print.jpg", "width": "1170", "height": "3400", "filesize": "536346"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.31/2008.31_alt0_full.tif", "width": "2168", "height": "6302", "filesize": "41016292"}}, {"date_created": "2012-02-01T19:16:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.31/2008.31_alt1_web.jpg", "width": "329", "height": "900", "filesize": "74797"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.31/2008.31_alt1_print.jpg", "width": "1243", "height": "3400", "filesize": "609608"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.31/2008.31_alt1_full.tif", "width": "2437", "height": "6668", "filesize": "48778288"}}], "creditline": "Gift of Nancy and Joseph P. Keithley by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166544, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68654, "description": "Molines, Galeries Lafayette", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:07:13.436000"}, {"id": 171051, "accession_number": "2013.47", "share_license_status": "CC0", "tombstone": "Portrait of Violinist Jean Vidal (1789\u20131867), 1808. Adrien Victor Auger (French, 1787\u20131854). Black and gray chalk, with touches of white chalk, on tan wove paper; image: 75.4 x 54.1 cm (29 11/16 x 21 5/16 in.); sheet with border: 91.5 x 64.4 cm (36 x 25 3/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2013.47", "current_location": null, "title": "Portrait of Violinist Jean Vidal (1789\u20131867)", "creation_date": "1808", "creation_date_earliest": 1808, "creation_date_latest": 1808, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and gray chalk, with touches of white chalk, on tan wove paper", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image: 75.4 x 54.1 cm (29 11/16 x 21 5/16 in.); Sheet with border: 91.5 x 64.4 cm (36 x 25 3/8 in.)", "dimensions": {"image": {"height": 0.754, "width": 0.541}, "sheet with border": {"height": 0.915, "width": 0.644}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, bottom left, in pen and brown ink: Victor Auger, El\u00e8ve de David, fecit; bottom right, in pen and brown ink: anno 1808; watermark, upper left: WHATMAN / 1801", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 203744, "title": "Themes and Variations: Musical Drawings and Prints", "description": "<i>Themes and Variations: Musical Drawings and Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Master Drawings: 1530\u20131920</em>. W. M. Brady &amp; Co., New York (January 24\u2013February 3, 2012).", "opening_date": "2012-02-03T00:00:00"}]}, "provenance": [{"description": "Family of the artist, by descent", "citations": [], "footnotes": null, "date": "1854-?", "sortorder": 1}, {"description": "(Galerie J. Kugel, Paris)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "(Thomas Le Claire, Hamburg)", "citations": [], "footnotes": null, "date": "by 2006-2012", "sortorder": 3}, {"description": "(W. M. Brady & Co., New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2012-2013", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Reflecting its personal significance to the sitter, this drawing stayed in the violinist\u2019s family for generations.", "description": "This portrait is the most finished known work by Adrien Victor Auger, who broke from the idealized forms and historical subjects promoted by his teacher, Jacques-Louis David (whose work is nearby). In this drawing, Auger referenced contemporary Parisian cultural life, depicting the accomplished musician Jean Vidal as he embarked on an illustrious career in violin performance. Vidal is fashionably attired and gazes dreamily, signifying his modernity and artistic temperament. Auger rendered the violinist\u2019s likeness with great detail and realism\u2014including his slumping stockings and smooth shirt collar\u2014by varying the density of repeated chalk marks and highlighting the paper\u2019s tan tone with touches of white.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80080725"], "internet_archive": ["https://archive.org/details/clevelandart-2013.47-portrait-of-violinis"]}, "citations": [{"citation": "<em>Master Drawings: 1530\u20131920</em>. New York: W. M. Brady &amp; Co., 2012.", "page_number": "Mentioned and reproduced: no. 28", "url": ""}, {"citation": "Lemonedes, Heather.  \u201c2013 Acquisitions: Drawings.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 18.", "page_number": "Reproduced and Mentioned: p. 18", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Lemonedes, Heather. \u201cThemes and Variations: Works on paper from the museum's collection with a musical motif.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 1 (January/February 2015): Cover, 4-5.", "page_number": "Reproduced: Cover; Mentioned: p. 2", "url": "https://archive.org/details/CMAMM2015-01"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 74-75, no. 3", "url": ""}], "url": "https://clevelandart.org/art/2013.47", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.47/2013.47_web.jpg", "width": "641", "height": "900", "filesize": "221937", "filename": "2013.47_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.47/2013.47_print.jpg", "width": "2422", "height": "3400", "filesize": "3343404", "filename": "2013.47_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.47/2013.47_full.tif", "width": "5397", "height": "7577", "filesize": "122710268", "filename": "2013.47_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171051, "creators": [{"id": 63548, "description": "Adrien Victor Auger (French, 1787\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1787", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-09-03T00:00:00", "sortable_date": 1808, "date_added_to_oa": null, "date_text": "1808", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of the Violinist Jean Vidal (1789-1867)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:33.948000"}, {"id": 82853, "accession_number": "2020.151", "share_license_status": "Copyrighted", "tombstone": "Album des peintres-graveurs: The Little Laundress, 1896. Pierre Bonnard (French, 1867\u20131947), printed by Auguste Clot (French, 1858\u20131936), Ambroise Vollard (French, 1867\u20131939). Color lithograph on China paper; image: 29 x 19.7 cm (11 7/16 x 7 3/4 in.); sheet: 45.4 x 33.7 cm (17 7/8 x 13 1/4 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.151. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "The Little Laundress", "series": "Album des peintres-graveurs", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "color lithograph on China paper", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 29 x 19.7 cm (11 7/16 x 7 3/4 in.); Sheet: 45.4 x 33.7 cm (17 7/8 x 13 1/4 in.)", "dimensions": {"image": {"height": 0.29, "width": 0.197}, "sheet": {"height": 0.454, "width": 0.337}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [{"inscription": "inscribed and signed, lower right, in graphite: no. 46 / Bonnard; signed and dated, upper center, on stone: Bonnard / 96", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}, {"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": []}, "provenance": [{"description": "Samuel Josefowitz, Lausanne, Switzerland", "citations": [], "footnotes": null, "date": "?-before 2005", "sortorder": 1}, {"description": "(R.M Light & Co., Inc., Santa Barbara, CA, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "?-2005", "sortorder": 2}, {"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2005-2020", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bonnard was commissioned to create this print by the renowned art dealer Ambroise Vollard for inclusion in his luxury print portfolio titled <em>Album des peintres-graveurs</em>.", "description": "This print depicts one of the many women and girls who worked in the Parisian laundry industry during the late 19th century. Carrying a basket that nearly matches her own size, a small silhouetted figure makes her way down an empty street, either picking up or dropping off clothes to a client. Bonnard represented the scene with minimal detail, portraying the laundress as a dark silhouette in stark contrast to the light cobblestones of the street on which she walks.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480842"], "internet_archive": ["https://archive.org/details/clevelandart-2020.151-the-laundry-maid"]}, "citations": [{"citation": "Bouvet, Francis. <em>Bonnard: The Complete Graphic Work</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: no. 40", "url": ""}, {"citation": "Chapin, Mary Weaver, and Heather Lemonedes Brown. <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Reproduced: P. xi", "url": ""}, {"citation": "Chapin, Mary Weaver. \"Pierre Bonnard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 102-127. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 108-109; Mentioned: p. 254-257", "url": ""}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Reproduced: p. 129, no.22", "url": ""}], "catalogue_raisonne": "Bouvet 40", "url": "https://clevelandart.org/art/2020.151", "images": {}, "alternate_images": [], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 82853, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "46/100", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:44.459000"}, {"id": 439251, "accession_number": "2021.101", "share_license_status": "CC0", "tombstone": "Evening, c. 1879. Albert-Charles Lebourg (French, 1849\u20131928). Cont\u00e9 crayon and charcoal with stumping and white gouache on laid paper discolored to brown; image: 31.8 x 48.5 cm (12 1/2 x 19 1/8 in.); sheet: 31.8 x 48.5 cm (12 1/2 x 19 1/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2021.101", "current_location": null, "title": "Evening", "creation_date": "c. 1879", "creation_date_earliest": 1874, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["France"], "technique": "cont\u00e9 crayon and charcoal with stumping and white gouache on laid paper discolored to brown", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image: 31.8 x 48.5 cm (12 1/2 x 19 1/8 in.); Sheet: 31.8 x 48.5 cm (12 1/2 x 19 1/8 in.)", "dimensions": {"sheet": {"height": 0.318, "width": 0.485}, "image": {"height": 0.318, "width": 0.485}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black ink: A. Lebourg [illeg.]; watermark, upper right: Lalanne", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "Possibly <em>4th Impressionist Exhibition.</em> 28 Avenue de l\u2019Op\u00e9ra, Paris (April 10\u2013May 11, 1879).", "opening_date": "2010-04-01T00:00:00"}, {"description": "<em>Exposition Albert Lebourg: Tableaux, aquarelles et dessins</em>. Galerie Georges Petit, Paris (January 12\u201331, 1918).", "opening_date": "2012-01-01T00:00:00"}]}, "provenance": [{"description": "Roger Marx [1859\u20131913], Paris", "citations": [], "footnotes": null, "date": "by 1904\u201314", "sortorder": 1}, {"description": "(his sale, H\u00f4tel Drouot, Paris, June 12\u201313, 1914, no. 179, sold to Ernest Chapuis)", "citations": [], "footnotes": null, "date": "1914", "sortorder": 2}, {"description": "Ernest Chapuis [1870\u20131936], Paris, by descent", "citations": [], "footnotes": null, "date": "1914\u20131936", "sortorder": 3}, {"description": "Chapuis family collection", "citations": [], "footnotes": null, "date": "1936-?", "sortorder": 4}, {"description": "Private collection, France, by descent", "citations": [], "footnotes": null, "date": "?-2021", "sortorder": 5}, {"description": "(Joly Art Conseil, Paris, France, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2021", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing influenced a young Georges Seurat, who likely saw it on view at the 1879 Impressionist Exhibition and created his own interpretation of the subject in dark cont\u00e9 crayon soon after.", "description": "In this drawing, Albert Lebourg depicted his mother, sister, and wife sewing by the dim light of an oil lamp. The three women sit around a table, close to one another but each absorbed in their work. Known for his experimentation with charcoal, Lebourg worked from dark to light, covering his sheet with the dark, powdery material and leaving only highlights visible.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246729"], "internet_archive": ["https://archive.org/details/clevelandart-2021.101-evening"]}, "citations": [{"citation": "<em>Catalogue des tableaux, pastels, dessins, aquarelles </em>[. . .] <em>faisant partie de la collection Roger Marx</em>. Paris: H\u00f4tel Drouot, 1914.", "page_number": "Mentioned: p. 48, no. 179", "url": ""}, {"citation": "B\u00e9n\u00e9dite, L\u00e9once. <em>Albert Lebourg</em>. Paris: \u00c9ditions des Galeries Georges Petit, 1918.", "page_number": "Mentioned: p. 387, no. 2062", "url": ""}, {"citation": "Geffroy, Gustave. <em>Exposition Albert Lebourg:</em> <em>Tableaux, aquarelles et dessins</em>. Exh. cat. Paris: Galeries Georges Petit, 1918.", "page_number": "Mentioned: p. 37, no. 220", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 130-131, no. 22", "url": ""}], "url": "https://clevelandart.org/art/2021.101", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.101/2021.101_web.jpg", "width": "900", "height": "600", "filesize": "256920", "filename": "2021.101_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.101/2021.101_print.jpg", "width": "3400", "height": "2266", "filesize": "3753169", "filename": "2021.101_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.101/2021.101_full.tif", "width": "12526", "height": "8348", "filesize": "313726178", "filename": "2021.101_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 439251, "creators": [{"id": 53727, "description": "Albert-Charles Lebourg (French, 1849\u20131928)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1849", "death_year": "1928", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-06-07T00:00:00-04:00", "sortable_date": 1874, "date_added_to_oa": null, "date_text": "c. 1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:18.741000"}, {"id": 146726, "accession_number": "1972.17.1", "share_license_status": "CC0", "tombstone": "General Jean-Baptiste Kl\u00e9ber (Sketch for \"The Battle of the Pyramids\"), c. 1835. Antoine-Jean Gros (French, 1771\u20131835). Oil on linen; framed: 377.2 x 126 x 12 cm (148 1/2 x 49 5/8 x 4 3/4 in.); unframed: 352.1 x 97.8 cm (138 5/8 x 38 1/2 in.); former: 306 x 98 cm (120 1/2 x 38 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1972.17.1", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "General Jean-Baptiste Kl\u00e9ber (Sketch for \"The Battle of the Pyramids\")", "creation_date": "c. 1835", "creation_date_earliest": 1830, "creation_date_latest": 1840, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on linen", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 377.2 x 126 x 12 cm (148 1/2 x 49 5/8 x 4 3/4 in.); Unframed: 352.1 x 97.8 cm (138 5/8 x 38 1/2 in.); Former: 306 x 98 cm (120 1/2 x 38 9/16 in.)", "dimensions": {"framed": {"height": 3.772, "width": 1.26, "depth": 0.12}, "unframed": {"height": 3.521, "width": 0.978}, "former": {"height": 3.06, "width": 0.98}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "Gros's studio, Paris, 14, rue de l'Ancienne-Com\u00e9die. (mid-July 1835, according to Tripier le Franc 1880, 632).", "opening_date": null}, {"description": "Colmar, Mus\u00e9e d'Unterlinden. (1920-55). Long-term loan.", "opening_date": "1920-01-01T00:00:00"}, {"description": "Paris, Petit Palais. Gros, ses amis, ses \u00e9l\u00e8ves (1936), no. 57.", "opening_date": "1936-01-01T00:00:00"}, {"description": "New York, Jacques Seligmann &amp; Co.; Minneapolis Institute of Arts; cma. Baron Antoine-Jean Gros (1771-1835), Painter of Battles, the First Romantic Painter (1955-56), no. 2, pls. 2a-b, private collection, Paris.", "opening_date": "1955-01-01T00:00:00"}]}, "provenance": [{"description": "J.-B. Delestre, Paris. His sale, Drouot, 13-14 October 1871 (lot 1), Les deux esquisses pour les pendentifs de droite et de gauche, surajout\u00e9s au tableau de la Bataille des Pyramides, ff 500 to M. Couvreur (perhaps sold to J. Arnous de Rivi\u00e8re, directeur de Revue illustr\u00e9e, bought for ff 700 at Delestre sale, through 1880; Tripier le Franc 1880, 500). Gustave Rothan, Ch\u00e2teau de Luttenbach, (near Munster, Alsace). By descent after his death in 1890 to his daughter, Christa Anna Maria Rothan (in 1895, Baronne Pierre de Coubertin) until after 1917, Lausanne. By 1955, Jacques Seligmann & Co, New York, 1955. Purchased by the CMA in 1972.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["111.71", "1972.17"], "did_you_know": null, "description": "In 1810, Gros exhibited a massive painting of Napoleon at the 1798 Battle of the Pyramids, one of the rare French triumphs in the failed campaign to conquer Egypt (1789-1801). After Napoleon first fell from power in 1814, the painting went into storage, until the new king Louis-Philippe chose to resurrect it for a history museum in Paris. However, perhaps to diminish Napoleon's significance, the government asked Gros to amplify the original with an addition at each end. This painting incorporates General Kl\u00e9ber, a famously successful military leader who had been excluded from the original painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472183"], "internet_archive": ["https://archive.org/details/clevelandart-1972.17.1-general-jean-baptist"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 202", "url": "https://archive.org/details/CMAHandbook1978/page/n222"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 329-335, Vol. I, no. 116", "url": ""}], "url": "https://clevelandart.org/art/1972.17.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.1/1972.17.1_web.jpg", "width": "240", "height": "893", "filesize": "161859", "filename": "1972.17.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.1/1972.17.1_print.jpg", "width": "913", "height": "3400", "filesize": "2456683", "filename": "1972.17.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.17.1/1972.17.1_full.tif", "width": "1586", "height": "5908", "filesize": "56253500", "filename": "1972.17.1_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt0_web.jpg", "width": "243", "height": "893", "filesize": "203497"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt0_print.jpg", "width": "558", "height": "2048", "filesize": "1079510"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt0_full.tif", "width": "558", "height": "2048", "filesize": "3429708"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt1_web.jpg", "width": "481", "height": "893", "filesize": "397309"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt1_print.jpg", "width": "1103", "height": "2048", "filesize": "2226740"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt1_full.tif", "width": "1103", "height": "2048", "filesize": "6779356"}}, {"date_created": "2009-05-18T18:33:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt2_web.jpg", "width": "305", "height": "893", "filesize": "206973"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt2_print.jpg", "width": "1162", "height": "3400", "filesize": "3089866"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.17.1/1972.17.1_alt2_full.tif", "width": "2261", "height": "6617", "filesize": "44914792"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 146726, "creators": [{"id": 1706, "description": "Antoine-Jean Gros (French, 1771\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": "Antoine-Jean Gros's parents, who were both miniaturists, taught their son painting at an early age. He also pursued his education with Elisabeth-Louise Vig\u00e9e Le Brun (1755-1842), David (q.v.), whose studio he entered in 1785, and at the Acad\u00e9mie Royale de Peinture et de Sculpture two years later. Discouraged by his unsuccessful attempt for the Prix de Rome in 1792 and following his father's death, he ended his studies and supported himself by portrait painting. David helped him secure a passport and Gros left for Italy in 1793. In Genoa he met Jos\u00e9phine de Beauharnais, who later introduced him to Napoleon Bonaparte in Milan. There Gros made a study of him for his painting Bonaparte on the Bridge at Arcole, 17 November 1796 (1796, Mus\u00e9e du Ch\u00e2teau de Versailles; Salon 1801). This work established his reputation, and he was given a position on the committee responsible for removing artwork from Italy for the Louvre. When Napoleon left for Egypt, Genoa came under Austrian control and Gros was forced to stay for two months during the siege. After the city was evacuated, Gros returned to Paris in 1800 and continued to receive commissions from Bonaparte to paint contemporary military victories. He also painted portraits of members of the military and high society. After the defeat of Napoleon in 1814, he was made portrait painter to Louis XVIII. Within two years he was appointed professor at the \u00c9cole des Beaux-Arts, replacing the exiled David. In almost two decades as a teacher, Gros had hundreds of pupils, and thus was, besides David, one of the most influential artists of his time. While continuing to paint scenes from contemporary history, he also attempted to make mythological and allegorical compositions, but these works received little critical acclaim. Gros was awarded the title of baron by Charles X and asked to paint several ceilings in the galleries at the Louvre. His work, however, began to be perceived as outmoded, and his criticism of Ingres's influence within the \u00c9cole des Beaux-Arts added to his unpopularity. When his final effort for a classical comeback at the Salon of 1835 was heavily criticized, Gros drowned himself in the Seine.", "name_in_original_language": null, "birth_year": "1771", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-05-03T00:00:00", "sortable_date": 1830, "date_added_to_oa": null, "date_text": "c. 1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1972.17", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Lateral panel for the \"Bataille des Pyramides\": General Kl\u00e9ber"], "is_highlight": false, "updated_at": "2026-03-27 00:10:03.958000"}, {"id": 140342, "accession_number": "1964.292", "share_license_status": "CC0", "tombstone": "Mme. Dufresne, c. 1816. Pierre-Paul Prud'hon (French, 1758\u20131823). Oil on paper mounted on fabric; framed: 34.5 x 27 x 5 cm (13 9/16 x 10 5/8 x 1 15/16 in.); unframed: 23.8 x 17.5 cm (9 3/8 x 6 7/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Collection, 1964.292", "current_location": null, "title": "Mme. Dufresne", "creation_date": "c. 1816", "creation_date_earliest": 1811, "creation_date_latest": 1821, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on paper mounted on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 34.5 x 27 x 5 cm (13 9/16 x 10 5/8 x 1 15/16 in.); Unframed: 23.8 x 17.5 cm (9 3/8 x 6 7/8 in.)", "dimensions": {"framed": {"height": 0.345, "width": 0.27, "depth": 0.05}, "unframed": {"height": 0.238, "width": 0.175}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscription on face of frame: prud'hon. portrait de mme dufresne\r\n\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310300, "title": "The Severance and Greta Millikin Collection", "description": "<i>The Severance and Greta Millikin Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 5-September 2, 1990).", "opening_date": "1990-07-05T04:00:00"}, {"id": 206263, "title": "Pierre Paul Prud'hon", "description": "<i>Pierre Paul Prud'hon</i>. The Metropolitan Museum of Art (organizer) (March 2-June 8, 1998).", "opening_date": "1997-09-23T00:00:00"}], "legacy": [{"description": "Paris, \u00c9cole des Beaux-Arts. Exposition des oeuvres de Prud'hon (1874), no. 11, Portrait de Mme Dufresne, femme d'un marchand de tableaux, appartient \u00e0 M. Jeanne-Deslandes.", "opening_date": null}, {"description": "Paris, \u00c9cole des Beaux-Arts. Exposition de tableaux de ma\u00eetres anciens au profit des inond\u00e9s du Midi (1887), no. 119, Portrait de jeune femme, appartient \u00e0 Henri Rochefort.", "opening_date": null}, {"description": "Paris, Palais des Beaux-Arts. Exposition P.-P. Prud'hon (1922), no. 65, Portrait de Mme Dufresne, collection de David Weill.", "opening_date": "1922-01-01T00:00:00"}, {"description": "New York, Wildenstein &amp; Co. David-Weill Pictures (1937), no. 44, Mme Dufrene [sic].", "opening_date": "1937-01-01T00:00:00"}, {"description": "CMA. Catalogue of the Severance and Greta Millikin Collection (1990), no. 220.", "opening_date": "1990-01-01T00:00:00"}, {"description": "Paris, Grand Palais; New York, Metropolitan Museum of Art. Prud'hon ou le r\u00eave du bonheur (1997-98), 281-83 (repr.). Text by Sylvain Laveissi\u00e8re (French and English eds.)", "opening_date": "1997-01-01T00:00:00"}]}, "provenance": [{"description": "Studio of the artist", "citations": [], "footnotes": ["<div><!--block-->On February 11, 1823, five days before his death, Prud'hon bequeathed to Boisfremont, his friend and student, \u201ctous [ses] portefeuilles de dessins, \u00e9tudes, etc.\u201d&nbsp; The CMA painting was likely among these works, as it does not appear in the artist\u2019s estate sale, held on May 13, 1823, from which Boisfremont purchased a number of works. &nbsp;</div>"], "date": "c. 1816 - 1823", "sortorder": 1}, {"description": "Charles Boulanger de Boisfremont [1773-1838], probably bequeathed to his daughter, Henri Power", "citations": [], "footnotes": ["<div><!--block-->When Boisfremont died in 1838, he bequeathed his portfolios of works by Prud'hon to his daughter, Madame Henri Power (n\u00e9e de Boisfremont), and on the occasion of her death in 1864, the Boisfremont collection of drawings and sketches by Prud'hon was sold at auction. &nbsp; Research is ongoing into whether the sale contains the Cleveland painting.&nbsp; The heirs of Prud'hon claimed that the objects in this sale were rightfully theirs.&nbsp; In May of 1868, the Tribunal civil de la Seine (1er chamber) ruled in favor of Boisfremont\u2019s son (Power\u2019s brother), saying that the Prud'hon heirs could not establish that their father had renounced the bequest and that there was no reason to conclude that Boisfremont had unlawfully appropriated the objects in dispute. &nbsp; The works for sale in the 1870 auction are those that had been bequeathed to Power, now belonging to Boisfremont\u2019s son in accordance with his father\u2019s estate.&nbsp;</div>"], "date": "Probably 1823 - 1838", "sortorder": 2}, {"description": "Probably Henri Power [d. 1864], probably to Charles Boulanger de Boisfremont fils", "citations": [], "footnotes": [], "date": "Probably 1838 - 1864", "sortorder": 3}, {"description": "Probably Charles Boulanger de Boisfremont fils", "citations": [], "footnotes": [], "date": "Probably 1864 - 1870", "sortorder": 4}, {"description": "(Boisfremont fils sale, H\u00f4tel Drouot, Paris, April 9, 1870, no. 8, sold to Monsieur de Norzy)", "citations": [], "footnotes": [], "date": "1870", "sortorder": 5}, {"description": "Monsieur de Norzy", "citations": [], "footnotes": ["<div><!--block-->Goncourt records in 1876 that Monsieur de Norzy purchased the Prud'hon at the Boisfremont sale for ff 310.&nbsp; It does not appear to have been sold in the sale of de Norzy\u2019s collection on May 20, 1873: while the sale includes several drawings formerly in the Boisfremont collection depicting the Empress Josephine \u2013 the Cleveland picture has been connected to sketches of the Empress \u2013 none are oil sketches. &nbsp;</div>"], "date": "1870 - by 1874", "sortorder": 6}, {"description": "M. Jeanne-Deslandes", "citations": [], "footnotes": ["<div><!--block-->Goncourt\u2019s 1876 <em>Catalogue Raisonn\u00e9 de l\u2019oeuvre\u2026de P.P. Prud'hon </em>situates the painting at the time with M. Jeanne Deslandes, while the 1874 <em>Exposition des oeuvres de Prud'hon </em>records the current owner as M. Jeanne-Deslandes.&nbsp; Hippolyte Fontaine\u2019s <em>Electric Lighting: A Practical Treatise </em>of 1878 discusses a \u201cM. Jeanne Deslandes,\u201d a contractor involved in the enlargement of the port at Havre.&nbsp; There also appears to have been a Jean Deslandes.&nbsp; Thus, the exact name of the owner is unclear.&nbsp;</div>"], "date": "By 1874", "sortorder": 7}, {"description": "(Sale, H\u00f4tel Drouot, Paris, April 24, 1886, no. 52)", "citations": [], "footnotes": [], "date": "1886", "sortorder": 8}, {"description": "Collection Henri Rochefort [1831-1913], Paris", "citations": [], "footnotes": [], "date": "By 1887", "sortorder": 9}, {"description": "Paul-Arthur Ch\u00e9ramy [1840-1912], Paris", "citations": [], "footnotes": [], "date": "Until 1908", "sortorder": 10}, {"description": "(Ch\u00e9ramy sale, Galerie Georges Petit, Paris, May 5-7, 1908, no. 95, bought in)", "citations": [], "footnotes": ["<div><!--block-->The Prud'hon failed to sell in this auction and was included in Ch\u00e9ramy\u2019s estate sale five years later. &nbsp;</div>"], "date": "1908", "sortorder": 11}, {"description": "Probably Paul-Arthur Ch\u00e9ramy [1840-1912], Paris", "citations": [], "footnotes": [], "date": "1908-1912", "sortorder": 12}, {"description": "(Ch\u00e9ramy estate sale, H\u00f4tel Drouot, Paris, April 14-16, 1913, no. 391, sold to Jacob)", "citations": [], "footnotes": [], "date": "1913", "sortorder": 13}, {"description": "Jacob", "citations": [], "footnotes": ["<div><!--block-->\u201cJacob,\u201d a dealer or collector of unknown identity, is written in as the buyer in H\u00f4tel Drouot\u2019s annotated copy of the Ch\u00e9ramy estate catalogue.</div>"], "date": "1913-", "sortorder": 14}, {"description": "David David-Weill [1871-1952], Paris", "citations": [], "footnotes": ["<div><!--block-->David-Weill certainly had the painting from 1922 until 1937, as he is listed as the lender of the painting to several exhibitions within that period.&nbsp; His ownership is confirmed by a label on the painting\u2019s stretcher.&nbsp; &nbsp;</div>"], "date": "By 1922 - at least 1937", "sortorder": 15}, {"description": "Irwin Laughlin [1871-1941], Washington, D.C.", "citations": [], "footnotes": [], "date": "Probably until 1941", "sortorder": 16}, {"description": "(Laughlin sale, Sotheby's, London, June 10, 1959, lot 123, possibly sold to Betts on behalf of Clifford Duits)", "citations": [], "footnotes": [], "date": "1959", "sortorder": 17}, {"description": "Severance A. [1895-1989] and Greta Millikin [1903-1989], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": ["<div><!--block-->The Duits records at the Getty Research Institute show that Duits acquired the Prud'hon on June 10, 1959 \u2013 the date of the Laughlin sale. While several past owners are listed (Weill, Deslandes), the seller/consignor to Duits is not recorded. &nbsp; However, in the price list accompanying the Laughlin sale catalogue, \u201cBetts\u201d is listed as the buyer.&nbsp; In the case of at least one other provenance (a Boucher painting in the Philadelphia Museum of Art, 1965-85-1), \u201cBetts\u201d appears to have purchased a painting at a Sotheby\u2019s sale, and the painting was in Duits\u2019 stock within that same year, so it is certainly possible that Betts was buying on behalf of Duits.&nbsp; \u201cBetts\u201d may refer to Anthony J. Betts, a professor and collector who made numerous purchases at auction in the 1950s and 1960s.&nbsp; &nbsp;</div>"], "date": "1963-1964", "sortorder": 18}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1964-", "sortorder": 19}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The artist made this sketch in preparation for a full-length portrait of Madame Dufresne that is now lost. Prud'hon showed the sitter\u2014probably the wife of an art dealer\u2014in a landscape where she is seated in a relaxed pose with her legs crossed. According to an early auction record, the composition is based upon one of several sketches Prud'hon made for a portrait of Empress Josephine (1763\u20131814). The empress probably rejected the pose as too casual. Prud'hon's portraits show his skill in capturing emotions, especially melancholy. This is true of the Cleveland portrait; despite its rough surface, we sense the sitter's gentle demeanor and slightly wistful expression. In 1789 Prud'hon was awarded the Prix de Rome, a scholarship that allowed especially gifted French art students the chance to study in Rome. While in Italy, Prud'hon was deeply influenced not only by ancient Roman art but also by the lively, international Neoclassical movement that was centered there. After his return to France, the artist became very popular with Napoleon, painting portraits of the emperor and his entourage and acting as Empress Josephine's drawing instructor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469200"], "internet_archive": ["https://archive.org/details/clevelandart-1964.292-mme-dufresne"]}, "citations": [{"citation": "Cle\u0301ment, Charles. <em>Prud'hon; sa vie, ses \u0153uvres et sa correspondance</em>. Paris: Didier et cie, 1880.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot, and Paul Chevallier. <em>Tableaux anciens</em>. April 24, 1886.", "page_number": null, "url": null}, {"citation": "Henriot, Gabriel. <em>Collection David Weill</em>, vol. 1 pt. 2.  Paris: Braun, 1926.", "page_number": null, "url": null}, {"citation": "Cle\u0301ment, Charles. <em>Prud'hon; sa vie, ses \u0153uvres et sa correspondance</em>. Paris: Didier et cie, 1880.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Dessins, croquis, e\u0301tudes, tableaux et esquisses par Prud'hon</em>. April 9, 1870.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Dessins, croquis, e\u0301tudes, tableaux et esquisses par Prud'hon</em>. April 9, 1870.", "page_number": null, "url": null}, {"citation": "Goncourt, Edmond de. <em>Catalogue raisonne\u0301 de l'oeuvre peint, dessine\u0301 et grave\u0301 de P.P. Prud'hon</em>. Paris: Rapilly, 1876.", "page_number": null, "url": null}, {"citation": "Marcille, Camille, and Eudoxe Marcille. <em>Exposition des \u0153uvres de Prud'hon: au profit de sa fille : E\u0301cole des beaux-arts</em>. Paris: Imprimerie de J. Claye, 1874.", "page_number": null, "url": null}, {"citation": "<em>Exposition de tableaux de mai\u0302tres anciens au profit des inondes du midi</em>. [Paris]: [E. Me\u0301nard et J. Augry], 1887.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot, and Paul Chevallier. <em>Tableaux anciens</em>. April 24, 1886.", "page_number": null, "url": null}, {"citation": "<em>Exposition de tableaux de mai\u0302tres anciens au profit des inondes du midi</em>. [Paris]: [E. Me\u0301nard et J. Augry], 1887.", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux anciens &amp; modernes</em>. May 5-7, 1908.", "page_number": null, "url": null}, {"citation": "<em>Exposition de tableaux de mai\u0302tres anciens au profit des inondes du midi</em>. [Paris]: [E. Me\u0301nard et J. Augry], 1887.", "page_number": null, "url": null}, {"citation": "Galerie Georges Petit. <em>Tableaux anciens &amp; modernes</em>. May 5-7, 1908.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot, F. Lair-Dubreuil, and Henri Baudoin. <em>Catalogue des tableaux anciens &amp; modernes, aquarelles, dessins, pastels</em> <em>... estampes anciennes &amp; modernes de\u0301pendant de la succession de M.P.A. Ch\u00e9ramy</em>. April 14-16, 1913.", "page_number": null, "url": null}, {"citation": "<br>Galerie Georges Petit. <em>Tableaux anciens &amp; modernes</em>. May 5-7, 1908.", "page_number": null, "url": null}, {"citation": "<br>Ho\u0302tel Drouot, F. Lair-Dubreuil, and Henri Baudoin. <em>Catalogue des tableaux anciens &amp; modernes, aquarelles, dessins, pastels</em> <em>... estampes anciennes &amp; modernes de\u0301pendant de la succession de M.P.A. Ch\u00e9ramy</em>. April 14-16, 1913.", "page_number": null, "url": null}, {"citation": "<br>Ho\u0302tel Drouot, F. Lair-Dubreuil, and Henri Baudoin. <em>Catalogue des tableaux anciens &amp; modernes, aquarelles, dessins, pastels</em> <em>... estampes anciennes &amp; modernes de\u0301pendant de la succession de M.P.A. Ch\u00e9ramy</em>. April 14-16, 1913.", "page_number": null, "url": null}, {"citation": "Duits, Ltd. (Gallery: London, England) records, 1920-1979, stock book 1954-1968, box 21, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Ville de Paris. <em>Exposition P.-P. Prud'hon, mai-juin 1922: catalogue</em>. S.l: s.n.], 1922.", "page_number": null, "url": null}, {"citation": "Henriot, Gabriel. C<em>ollection David Weill</em>, vol. 1 pt. 2.  Paris: Braun, 1926.", "page_number": null, "url": null}, {"citation": "Wildenstein and Company (New York, N.Y.). <em>David-Weill Collection Pictures: Exhibited Nov. 10-Dec. 11, 1937</em>. [New York]: [Wildenstein Galleries], 1937.", "page_number": null, "url": null}, {"citation": "Sotheby's (Firm). <em>Highly Important French Drawings and Paintings</em>. June 10, 1959", "page_number": null, "url": null}, {"citation": "Sotheby's (Firm). <em>Highly Important French Drawings and Paintings</em>. June 10, 1959.", "page_number": null, "url": null}, {"citation": "Clifford Duits, invoice, July 12, 1963, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Duits, Ltd. (Gallery: London, England) records, 1920-1979, stock book 1954-1968, box 21, Getty Research Institute.", "page_number": null, "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 502-504, Vol. II, no. 175", "url": ""}, {"citation": "Guffey, Elizabeth E.<em> Drawing an Elusive Line: The Art of Pierre-Paul Prud'hon.</em> Newark, Del: University of Delaware Press, 2001.", "page_number": "Reproduced: p. 211, fig. 153", "url": null}], "url": "https://clevelandart.org/art/1964.292", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.292/1964.292_web.jpg", "width": "667", "height": "893", "filesize": "384472", "filename": "1964.292_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.292/1964.292_print.jpg", "width": "2540", "height": "3400", "filesize": "5088214", "filename": "1964.292_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.292/1964.292_full.tif", "width": "3660", "height": "4900", "filesize": "53833508", "filename": "1964.292_full.tif"}}, "alternate_images": [], "creditline": "Severance and Greta Millikin Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140342, "creators": [{"id": 1646, "description": "Pierre-Paul Prud'hon (French, 1758\u20131823)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre-Paul Prud'hon studied at the Dijon School of Art under Fran\u00e7ois Devosge (1732-1811), founder and director of one of the most prominent art schools in France. In 1776 Prud'hon met the Baron de Joursanvault, a follower of Jean-Jacques Rousseau and an art lover, who became his first patron. At the age of twenty-two Prud'hon left for Paris, where he attended the Acad\u00e9mie Royale and was introduced to Jean-Baptiste Greuze (1725-1805) and Jean-Georges Wille (1715-1808), an important engraver and collector. Soon after he returned to Dijon in 1784, he won the Prix de Rome and left for Italy, where he would spend four decisive years. He studied the works of Raphael (1483-1520), Leonardo da Vinci (1452--1519), and Correggio (ca. 1489/94-1534) as well as antique sculptures. He was influenced by the artists Anton Raphael Mengs (1728-1779), Antonio Canova (1757-1822), and Angelica Kauffmann (1741-1807) rather than his own countrymen, the pupils of David (q.v.). When he returned to Paris in 1788, Prud'hon endorsed the revolutionary ideals. He attended the meetings of David's Club des Arts and made drawings with political overtones that were to be engraved. After Robespierre's execution, Prud'hon was forced to live in exile in the Franche-Comt\u00e9 (1794-96), where he painted several portraits and made book illustrations. Upon his return to Paris he was elected to the Institut de France and received private and public commissions for decorative projects, including, for example, the ceilings in the Greek sculpture rooms of the Louvre and designs for the celebrations of the emperor's coronation and his marriage to Marie-Louise of Austria. During the First Empire (1805-15) he became equally respected for his imperial portraits and was appointed drawing instructor of the new empress. During the Bourbon restoration (1815-23) he still received several public commissions, even though he did not sympathize with the regime. In 1802 Prud'hon's wife had to be institutionalized, leaving him to care for their five children. He would be supported in this task by his pupil, Constance Mayer (1774-1821), who not only became his mistress but also his first artistic collaborator. (Prud'hon often made the preparatory drawings for her paintings.) His last years were plagued with many problems, and Mayer's suicide in 1821 affected him tremendously. He would survive her only briefly, dying two years later in 1823.", "name_in_original_language": null, "birth_year": "1758", "death_year": "1823", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-06-09T00:00:00", "sortable_date": 1811, "date_added_to_oa": null, "date_text": "c. 1816", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:44.811000"}, {"id": 150079, "accession_number": "1980.284", "share_license_status": "CC0", "tombstone": "Still Life with Asparagus, c. 1880. Philippe Rousseau (French, 1816\u20131887). Oil on fabric; unframed: 36 x 65 cm (14 3/16 x 25 9/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.284", "current_location": null, "title": "Still Life with Asparagus", "creation_date": "c. 1880", "creation_date_earliest": 1880, "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": "Unframed: 36 x 65 cm (14 3/16 x 25 9/16 in.)", "dimensions": {"unframed": {"height": 0.36, "width": 0.65}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Ph. Rousseau. / \u00e0 son ami A Arago\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}, {"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 309664, "title": "Consuming Passions: The Art of Food and Drink", "description": "<i>Consuming Passions: The Art of Food and Drink</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 26-October 9, 1983).", "opening_date": "1983-07-26T04:00:00"}, {"id": 399006, "title": "Philippe Rousseau", "description": "<i>Philippe Rousseau</i>. Van Gogh Museum (organizer) (September 10-November 14, 1993).", "opening_date": "1993-09-10T04:00:00"}, {"id": 293304, "title": "Praised and Ridiculed: French Painting 1820 - 1880", "description": "<i>Praised and Ridiculed: French Painting 1820 - 1880</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (November 10, 2017-January 28, 2018).", "opening_date": "2017-11-10T05:00:00"}, {"id": 539355, "title": "Farm to Table: Art, Food, and Identity in the Age of Impressionism", "description": "<i>Farm to Table: Art, Food, and Identity in the Age of Impressionism</i>. The Chrysler Museum of Art, Norfolk, VA (October 11, 2024-January 5, 2025) https://chrysler.org/exhibition/farm-to-table-art-food-and-identity-in-the-age-of-impressionism/; Frist Art Museum, Nashville, TN (January 31-May 4, 2025) https://fristartmuseum.org/exhibition/farm-to-table/; The Cincinnati Art Museum, Cincinnati, OH (June 13-September 21, 2025); Seattle Art Museum, Seattle, WA (October 23, 2025-January 19, 2026).", "opening_date": "2024-10-11T04:00:00"}], "legacy": [{"description": "CMA. Chardin and the Still-Life Tradition in France (1979), 34, 42, 75 (repr.), 76, 90, no. 26.", "opening_date": "1979-01-01T00:00:00"}, {"description": "CMA; Brooklyn Museum; Saint Louis Art Museum; Glasgow Art Gallery and Museum. The Realist Tradition: French Painting and Drawing 1830-1900 (1980-82). Text by Gabriel P. Weisberg. 150, no. 117 (repr.).", "opening_date": "1900-01-01T00:00:00"}, {"description": "CMA; Beck Center for the Cultural Arts, Lakewood, Ohio; Beachwood (Ohio) Museum; Toledo Museum of Art. Consuming Passions: The Art of Food and Drink (1983-84), 9-10, fig. 6, 47.", "opening_date": "1983-01-01T00:00:00"}, {"description": "Southampton, Parrish Art Museum; New York, National Academy of Design. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition (1986), no. 74 (repr.).", "opening_date": "1986-01-01T00:00:00"}, {"description": "Amsterdam, Van Gogh Museum. Nineteenth-Century Masters 1: Philippe Rousseau 1816-1887 (1993), 63, no. 23, fig. 62.", "opening_date": "1993-01-01T00:00:00"}]}, "provenance": [{"description": "Alfred Arago [1815-1892], Paris", "citations": [], "footnotes": ["<div><!--block-->Inscribed \u201c\u00e0 son ami A Arago,\u201d this painting was given by Rousseau to his friend, Alfred Arago.&nbsp; Arago was a student of Delaroche and painted genre, history, and landscape paintings.&nbsp; In 1853, during the most successful period in Rousseau\u2019s career, Arago became Inspecteur des Beaux-Arts, an important post in the fine arts administration. Thus, the painting may have been not only a token of friendship but also a demonstration of Rousseau\u2019s appreciation for Arago\u2019s service.&nbsp;</div><div><!--block--><br><br></div>"], "date": "After 1880- ?", "sortorder": 1}, {"description": "Charles Gu\u00e9rin, Lyon", "citations": [], "footnotes": ["<div><!--block-->Bernard Lorenceau of Galerie Brame-Lorenceau furnished CMA with the name Charles Gu\u00e9rin, whom Lorenceau identified as a professor in Lyon who had died by 1983.</div>"], "date": "?", "sortorder": 2}, {"description": "(Sale, H\u00f4tel Drouot, Paris, May 9-10, 1977 (no. 100), sold to Galerie Galerie Brame-Lorenceau)", "citations": [], "footnotes": ["<div><!--block-->The names of the consignors to this sale are not disclosed in the catalogue, which identifies the listed works only as coming from the \u201ccollection de Madame X et divers amateurs.\u201d&nbsp; There are no specific indications that Gu\u00e9rin consigned any paintings to this sale, so the source of Rousseau\u2019s painting remains unknown.</div>"], "date": "1977", "sortorder": 3}, {"description": "(Galerie Brame-Lorenceau, Paris, sold to Noah L. Butkin and Muriel S. Butkin)", "citations": [], "footnotes": [], "date": "1977", "sortorder": 4}, {"description": "Noah L. [1918-1980] and Muriel S. Butkin [1915-2008], Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin", "citations": [], "footnotes": [], "date": "1977-1980", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Rousseau was profoundly influenced by the atmospheric still lifes of Jean Sim\u00e9on Chardin (1699-1779), whom the artist and other French painters like Fran\u00e7ois Bonvin (1817-1877) rediscovered in the mid-1800s. A comparison with Chardin's work, also shown in this gallery, indicates that Rousseau similarly depicted foodstuffs on a simple kitchen table, concentrating on rich textures and restrained colors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474649"], "internet_archive": ["https://archive.org/details/clevelandart-1980.284-still-life-with-aspa"]}, "citations": [{"citation": "Weisberg, Gabriel P. <em>The Realist Tradition: French Painting and Drawing, 1830-1900</em>. Cleveland: Cleveland Museum of Art, 1980.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Bernard Lorenceau, letter to Linda Jackson, Feb. 8, 1983.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes</em>. May 9-10, 1977.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "Phillippe Brame, letter to Linda Jackson, Oct. 4, 1983, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 178; Mentioned: p. 213, no. 68", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 560-561, Vol. II, no. 197", "url": ""}, {"citation": "Koos, Marianne. \"Manet and the Reception of Chardin in Nineteenth-Century French Painting.\" In <em>Praised and Ridiculed: French Painting 1820-1880. </em>Zu\u0308rcher Kunstgesellschaft, ed., 44-55. Munich: Hirmer; Z\u00fcrich: Kunsthaus Z\u00fcrich, [2017].", "page_number": "Reproduced: P. 164, cat. 97; Mentioned: P. 50", "url": null}, {"citation": "Eschelbacher, Andrew J. and Lloyd DeWitt, eds.<em>Farm to Table: Art, Food, and Identity in the Age of Impressionism.</em> New Haven, London, Norfolk, VA: Yale University Press; in association with the Chrysler Museum of Art; American Federation of Arts, 2024.", "page_number": "Reproduced: pl. 48", "url": ""}], "url": "https://clevelandart.org/art/1980.284", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.284/1980.284_web.jpg", "width": "1263", "height": "693", "filesize": "554016", "filename": "1980.284_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.284/1980.284_print.jpg", "width": "3400", "height": "1865", "filesize": "4235932", "filename": "1980.284_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.284/1980.284_full.tif", "width": "6000", "height": "3291", "filesize": "59268424", "filename": "1980.284_full.tif"}}, "alternate_images": [{"date_created": "2015-01-06T11:16:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.284/1980.284_alt0_web.jpg", "width": "900", "height": "622", "filesize": "186970"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.284/1980.284_alt0_print.jpg", "width": "3400", "height": "2351", "filesize": "2327422"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.284/1980.284_alt0_full.tif", "width": "7229", "height": "4998", "filesize": "108421268"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150079, "creators": [{"id": 1591, "description": "Philippe Rousseau (French, 1816\u20131887)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of an opera singer, Philippe Rousseau is said to have apprenticed with Gros (q.v.) and Bertin (q.v.). Their impact, however, remains minor, and Rousseau appears to have been largely self-taught. He made his debut at the Salon of 1834, and would exhibit there throughout his life. He initially painted landscapes, often depicting scenes from Normandy. It was not until 1844 that he began exhibiting still lifes. One year later he combined what would become his two principal genres, the still life and the animal painting, in a work entitled The City Rat and the Country Rat (1845, location unknown), for which he received his first Salon prize, a third-class medal. Based on a fable by La Fontaine, this sort of anecdotal painting would become representative of his oeuvre. When he painted animals, he typically chose small ones, such as birds, cats, and dogs, and he often integrated them in a still-life setting. For this latter specialty he had proclaimed Jean-Baptiste-Sim\u00e9on Chardin (1699-1779) \"his God.\" Rousseau paid an impressive tribute to his eighteenth-century predecessor in Chardin et ses mod\u00e8les (1867, Mus\u00e9e d'Orsay, Paris). In the center of that composition, Rousseau depicted a framed portrait of Chardin surrounded by many of the objects the artist used in his still lifes. Fortune shined on Rousseau and he was adopted by the establishment of the Second Empire-the court of Napoleon III, Princess Mathilde, Baron James de Rothschild, Alexandre Dumas, etc. He thus received a comfortable income at a time when many of his colleagues and friends were living in poverty. His art, moderately realist, gravitated around the styles of such artists as Bonvin (q.v.), but was less \"sophisticated\"; Vollon, but less \"Dutch\"; Fantin-Latour (q.v.), but less \"idealist\"; and Manet (q.v.), but less \"radical.\"", "name_in_original_language": null, "birth_year": "1816", "death_year": "1887", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:24.199000"}, {"id": 132850, "accession_number": "1955.310", "share_license_status": "CC0", "tombstone": "Pomona Britannica:  No. 17 - Plums, 1806. George Brookshaw (British, 1751\u20131823). Aquatint. The Cleveland Museum of Art, Gift of The Print Club of Cleveland in honor of Arnold M. Davis, 1955.310", "current_location": null, "title": "Pomona Britannica:  No. 17 - Plums", "creation_date": "1806", "creation_date_earliest": 1806, "creation_date_latest": 1806, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301685, "title": "Flower and Fruit Prints and Drawings", "description": "<i>Flower and Fruit Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 25-October 10, 1960).", "opening_date": "1960-05-25T04:00:00"}, {"id": 353717, "title": "Flower Prints", "description": "<i>Flower Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 7-June 6, 1965).", "opening_date": "1965-05-07T04:00:00"}, {"id": 309648, "title": "The Perennial Garden: 18th and 19th Century Botanical Prints", "description": "<i>The Perennial Garden: 18th and 19th Century Botanical Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 3-July 31, 1983).", "opening_date": "1983-05-03T04:00:00"}, {"id": 203083, "title": "The Flowering of the Botanical Print", "description": "<i>The Flowering of the Botanical Print</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 3, 2016).", "opening_date": "2016-03-26T00:00:00"}, {"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": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before publishing his botanical illustrations, Brookshaw was a renowned maker of painted furniture.", "description": "<em>Pomona Britannica </em>illustrates fruits cultivated at Hampton Court Palace\u2019s gardens, the most celebrated around London. It was devoted to the most handsome varieties of fruit cultivated in England. 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Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906). Brush and brown ink; image: 33 x 27 cm (13 x 10 5/8 in.); sheet: 41.8 x 66.6 cm (16 7/16 x 26 1/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland in tribute to Mr. and Mrs. Lewis B. Williams, 1957.212", "current_location": null, "title": "Reading", "creation_date": "c. 1875\u20131900", "creation_date_earliest": 1880, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "brush and brown ink", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image: 33 x 27 cm (13 x 10 5/8 in.); Sheet: 41.8 x 66.6 cm (16 7/16 x 26 1/4 in.)", "dimensions": {"sheet": {"height": 0.418, "width": 0.666}, "image": {"height": 0.33, "width": 0.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, lower left, in brown ink: Eug\u00e8ne Carri\u00e8re", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "verso, center right, in graphite: Dessin original / d' Eug\u00e8ne Carri\u00e8re", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"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>. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}], "legacy": [{"description": "<em>Gifts from the Print Club to the Cleveland Museum of Art </em>(April 4 - August 2, 1970).", "opening_date": "1970-04-04T00:00:00"}, {"description": "<em>", "opening_date": null}, {"description": "Gifts of the Print Club of Cleveland to the Cleveland Museum of Art 1939-1959</em> (October 11, 1960 - November 3, 1961).", "opening_date": "1960-10-11T00:00:00"}]}, "provenance": [{"description": "(Swetzoff Gallery, Boston, MA, sold to the Print Club of Cleveland)", "citations": [], "footnotes": null, "date": "?-1957", "sortorder": 1}, {"description": "Print Club of Cleveland, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1957", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1957-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Eug\u00e8ne Carri\u00e8re's close friend, the sculptor Auguste Rodin, once said of the artist that he \"sculpts in shadow.\"", "description": "Eug\u00e8ne Carri\u00e8re was known for the evocative, hazy brushwork he used throughout various media. Executed in his signature style, this drawing likely depicts the artist's family studying a book together. Carri\u00e8re favored such intimate domestic scenes, using ethereal ochre marks to allow his subjects to blend into their surroundings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80027260"], "internet_archive": ["https://archive.org/details/clevelandart-1957.212-reading"]}, "citations": [], "url": "https://clevelandart.org/art/1957.212", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1957.212/1957.212_web.jpg", "width": "717", "height": "893", "filesize": "76060", "filename": "1957.212_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1957.212/1957.212_print.jpg", "width": "2728", "height": "3400", "filesize": "1464928", "filename": "1957.212_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1957.212/1957.212_full.tif", "width": "5652", "height": "7042", "filesize": "119426204", "filename": "1957.212_full.tif"}}, "alternate_images": [{"date_created": "2006-07-25T14:44:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1957.212/1957.212_alt0_web.jpg", "width": "759", "height": "893", "filesize": "437739"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1957.212/1957.212_alt0_print.jpg", "width": "2891", "height": "3400", "filesize": "6067406"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1957.212/1957.212_alt0_full.tif", "width": "3451", "height": "4058", "filesize": "42041972"}}], "creditline": "Gift of The Print Club of Cleveland in tribute to Mr. and Mrs. Lewis B. Williams", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134695, "creators": [{"id": 1739, "description": "Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Carri\u00e8re grew up in Strasbourg, the sixth of seven children in a working-class family. He attended the city's academy in 1862 and two years later worked as a commercial lithographer. In 1869 Carri\u00e8re moved to Paris, where he discovered the art of the Old Masters, Rubens in particular, which influenced his decision to become an artist. He entered the \u00c9cole des Beaux-Arts and studied under one of the foremost academic painters, Alexandre Cabanel (1823-1889). His training was suspended, however, with the outbreak of the Franco-Prussian War (1870-71). Shortly after enlisting, he was captured by the Germans and taken to Dresden where he was held prisoner for one year. At the end of the war he returned to Paris to resume his studies under Cabanel, and to support himself he worked for a lithographer friend, Jules Ch\u00e9ret (1836-1932). Carri\u00e8re's painting career took off slowly, and in the Salons of 1876, 1877, and 1878 his paintings received little recognition. In 1878 he married Sophie Desmonceaux (with whom he would have seven children), and the couple spent six months in London where he discovered the works of Turner (q.v.). Back in Paris, he spent the next decade working odd jobs, most often in printshops in order to sustain his family. Through his brother, a ceramist, Carri\u00e8re began working in 1880 for the S\u00e8vres porcelain factory and there met sculptor Auguste Rodin (1840-1917). This friendly and steady associ-ation inspired each artist's work. In 1879 Carri\u00e8re had painted his first maternit\u00e9 entitled Jeune m\u00e8re (Mus\u00e9e Calvet, Avignon), a subject to which he would return throughout his career. His success as a painter began at the Salon of 1884 when his entry received an honorable mention. His good fortune continued with awards at the Salons of 1885 and 1887. Two years later, a medal at the Universal Exposition and the Legion of Honor indicated how well his work was received by critics, artists, and writers. From 1890 through 1897, Carri\u00e8re lived his most fruitful years as an artist, began making lithographs, and frequently traveled abroad. He was connected with most of the important critics and avant-garde artists of the time, such as Bonnard (q.v.), Gauguin (q.v.), Vuillard (q.v.), Maurice Denis (1870-1943), and Paul S\u00e9rusier (1864-1927). He was also admired by the symbolists for the dreamlike quality of his paintings. In 1890 he associated himself with Meissonier (q.v.), Rodin, F\u00e9lix Bracquemond (1833-1914), and Puvis de Chavannes (q.v.), who founded the Soci\u00e9t\u00e9 Nationale des Beaux-Arts in opposition to the official system of the Salon des Artistes Fran\u00e7ais. In 1903, in an effort to oppose restrictive rules of the Soci\u00e9t\u00e9 Nationale, Carri\u00e8re established a new salon, the Salon d'Automne, and was named its president.", "name_in_original_language": null, "birth_year": "1849", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1957-07-29T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1875\u20131900", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:51.205000"}, {"id": 148759, "accession_number": "1976.20", "share_license_status": "CC0", "tombstone": "La Roche-Guyon, 1866. Camille Pissarro (French, 1830\u20131903). Etching; image: 27.4 x 22.2 cm (10 13/16 x 8 3/4 in.); plate: 31.8 x 23.9 cm (12 1/2 x 9 7/16 in.); sheet: 43.5 x 32.8 cm (17 1/8 x 12 15/16 in.). The Cleveland Museum of Art, Delia E. Holden and L. E. Holden Funds, 1976.20", "current_location": null, "title": "La Roche-Guyon", "creation_date": "1866", "creation_date_earliest": 1866, "creation_date_latest": 1866, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 19th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 27.4 x 22.2 cm (10 13/16 x 8 3/4 in.); Plate: 31.8 x 23.9 cm (12 1/2 x 9 7/16 in.); Sheet: 43.5 x 32.8 cm (17 1/8 x 12 15/16 in.)", "dimensions": {"image": {"height": 0.274, "width": 0.222}, "plate": {"height": 0.318, "width": 0.239}, "sheet": {"height": 0.435, "width": 0.328}}, "state_of_the_work": "I/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, at lower right, in plate: C. Pissarro; inscribed, in pencil, at lower left: epreuve d'\u00e9tat", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 442308, "title": "Camille Pissarro: The Unexplored Impressionist", "description": "<i>Camille Pissarro: The Unexplored Impressionist</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (October 30, 1980-January 11, 1981); Galeries Nationales du Grand Palais, 75008 Paris, France (January 30-April 27, 1981); Museum of Fine Arts, Boston, Boston, MA (May 19-August 9, 1981).", "opening_date": "1980-10-30T05:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 310038, "title": "The Graphic Art of the Barbizon School", "description": "<i>The Graphic Art of the Barbizon School</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 17-May 17, 1987).", "opening_date": "1987-03-17T05:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "(R. M. Light and Co., Santa Barbara, CA, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1976", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1976-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Camille Pissarro favored rural life and lived in the small village of La Roche-Guyon during the 1860s, when this print was made.", "description": "A very early etching by the Impressionist artist Camille Pissarro, this view of the massive rocks at La Roche-Guyon reveals the artist\u2019s painterly attitude toward printmaking. Using only the etched line and a layer of ink left on his printing plate's surface, Pissarro created a dramatic landscape filled with brilliant sunlight and soft shadows.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929226"], "internet_archive": ["https://archive.org/details/clevelandart-1976.20-la-roche-guyon"]}, "citations": [], "catalogue_raisonne": "Delteil 5", "url": "https://clevelandart.org/art/1976.20", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.20/1976.20_web.jpg", "width": "687", "height": "893", "filesize": "521119", "filename": "1976.20_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.20/1976.20_print.jpg", "width": "2616", "height": "3400", "filesize": "6469171", "filename": "1976.20_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.20/1976.20_full.tif", "width": "3925", "height": "5102", "filesize": "60108732", "filename": "1976.20_full.tif"}}, "alternate_images": [{"date_created": "2006-03-09T19:01:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.20/1976.20_alt0_web.jpg", "width": "687", "height": "893", "filesize": "536613"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.20/1976.20_alt0_print.jpg", "width": "2614", "height": "3400", "filesize": "6766447"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.20/1976.20_alt0_full.tif", "width": "3705", "height": "4819", "filesize": "53596376"}}], "creditline": "Delia E. Holden and L. E. Holden Funds", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148759, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-05-07T00:00:00", "sortable_date": 1866, "date_added_to_oa": null, "date_text": "1866", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "proof impression", "alternate_titles": ["The Rocks at Guyon (La Roche Guyon)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:55.534000"}, {"id": 141728, "accession_number": "1965.310", "share_license_status": "CC0", "tombstone": "Sketch for \"The Revolt at Cairo\", c. 1809. Anne-Louis Girodet de Roucy-Trioson (French, 1767\u20131824). Oil on paper, mounted on paper and canvas; framed: 25 x 33 x 6.5 cm (9 13/16 x 13 x 2 9/16 in.); unframed: 15.2 x 23.3 cm (6 x 9 3/16 in.). The Cleveland Museum of Art, Gift of Eugene Victor Thaw, 1965.310", "current_location": null, "title": "Sketch for \"The Revolt at Cairo\"", "creation_date": "c. 1809", "creation_date_earliest": 1804, "creation_date_latest": 1814, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on paper, mounted on paper and canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 25 x 33 x 6.5 cm (9 13/16 x 13 x 2 9/16 in.); Unframed: 15.2 x 23.3 cm (6 x 9 3/16 in.)", "dimensions": {"framed": {"height": 0.25, "width": 0.33, "depth": 0.065}, "unframed": {"height": 0.152, "width": 0.233}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 443185, "title": "French Nineteenth Century Oil Sketches: David to Degas", "description": "<i>French Nineteenth Century Oil Sketches: David to Degas</i>. Ackland Art Museum, University of North Carolina, Chapel Hill, NC, Chapel Hill, NC (organizer) (March 5-April 30, 1978).", "opening_date": "1978-03-05T05:00:00"}, {"id": 304414, "title": "Idea to Image: Preparatory Studies from the Renaissance to Impressionism", "description": "<i>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</i>. The Cleveland Museum of Art (organizer) (February 19-March 23, 1980).", "opening_date": "1980-02-19T05:00:00"}, {"id": 442363, "title": "Goya: das Zeitalter der Revolutionen, 1789-1830 (Goya: The Age of Revolutions, 1789-1830)", "description": "<i>Goya: das Zeitalter der Revolutionen, 1789-1830 (Goya: The Age of Revolutions, 1789-1830)</i>. Hamburger Kunsthalle, Hamburg, Germany (organizer) (October 16, 1980-January 4, 1981).", "opening_date": "1980-10-16T04:00:00"}, {"id": 441965, "title": "Triumph und Tod des Helden (Triumph and Death of the Hero): European History Painting from Rubens to Manet", "description": "<i>Triumph und Tod des Helden (Triumph and Death of the Hero): European History Painting from Rubens to Manet</i>. Wallraf-Richartz Museum, 50667 Cologne, Germany (organizer) (October 30, 1987-January 10, 1988); Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (March 3-April 24, 1988); Mus\u00e9e des Beaux-Arts de Lyon, 69001 Lyon, France (May 19-July 17, 1988).", "opening_date": "1987-10-30T05:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}, {"id": 219170, "title": "Girodet: Romantic Rebel", "description": "<i>Girodet: Romantic Rebel</i>. The Art Institute of Chicago, Chicago, IL (February 11-April 30, 2006); The Metropolitan Museum of Art, New York, NY (May 22-August 27, 2006); Montr\u00e9al Museum of Fine Arts, Montreal, Quebec, Canada (October 12, 2006-January 21, 2007).", "opening_date": "2005-09-19T00:00:00"}, {"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": [{"description": "Kansas City, Nelson Atkins Museum. The Taste of Napoleon (1969), no. 35.", "opening_date": "1969-01-01T00:00:00"}, {"description": "Chapel Hill, William Hayes Ackland Memorial Art Center, University of North Carolina. French Nineteenth Century Oil Sketches: David to Degas (1978), no. 39, fig. 39.", "opening_date": "1978-01-01T00:00:00"}, {"description": "cma; Brooklyn Museum; Saint Louis Art Museum; Glasgow Art Gallery and Museum. The Realist Tradition: French Painting and Drawing 1830-1900 (1980-82), 72-73 (repr.). Text by Gabriel P. Weisberg.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Kunsthalle Hamburg. Goya: Das Zeitalter der Revolutionen 1789-1830 (1981), 534, no. 393, pl. xx.", "opening_date": "1981-01-01T00:00:00"}, {"description": "Providence, Bell Gallery, Brown University. All the Banners Wave: Art and War in the Romantic Era 1792-1851 (1982), no. 11b (repr.).", "opening_date": "1982-01-01T00:00:00"}, {"description": "Memorial Art Gallery of the University of Rochester (N.Y.); Neuberger Museum, State University of New York at Purchase. Orientalism: The Near East in French Painting, 1800-1880 (1982), no. 45, fig. 14.", "opening_date": "1982-01-01T00:00:00"}, {"description": "Cologne, Wallraf-Richartz-Museum; Kunsthaus Z\u00fcrich; Lyons, Mus\u00e9e des Beaux-Arts. Triumph und Tod des Helden: Europ\u00e4ische Historienmalerei von Rubens bis Manet (1987-88), no. 134 (repr.).", "opening_date": "1987-01-01T00:00:00"}, {"description": "Art Institute of Chicago, IL (2/11/2006 - 4/30/2006), Metropolitan Museum of Art, NYC (5/22/2006 - 8/27/2006) and the Mus\u00e9e des Beaux Arts, Montr\u00e9al (10/12/2006 - 1/21/2007): \"Girodet: Romantic Rebel\" (Paris: Mus\u00e9e du Louvre \u00cadition \u00a92005), ex. cat. 56, p. 317.", "opening_date": "2006-02-11T00:00:00"}]}, "provenance": [{"description": "Paris sale, Drouot, collection Coutan-Hauguet, 16-17 December 1889 (lot 16), \"G\u00e9ricault [annotation gives: Girodet]: R\u00e9volte du Caire, 21 Octobre 1798, premi\u00e8re pens\u00e9e: esquisse,\" 15 x 24 cm, for ff 309 to Guillon [annotated]. Eugene Victor Thaw, New York. Given to the CMA in 1965.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Throughout the 1800s and into the 1900s, prints, paintings, and photographs, like Louis Haghe\u2019s <em>Egypt and Nubia</em> series, brought back by artists who voyaged to Egypt, inspired American and European artists, architects, and designers to emulate ancient Egyptian motifs and styles. Egyptomania blossomed through the 1800s and can be seen in architecture around cities like Washington, DC, and in the interiors of aristocratic homes, as well as in funerary monuments, such as in Lake View Cemetery in Cleveland, Ohio. Looking back at these creations provides an interesting historical groundwork for debating who has the right to interpret Egyptian motifs and styles.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469487"], "internet_archive": ["https://archive.org/details/clevelandart-1965.310-sketch-for-the-revol"]}, "citations": [{"citation": "\u201cAnnual Report for 1965.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 53, no. 6 (June 1966): 137\u2013171.", "page_number": "Mentioned: p. 140, 141", "url": "http://www.jstor.org/stable/25152106"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 298-300, Vol. I, no. 107", "url": ""}, {"citation": "Bellenger, Sylvain, ed.<em> Girodet, 1767-1824</em>. [Paris, France]: Gallimard, 2006.", "page_number": "Mentioned and reproduced: pp. 316-319, cat. 56", "url": null}, {"citation": "Lisby, Darnell-Jamal. \u201cEgyptomania: Engaging the conflicted obsession.\"<em> Cleveland Museum of Art Members Magazine </em>vol. 63, no. 1 (2023): 12-15.", "page_number": "Reproduced: P. 12", "url": "https://archive.org/details/CMAMM2023-01/page/n11/mode/2up"}], "url": "https://clevelandart.org/art/1965.310", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1965.310/1965.310_web.jpg", "width": "1263", "height": "826", "filesize": "266500", "filename": "1965.310_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1965.310/1965.310_print.jpg", "width": "3400", "height": "2224", "filesize": "1600541", "filename": "1965.310_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1965.310/1965.310_full.tif", "width": "6346", "height": "4152", "filesize": "79069540", "filename": "1965.310_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.310/1965.310_alt0_web.jpg", "width": "1263", "height": "819", "filesize": "948254"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.310/1965.310_alt0_print.jpg", "width": "2048", "height": "1328", "filesize": "2433853"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.310/1965.310_alt0_full.tif", "width": "2048", "height": "1328", "filesize": "8162068"}}, {"date_created": "2013-09-23T15:34:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.310/1965.310_alt1_web.jpg", "width": "1263", "height": "829", "filesize": "217828"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.310/1965.310_alt1_print.jpg", "width": "3400", "height": "2233", "filesize": "1326965"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1965.310/1965.310_alt1_full.tif", "width": "6788", "height": "4460", "filesize": "90847136"}}], "creditline": "Gift of Eugene Victor Thaw", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 141728, "creators": [{"id": 1697, "description": "Anne-Louis Girodet de Roucy-Trioson (French, 1767\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": "On the advice of his architecture instructor \u00c9tienne-Louis Boull\u00e9e (1728-1799), Girodet enrolled in the atelier of David (q.v.) in 1783 to study painting, working alongside other young artists like Gros (q.v.) and Jean-Baptiste-Joseph Wicar (1762-1834) who were also taught in David's neoclassical style. Girodet's early works display the influence of David in the linear and sculptural quality of his figures. After three consecutive years of competing for the Prix de Rome, he finally won at his fourth effort in 1789. Later that year the Revolution broke out in France and Girodet made numerous drawings of the fall of the Bastille. In 1790 he left for Italy where he stayed for five years. During that time his style changed and softened under the influence of the works of Leonardo (1452-1519) and Correggio (1489/94-1534). Girodet strove to be unique and original in his depictions and even went to great lengths to oppose David's neoclassicism. His new interest in atmospheric and light effects differed from that of his teacher. He made a name for himself at the Salon of 1793, with his submission of Sleep of Endymion (Mus\u00e9e du Louvre, Paris). After his return to Paris from Italy, Girodet became known as a portrait painter and accepted numerous commissions, but many of them were either late in delivery or never completed. Girodet's tendency to interpret commissions to prove his own originality often offended and alienated his patrons. He did not find official success at the Salon again until 1808 and produced little after 1815.", "name_in_original_language": null, "birth_year": "1767", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1965-09-11T00:00:00", "sortable_date": 1804, "date_added_to_oa": null, "date_text": "c. 1809", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:08.191000"}, {"id": 166702, "accession_number": "2008.410", "share_license_status": "CC0", "tombstone": "Return from the Horse Fair, 1873. Rosa Bonheur (French, 1822\u20131899). Watercolor and gouache over graphite; sheet: 25.9 x 56.7 cm (10 3/16 x 22 5/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.410", "current_location": null, "title": "Return from the Horse Fair", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "watercolor and gouache over graphite", "support_materials": [{"description": "beige wove paper, laid down on cardboard", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 25.9 x 56.7 cm (10 3/16 x 22 5/16 in.)", "dimensions": {"sheet": {"height": 0.259, "width": 0.567}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "<em>French Nineteenth-Century Drawings, Pastels, and Watercolors</em>. Shepherd Gallery, New York (November 1977-February 1978).", "opening_date": "1977-11-01T00:00:00"}]}, "provenance": [{"description": "(Christie, Manson & Wood, London, June 28, 1940, no. 3, sold to Gooden and Fox, London)", "citations": [], "footnotes": [""], "date": "1940", "sortorder": 1}, {"description": "(Gooden and Fox, London)", "citations": [], "footnotes": ["<div><!--block-->According to annotated 1940 sales catalogue.</div>"], "date": "1940-?", "sortorder": 2}, {"description": "Estate of Sir Jeremiah Colman [1859-1942], London", "citations": [], "footnotes": null, "date": "?-1955", "sortorder": 3}, {"description": "(Christie, Manson, & Wood, London, Colman estate sale, Mar. 25, 1955, no. 2)", "citations": [], "footnotes": null, "date": "1955", "sortorder": 4}, {"description": "Hentzl, sold to Geraldine Rockefeller Dodge, New York", "citations": [], "footnotes": ["<div><!--block-->According to Shepherd Gallery records and label on verso of mount, now removed.</div>"], "date": "?-?", "sortorder": 5}, {"description": "Geraldine Rockefeller Dodge [1882-1973], New York", "citations": [], "footnotes": null, "date": "?-1976", "sortorder": 6}, {"description": "(Parke-Bernet, New York, May 14, 1976, no. 22, sold to the Shepherd Gallery)", "citations": [], "footnotes": null, "date": "1976", "sortorder": 7}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": null, "date": "1976-1977", "sortorder": 8}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1977-2008", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing is one of numerous sheets relating to a large-scale painting now in the collection of the Metropolitan Museum of Art.", "description": "Rosa Bonheur was the first woman artist to receive the Cross of the French Legion of Honor, a French civilian and military decoration. She achieved great official and commercial success, especially for her carefully finished and naturalistic paintings of animals. This watercolor displays Bonheur's technical mastery and her close study of anatomy, as well as her appreciation for the natural beauty of the horses. The animals are arranged in a shallow frieze across the long composition, and their manicured tails, along with the riders' costumes and the finely-wrought iron fence, identify them as stock from the historic national breeding stables.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997319"], "internet_archive": ["https://archive.org/details/clevelandart-2008.410-return-from-the-hors"]}, "citations": [{"citation": "Klumpke, Anna. <em>Rosa Bonheur; sa vie, son \u0153uvre</em>. Paris: Flammarion, 1909.", "page_number": "Reproduced: p. 283", "url": null}, {"citation": "Christie, Manson &amp; Woods, London. <em>Ancient and Modern Pictures and Drawings</em>. June 28, 1940. Lot 3.", "page_number": "Mentioned: no. 3", "url": null}, {"citation": "Christie, Manson, &amp; Woods, London. <em>Modern Pictures and Drawings, The Property of Sir Jeremiah Colman</em>. Lot 2.", "page_number": "Mentioned: no. 2", "url": null}, {"citation": "Stanton, Theodore, ed. <em>Reminiscences of Rosa Bonheur</em>. New York: D. Appleton and Company, 1910. Reprint, New York: Hacker Art Books, 1976.", "page_number": "Mentioned: p. xi", "url": null}, {"citation": "Rohowsky, Peter S. <em>French Nineteenth Century Drawings, Pastels, Watercolors.</em> Exh. Cat. New York: Shepherd Gallery, 1977.", "page_number": "Reproduced: no. 10", "url": null}, {"citation": "Klumpke, Anna. <em>Rosa Bonheur: The Artist's (Auto)Biography</em>. Translated by Gretchen van Slyke. Ann Arbor: University of Michigan Press, 1997.", "page_number": "Mentioned: p. 278", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland, Ohio: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: cat. no. 48, p. 106-107; Reproduced: p. 107", "url": null}], "url": "https://clevelandart.org/art/2008.410", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.410/2008.410_web.jpg", "width": "1263", "height": "605", "filesize": "144928", "filename": "2008.410_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.410/2008.410_print.jpg", "width": "3400", "height": "1630", "filesize": "981966", "filename": "2008.410_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.410/2008.410_full.tif", "width": "6387", "height": "3063", "filesize": "58714860", "filename": "2008.410_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:46:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.410/2008.410_alt0_web.jpg", "width": "1263", "height": "584", "filesize": "581305"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.410/2008.410_alt0_print.jpg", "width": "3400", "height": "1571", "filesize": "4004968"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.410/2008.410_alt0_full.tif", "width": "5000", "height": "2310", "filesize": "34668372"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166702, "creators": [{"id": 1557, "description": "Rosa Bonheur (French, 1822\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": "The eldest of four children, Rosa Bonheur received drawing lessons in the studio of her father, Raymond Bonheur (1796-1849). From early on she pre-ferred to draw animals and went to the Jardin des Plantes in Paris to study and draw them. She first exhibited at the Salon of 1841. The family moved to the suburbs where Bonheur had an even more easy access to animals, and she visited slaughterhouses in order to study their anatomy. Her Salon submissions became increasingly successful, but her first major breakthrough occurred with Plowing in the Nivernais (Salon 1849, Mus\u00e9e National du Ch\u00e2teau, Fontainebleau). Based on Sand's rustic novel La mare au Diable (1846), the work represents a heroic depiction of rural life that Bonheur had elevated to the standards of a history painting. Her international reputation was established with The Horse Fair (Metropolitan Museum of Art, New York), presented at the Salon of 1853. She celebrated her final triumph at the 1855 Salon with Haymaking in the Auvergne (R. W. Norton Art Gallery, Shreveport, La.), after which she increasingly withdrew from public life. She mostly worked on her many commissions and shared her life with Nathalie Micas. The couple traveled extensively, and in 1859 Bonheur bought the Ch\u00e2teau de By in Thomery near Fontainebleau, where they lived in relative solitude. Bonheur had also little contact with the nearby group of Barbizon painters. The widespread appreciation for her work did not diminish, however, and in 1865 Empress Eug\u00e9nie visited her studio in order to award her a knighthood in the Legion of Honor, making her the first woman to carry that title. Nathalie Micas died in 1889, to Bonheur's great distress, but she soon befriended the American painter Anna Klumpke (1856-1942), with whom she would eventually live and who became her biographer. Even though Bonheur was appreciated in France, her principal collectors were in England and the United States. According to Albert Wolff, she was \"one of the three most highly priced French painters in America . . . the other two [were] Jules Breton [q.v.] and Meissonier [q.v.]\"1 Bonheur was one of the foremost animaliers, or animal painters, of her time and was also active as a sculptor. Her painting style changed little throughout her career, and her work found little esteem with more pro-gressive artists and critics. However, her unorthodox life as an independent and successful woman in a male-dominated society has recently generated great interest, especially among feminist art historians.\r\n1. Le Figaro (11 July 1890), 1.", "name_in_original_language": null, "birth_year": "1822", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:06.844000"}, {"id": 86399, "accession_number": "2015.138", "share_license_status": "CC0", "tombstone": "Orchids and Rocks (\ub09c\uc11d\ub3c4 [\u862d\u77f3\u5716]), 1897\u201398. Yi Ha-eung (Korean, 1820\u20131898). Eight-panel folding screen; ink on silk; overall: 185 x 52.6 cm (72 13/16 x 20 11/16 in.); each panel: 111.9 x 1.5 cm (44 1/16 x 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2015.138", "current_location": null, "title": "Orchids and Rocks", "title_in_original_language": "\ub09c\uc11d\ub3c4 [\u862d\u77f3\u5716]", "creation_date": "1897\u201398", "creation_date_earliest": 1897, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Eight-panel folding screen; ink on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 185 x 52.6 cm (72 13/16 x 20 11/16 in.); Each panel: 111.9 x 1.5 cm (44 1/16 x 9/16 in.)", "dimensions": {"overall": {"height": 1.85, "width": 0.526}, "each panel": {"height": 1.814, "width": 0.514, "depth": 0.016}, "overall framed": {"height": 1.858, "width": 4.156, "depth": 0.016}, "painting only": {"height": 1.079, "width": 0.328}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Translation: [I] painted for the high minister Yangwon. [I] humbly request your corrections and advice [on my painting]. [By] an eighty-year old gentleman of rocks.)", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 290449, "title": "Korean Gallery 236 Rotation", "description": "<i>Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 13-July 10, 2017).", "opening_date": "2017-01-13T05:00:00"}, {"id": 375733, "title": "Korean Screen Reciprocal Loan", "description": "<i>Korean Screen Reciprocal Loan</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (March 1-September 1, 2021).", "opening_date": "2021-03-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Jin Gallery, Busan, South Korea)", "citations": [], "footnotes": [], "date": "?\u20132006", "sortorder": 1}, {"description": "(Seoul Auction, Seoul, South Korea)", "citations": [], "footnotes": null, "date": "2006", "sortorder": 2}, {"description": "(Kang Collection, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2006\u201315", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2015\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist of this elegant painting is the formidable politician Yi Ha-eung (1820\u20131898), who is known for a seclusion policy that aimed to protect Korea and its sovereignty from foreign influences.", "description": "Yi Ha-eung (1820\u22121898), the artist of this eight-panel folding screen, was one of the most influential men in late 19th-century Korea. Acting as the regent for his son, King Gojong (1852\u22121919), who ascended the throne at the age of thirteen, Yi ruled Korea from 1866 to 1873. In addition to his illustrious political career, Yi was also recognized as one of the most celebrated artists who led the revival of literati art in late 19th-century Korean art. In particular, he was recognized as the master of orchids, one of the \u201cFour Gentlemen\u201d (plum, orchid, chrysanthemum, and bamboo) themes. <br><br>Solely relying on monochrome ink, Yi depicted the curvilinear silhouettes of cymbidium orchid leaves dramatically hanging down from cliffs. Growing in wilderness and redolent with fragrance, orchids were often associated with the perseverance of principled gentlemen, and thus became one of the most popular subjects of scholar-artists' paintings.On the upper right corner of the far left panel, Yi wrote a short inscription stating that he painted the work at the age of 80.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60493594"], "internet_archive": ["https://archive.org/details/clevelandart-2015.138-orchids-and-rocks"]}, "citations": [{"citation": "Kim, Jeong-suk. \"Formative Stages of Ink Orchid Paintings by Yi Ha-eung [\u77f3\u5761 \uf9e1\u6630\u61c9 \u58a8\u862d\u7575\u98a8\uc758 \ud615\uc131].\" <em>Misulsahak yeongu</em> (2002): 233\u2013266.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00968294"}, {"citation": "Kim, Jeong-suk. \" <em>Yi Ha-eung\u2019s Art</em> [\ud765\uc120 \ub300\uc6d0\uad70 \uc774\ud558\uc751 \uc758 \uc608\uc220 \uc138\uacc4].\u201d Seoul: Iljisa, 2004.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and Reproduced: pp. 86\u201387", "url": ""}, {"citation": "McCormick, Sooa Im. \u201cAcquisitions 2015: Korean Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 36\u201337.", "page_number": "Reproduced: p. 36, 37; Mentioned: p. 36", "url": "https://archive.org/details/CMAMM2016-02"}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 220\u2013221, no. 123", "url": ""}], "url": "https://clevelandart.org/art/2015.138", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.138/2015.138_web.jpg", "width": "900", "height": "402", "filesize": "212572", "filename": "2015.138_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.138/2015.138_print.jpg", "width": "3400", "height": "1518", "filesize": "1486425", "filename": "2015.138_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.138/2015.138_full.tif", "width": "17373", "height": "7757", "filesize": "404312780", "filename": "2015.138_full.tif"}}, "alternate_images": [{"date_created": "2015-11-16T10:54:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.138/2015.138_alt0_web.jpg", "width": "900", "height": "406", "filesize": 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Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86399, "creators": [{"id": 67134, "description": "Yi Ha-eung (Korean, 1820\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uc774\ud558\uc751", "birth_year": "1820", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-12-07T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897\u201398", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-08 11:09:01.637000"}, {"id": 148970, "accession_number": "1977.127", "share_license_status": "CC0", "tombstone": "Singers, 1863\u20131868. Th\u00e9odule Ribot (French, 1823\u20131891). Oil on fabric; framed: 88.9 x 75.6 x 6.8 cm (35 x 29 3/4 x 2 11/16 in.); unframed: 74 x 60.3 cm (29 1/8 x 23 3/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.127", "current_location": null, "title": "Singers", "creation_date": "1863\u20131868", "creation_date_earliest": 1863, "creation_date_latest": 1868, "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: 88.9 x 75.6 x 6.8 cm (35 x 29 3/4 x 2 11/16 in.); Unframed: 74 x 60.3 cm (29 1/8 x 23 3/4 in.)", "dimensions": {"framed": {"height": 0.889, "width": 0.756, "depth": 0.068}, "unframed": {"height": 0.74, "width": 0.603}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: t. Ribot\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}, {"id": 310235, "title": "Lutes, Lovers, and Lyres: Musical Imagery in the Collection", "description": "<i>Lutes, Lovers, and Lyres: Musical Imagery in the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 14-June 11, 1989).", "opening_date": "1989-02-14T05:00:00"}, {"id": 229926, "title": "Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art", "description": "<i>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</i>. Snite Museum, University of Notre Dame, Notre Dame, IN (organizer) (September 2-December 2, 2012).", "opening_date": "2012-09-26T00:00:00"}, {"id": 396858, "title": "Th\u00e9odule Ribot (1823-1891): A Delightful Darkness", "description": "<i>Th\u00e9odule Ribot (1823-1891): A Delightful Darkness</i>. Mus\u00e9e des Augustins, Toulouse, France (October 16, 2021-January 2, 2022) https://www.augustins.org/en/exhibition-theodule-ribot; Mus\u00e9e des Beaux-Arts, Marseille, Marseille, France (February 10-May 15, 2022); Mus\u00e9e des Beaux-Arts de Caen, Caen, France (organizer) (June 11-October 2, 2022) https://mba.caen.fr/exposition/theodule-ribot.", "opening_date": "2021-10-16T04:00:00"}], "legacy": [{"description": "Bordeaux, La Soci\u00e9t\u00e9 des Amis des Arts de Bordeaux. (1865), no. 450.", "opening_date": null}, {"description": "Paris, Galerie Bernheim Jeune. Exposition T. Ribot (1890), no. 226, Le concert, 72 x 60 cm, sign\u00e9 dans le coin et \u00e0 droite (cma painting is signed lower left, but the extensive description otherwise fits perfectly).", "opening_date": null}, {"description": "Probably Paris, Palais National de l'\u00c9cole des Beaux-Arts. Exposition Th. Ribot (1892), no. 26, Une r\u00e9p\u00e9tition, 73 x 60 cm, appartient \u00e0 M. de H. (stamp with initials \"PH\" on reverse could refer to this owner).", "opening_date": null}, {"description": "Possibly Paris, Galerie Bernheim Jeune. Exposition Ribot (1911), no. 19, Les chanteurs.", "opening_date": "1911-01-01T00:00:00"}, {"description": "CMA; Brooklyn Museum; Saint Louis Art Museum; Glasgow Art Gallery and Museum. The Realist Tradition: French Painting and Drawing 1830-1900 (1980-82), 50, no. 12 (repr.). Text by Gabriel P. Weisberg.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Snite Museum of Art, Notre Dame University, South Bend, IN (8/26/2012 - 11/15/2012):  \"Breaking the Mold: The Legacy of Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art\", ex. cat. no. 66, p. 192-193.", "opening_date": "2012-08-26T00:00:00"}]}, "provenance": [{"description": "(Probably Bernheim-Jeune, Paris)", "citations": [], "footnotes": ["<div><!--block-->The 1892 <em>Exposition T. Ribot, </em>held at Bernheim-Jeune, includes a painting entitled \u201cLe Concert\u201d (no. 226), whose lengthy, detailed description matches that of the Cleveland picture perfectly.&nbsp; The given dimensions are 72 x 60 cm, just one centimeter off in height from <em>Singers.&nbsp; </em>The catalogue description says that the signature is in the lower right, while the Cleveland painting is signed in the lower left; this is most likely an error, as it seems almost certain that the exhibited work and the Cleveland picture are one and the same given the precise description and dimensions. &nbsp;</div>"], "date": "1890", "sortorder": 1}, {"description": "(Possibly Monsieur de H.)", "citations": [], "footnotes": ["<div><!--block-->A Ribot painting at the Palais National de l\u2019\u00c9cole des Beaux-Arts entitled \u201cUne R\u00e9p\u00e9tition\u201d (no. 26) matches the dimensions of <em>Singers </em>exactly.&nbsp; \u201cM. de H.\u201d is the listed owner and may refer to the same collector indicated on the painting\u2019s stretcher by a stamp that reads \u201cPH.\u201d &nbsp;</div>"], "date": "By 1892", "sortorder": 2}, {"description": "Frederick R. Sears, Jr. [1855-1939], Boston", "citations": [], "footnotes": ["<div><!--block-->A typewritten label on the back of the stretcher reads, \u201cFrom the collection of Frederick R. Sears,\" referring not to Frederick R. Sears, a noted art collector, but to his son, Frederick R. Sears, Jr.&nbsp; Sears, Jr. lent the Ribot to the Museum of Fine Arts, Boston from July 11, 1894 until October 11, 1895.&nbsp; The painting (\"Bohemian Singers\") is listed in the 1895 <em>Catalogue of Paintings and Drawings with a Summary of other Works of Art.&nbsp; </em>While some publications place Sears directly before Norton Gallery in the provenance, given that he certainly owned the painting in 1894-1895, it seems that he should in fact precede Bernheim-Jeune\u2019s 1925 purchase of the painting. &nbsp;</div>"], "date": "By 1895", "sortorder": 3}, {"description": "(Bernheim-Jeune, Paris)", "citations": [], "footnotes": ["<div><!--block-->Bernheim-Jeune purchased this painting (stock no. 5982/BJ; label visible on stretcher) in November 1925.&nbsp; The date of sale was illegible in the firm\u2019s stock book, which contained no additional information concerning the circumstances of the painting\u2019s acquisition, sale, or earlier provenance.&nbsp;</div>"], "date": "1925", "sortorder": 4}, {"description": "Norton Gallery, New York", "citations": [], "footnotes": [], "date": "?", "sortorder": 5}, {"description": "Noah L. [1918-1980] and Muriel S. Butkin [1915-1908], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "Until 1977", "sortorder": 6}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Ribot participated in a loosely defined artistic movement known as Realism, which sought to depict the gritty lives of workers and peasants. Often dark in tone and somber in mood, Realist paintings focused attention on social problems. Poor singers like these could be seen on the streets of Paris, but pictures of such singers were already a long-established theme in art history.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473269"], "internet_archive": ["https://archive.org/details/clevelandart-1977.127-singers"]}, "citations": [{"citation": "MM. Bernheim Jeune &amp; cie (Paris, France). <em>Exposition T. Ribot: catalogue raisonne\u0301 </em>", "page_number": null, "url": null}, {"citation": "<em>Exposition Th. Ribot au Palais National de l'E\u0301cole des Beaux-Arts</em>. Paris: Bibliothe\u0300que Nationale, 1991.", "page_number": null, "url": null}, {"citation": "Museum of Fine Arts, Boston. <em>Catalogue of Paintings and Drawings, with a Summary of Other Works of Art Exhibited on the Second Floor, Summer, 1895</em>. Boston: A. Mudge &amp; Son, printers, 1895.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Catherine O'Reilly, email to Victoria Reed, Dec. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, July 28, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. \u201cTh\u00e9odule Ribot: Popular Imagery and the Little Milkmaid.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 8 (October 1976): 253\u2013263.", "page_number": "Mentioned and reproduced: p. 258-261, figs. 13-15", "url": "http://www.jstor.org/stable/25152657"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1977.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 65, no. 1 (January 1978): 2\u201342.", "page_number": "Mentioned: p. 39, no. 41", "url": "http://www.jstor.org/stable/25159560"}, {"citation": "\u201cAnnual Report for 1977.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 6 (June 1978): 177\u2013215.", "page_number": "Reproduced: Back cover", "url": "http://www.jstor.org/stable/25159587"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 544-546, Vol. II, no. 191", "url": ""}, {"citation": "Georget, Luc. \"Sous le Scalpel de Ribot.\" In <em>The\u0301odule Ribot, 1823-1891: Une De\u0301licieuse Obscurite\u0301</em>. Emmanuelle Delapierre, Luc Georget, Gabriel Weisberg, eds., 118-181. Paris: LienArt, 2021.", "page_number": "Mentioned and reproduced: P. 148-149, no. 46", "url": ""}], "url": "https://clevelandart.org/art/1977.127", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.127/1977.127_web.jpg", "width": "724", "height": "893", "filesize": "52285", "filename": "1977.127_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.127/1977.127_print.jpg", "width": "2757", "height": "3400", "filesize": "908944", "filename": "1977.127_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.127/1977.127_full.tif", "width": "4588", "height": "5657", "filesize": "77890356", "filename": "1977.127_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.127/1977.127_alt0_web.jpg", "width": "732", "height": "893", "filesize": "367668"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.127/1977.127_alt0_print.jpg", "width": "1536", "height": "1874", "filesize": "1768751"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.127/1977.127_alt0_full.tif", "width": "1536", "height": "1874", "filesize": "8638572"}}, {"date_created": "2012-04-25T14:06:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.127/1977.127_alt1_web.jpg", "width": "736", "height": "893", "filesize": "131216"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.127/1977.127_alt1_print.jpg", "width": "2804", "height": "3400", "filesize": "2404106"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.127/1977.127_alt1_full.tif", "width": "4886", "height": "5924", "filesize": "86857356"}}], "creditline": "Gift of Mr. and Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148970, "creators": [{"id": 1582, "description": "Th\u00e9odule Ribot (French, 1823\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Th\u00e9odule Ribot first tried to study art at the trade school in Ch\u00e2lons, \u00c9cole des Arts et M\u00e9tiers. When his father died in 1840, Ribot had to help support his family. He worked as a bookkeeper in Rouen, married early, and left for Paris in 1845. There he did various jobs, studied in the atelier of Auguste-Barth\u00e9l\u00e9my Glaize (1807-1893), and, in 1848, went to Algeria to work as a foreman for three years. Back in Paris, he befriended the painter Bonvin (q.v.), who held an exhibition of pictures by his friends in his studio in 1859. These artists, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), Antoine Vollon (1833-1900), and J. A. M. Whistler (1834-1903), depicted ordinary subjects from their immediate environments without relying on narrative, and they generally used somber colors, limited illumination, and broader brushwork that contrasted with academic standards and methods. Their work elicited a positive response from Courbet (q.v.), considered the father of realism in France. Ribot first exhibited at a Paris Salon in 1861, when his kitchen scenes won generally favorable reviews. To underscore a humble life-style for the artist, his early biographers claim that the dark, inky backgrounds of his pictures were the result of Ribot's painting by lamplight in his free evenings at home. He continued to depict working-class and peasant subjects in a style variously described as Dutch or Spanish by critics, and he participated in the Salons and provincial and international art exhibitions. Always interested in expanding exhibition opportunities for independent painters like himself, he signed a petition in 1863 that decried the Salon jury's numerous rejections that year and contributed to the official decision to hold the Salon des Refus\u00e9s. Ribot sold his pictures through art galleries in Paris, such as those of Louis Martinet, Alfred Cadart, and Bernheim Jeune, and the French state bought his St. Sebastian (Mus\u00e9e d'Orsay, Paris) in 1865. In 1878 he was named to the Legion of Honor. The following year a serious illness kept Ribot from painting for two years, and his production fell off after this period. In 1884 his fellow artists, including Jules Bastien-Lepage (1848-1884), Boudin (q.v.), Fantin-Latour, Monet (q.v.), Puvis de Chavannes (q.v.), and Auguste Rodin (1840-1917), held a banquet in his honor and gave him a medal inscribed \"To Th\u00e9odule Ribot, the independent painter.\" It is ironic, then, that the year after his death a major retrospective exhibition was organized at the official art school, the \u00c9cole des Beaux-Arts in Paris.", "name_in_original_language": null, "birth_year": "1823", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1863, "date_added_to_oa": null, "date_text": "1863\u20131868", "collapse_artists": false, "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": "2026-03-27 00:06:03.142000"}, {"id": 173169, "accession_number": "1915.721", "share_license_status": "CC0", "tombstone": "The Tired Gleaner, 1880. Jules Breton (French, 1827\u20131906). Oil on fabric; unframed: 94 x 63.8 cm (37 x 25 1/8 in.). The Cleveland Museum of Art, Hinman B. Hurlbut Collection, 1915.721", "current_location": null, "title": "The Tired Gleaner", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 94 x 63.8 cm (37 x 25 1/8 in.)", "dimensions": {"unframed": {"height": 0.94, "width": 0.638}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed in black paint lower right corner: Jules Breton 1880", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "CMA. Catalogue of the Inaugural Exhibition of the Cleveland Museum of Art (1916), 113 (no. 5), 286 (repr.).", "opening_date": "1916-01-01T00:00:00"}]}, "provenance": [{"description": "Bought by Hinman B. Hurlbut, Cleveland, from Breton through the intermediary of George A. Lucas in 1881. Given to the CMA in 1915.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["356.1915"], "did_you_know": "Breton felt a sense of connection with peasant life, growing up in a small village of rural workers; however, his father's standing as a property manager to a duke allowed Breton to receive a classical arts education.", "description": "Gleaning\u2014or picking up what little grain remains after a wheat field has been harvested\u2014was usually the job of the poor, especially women and children. Breton shows a single gleaner stretching against a backdrop of the setting sun, while behind her others still labor in the field. Her bare feet and worn, simple clothing immediately identify her as a peasant. At the same time, however, her expansive gesture and the subdued tones of her skin and clothes link her to the surrounding landscape, both visually and symbolically. This painting not only suggests the hardships of peasant life, but also the grand link between humanity and the land. Like many of his successful contemporaries, Breton met demand for his paintings by copying and making variations of his own works. This picture is similar to a larger, more famous painting that was exhibited in the Paris Salon of 1880. The Cleveland collector Hinman H. Hurlbut, who bought this canvas from the artist, probably commissioned Breton to make this smaller variation of the larger painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107378445", "https://www.wikidata.org/wiki/Q60482592"], "internet_archive": ["https://archive.org/details/clevelandart-1915.721-the-tired-gleaner"]}, "citations": [{"citation": "Cleveland Museum of Art, and Alan Chong. <em>European &amp; American Painting in the Cleveland Museum of Art : A Summary Catalogue.</em> Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "Mentioned and reproduced: p. 24", "url": ""}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 95-97, Vol. I, no. 35", "url": ""}, {"citation": "Bourrut Lacouture, Annette.<em> Jules Breton: Catalogue Raisonne\u0301: Peintures.</em> Paris: E\u0301ditions du Sandre, 2025.", "page_number": "Mentioned and reproduced: p. 228-229, no. 1880.02", "url": ""}], "url": "https://clevelandart.org/art/1915.721", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.721/1915.721_web.jpg", "width": "607", "height": "893", "filesize": "66802", "filename": "1915.721_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.721/1915.721_print.jpg", "width": "2311", "height": "3400", "filesize": "1184247", "filename": "1915.721_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.721/1915.721_full.tif", "width": "5348", "height": "7866", "filesize": "126224200", "filename": "1915.721_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt0_web.jpg", "width": "600", "height": "893", "filesize": "380781"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt0_print.jpg", "width": "1376", "height": "2048", "filesize": "2078964"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt0_full.tif", "width": "1376", "height": "2048", "filesize": "8457604"}}, {"date_created": "2013-03-15T17:33:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt1_web.jpg", "width": "606", "height": "893", "filesize": "66065"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt1_print.jpg", "width": "2309", "height": "3400", "filesize": "1332649"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt1_full.tif", "width": "5354", "height": "7883", "filesize": "126638960"}}, {"date_created": "2013-03-15T17:36:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt2_web.jpg", "width": "624", "height": "893", "filesize": "71338"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt2_print.jpg", "width": "2375", "height": "3400", "filesize": "1675968"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.721/1915.721_alt2_full.tif", "width": "5590", "height": "8000", "filesize": "134182072"}}], "creditline": "Hinman B. Hurlbut Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173169, "creators": [{"id": 6487, "description": "Jules Breton (French, 1827\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": "After the early death of his mother, Jules Breton and his three siblings were mainly raised by their father, who worked as a supervisor of the lands of the duke of Duras. The Belgian painter F\u00e9lix de Vigne (1806-1862) convinced the young man to study with him, and Breton moved to Gent in 1843 where he attended the Royal Academy. In 1846 he was in Antwerp working briefly at the academy and spending much of his time studying the Flemish masters. Poor health in 1847 forced him to return to Courri\u00e8res, but later that year he left for Paris to study with Michel-Martin Drolling (1786-1851), a pupil of David (q.v.). While living in Paris, Breton befriended artists such as Bonvin (q.v.) and Henner (q.v.). During the February Revolution of 1848, which ended the July Monarchy of Louis-Philippe, Breton sided with the liberal republicans. His father's untimely death that same year left him and his family in Courri\u00e8res almost destitute. At the 1849 Salon he exhibited Misery and Despair (destroyed), followed by Hunger (destroyed) at the Salon of 1850-51. These paintings reveal his preoccupation with his own financial struggle and social injustice in general. Breton then began painting subjects related to peasant life, which resulted in one of his first large works, The Return of the Reapers (Salon 1853, Belgium, private collection). He then returned to Courri\u00e8res and continued to create images of rural life, for example, the act of gleaning the remains of the wheat harvest. This task, reserved for the poor, women, and small children, became a favorite theme for Breton in the 1850s. In 1853 he became engaged to Elodie De Vigne, whom he married in 1858 and who often served as his model. She posed for The Gleaners (Salon 1855, Dublin, National Gallery of Ireland), for example, which won him his first official recognition, a third-class medal, and moreover, drew attention from other artists including Millet (q.v.). In 1861 Breton received the Legion of Honor reflecting his official recognition. In the 1860s he also began traveling to Brittany. His fame increased after exhibiting ten paintings at the 1867 Universal Exposition in Paris, for which he received a first-class medal. His later works romanticize peasantry and the timeless traditions that, with advances in technology, were in jeopardy in the late nineteenth century. Because of the great demand for his works, both in France and abroad (especially the United States), Breton repeated motifs from earlier paintings, and thus, in his late career produced fewer imaginative works. His compositions became also widely available through engraved reproductions. Besides being a painter, Breton published extensively, including a collection of poems called Les champs et la mer (1875) and other works such as La vie d'un artiste: Art et nature (1890) and Nos peintres du si\u00e8cle (1899).", "name_in_original_language": null, "birth_year": "1827", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1915-10-29T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:28.498000"}, {"id": 114576, "accession_number": "1934.199", "share_license_status": "CC0", "tombstone": "Border Fragment of a Shawl, early 1800s. Kashmir. Wool: tapestry twill; overall: 33 x 52.7 cm (13 x 20 3/4 in.); mounted: 20 x 70.5 cm (7 7/8 x 27 3/4 in.). The Cleveland Museum of Art, Gift of the Cleveland School of Art, 1934.199", "current_location": null, "title": "Border Fragment of a Shawl", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1820, "artists_tags": [], "culture": ["Kashmir"], "technique": "wool: tapestry twill", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 33 x 52.7 cm (13 x 20 3/4 in.); Mounted: 20 x 70.5 cm (7 7/8 x 27 3/4 in.)", "dimensions": {"overall": {"height": 0.33, "width": 0.527}, "mounted": {"height": 0.2, "width": 0.705}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 535998, "title": "Nature Supernatural", "description": "<i>Nature Supernatural</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 543944, "title": "Himalayan Gallery 237 Rotation", "description": "<i>Himalayan Gallery 237 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 665206, "title": "Himalayan Gallery 237 Rotation", "description": "<i>Himalayan Gallery 237 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-September 8, 2024).", "opening_date": "2024-03-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1934\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The right edge of this textile features a repeating row of wild mulberries and flowers.", "description": "Green, yellow, red, blue, and white woolen threads were woven to create the instantly recognizable Kashmiri teardrop flower patterns on this shawl border. Such a work was part of a larger textile, which would have entranced the viewer with its complexity and vibrancy, especially as it moved with the wearer and contrasted with other articles of clothing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007342"], "internet_archive": ["https://archive.org/details/clevelandart-1934.199-border-fragment-of-a"]}, "citations": [{"citation": "Le\u0301vi-Strauss, Monique, and Massimo Listri.<em> The Cashmere shawl</em>. London: Dryad, 1987.", "page_number": "p. 25.", "url": ""}, {"citation": "Ames, Frank. <em>The Kashmir Shawl and Its Indo-French Influence</em>. Woodbridge, Suffolk: Antique Collectors' Club, 1997.", "page_number": "Reproduced: pl. 121, 122.", "url": ""}, {"citation": "Ames, Frank. <em>Woven Masterpieces of Sikh Heritage: The Stylistic Development of the Kashmir Shawl Under Maharaja Ranjit Singh (1780-1839)</em>. Woodbridge, Suffolk: Antique Collectors' Club, 2010.", "page_number": "pl. 7 & 8, p. 26-27.", "url": ""}], "url": "https://clevelandart.org/art/1934.199", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1934.199/1934.199_web.jpg", "width": "900", "height": "569", "filesize": "447587", "filename": "1934.199_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1934.199/1934.199_print.jpg", "width": "3400", "height": "2150", "filesize": "6652964", "filename": "1934.199_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1934.199/1934.199_full.tif", "width": "12572", "height": "7949", "filesize": "299837064", "filename": "1934.199_full.tif"}}, "alternate_images": [{"date_created": "2005-08-31T14:09:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt0_web.jpg", "width": "1263", "height": "775", "filesize": "1011049"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt0_print.jpg", "width": "3400", "height": "2087", "filesize": "7149811"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt0_full.tif", "width": "4743", "height": "2912", "filesize": "41468036"}}, {"date_created": "2018-02-07T11:13:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt1_web.jpg", "width": "900", "height": "589", "filesize": "329853"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt1_print.jpg", "width": "3400", "height": "2224", "filesize": "4542205"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt1_full.tif", "width": "7527", "height": "4924", "filesize": "111222976"}}, {"date_created": "2024-10-29T16:07:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt2_web.jpg", "width": "900", "height": "582", "filesize": "434989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt2_print.jpg", "width": "3400", "height": "2200", "filesize": "6259365"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.199/1934.199_alt2_full.tif", "width": "12680", "height": "8204", "filesize": "312113336"}}], "creditline": "Gift of the Cleveland School of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114576, "creators": [], "legal_status": "accessioned", "accession_date": "1934-06-21T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:13.919000"}, {"id": 119716, "accession_number": "1940.552", "share_license_status": "CC0", "tombstone": "Bolton Abbey, c. late 1840s-1857. David Cox (British, 1783\u20131859). Watercolor with black chalk; sheet: 48.8 x 75.4 cm (19 3/16 x 29 11/16 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.552", "current_location": null, "title": "Bolton Abbey", "creation_date": "c. late 1840s-1857", "creation_date_earliest": 1845, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with black chalk", "support_materials": [{"description": "textured, thick brown wove paper (Scotch wrapping paper)", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 48.8 x 75.4 cm (19 3/16 x 29 11/16 in.)", "dimensions": {"sheet": {"height": 0.488, "width": 0.754}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, at lower right, in graphite:  WSE; in white chalk on wood backing: June 8-03", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(sale, Victor G. Fischer Company Collection, Anderson Galleries, New York, February 19, 1912, no. 655)", "citations": [], "footnotes": null, "date": "1912", "sortorder": 1}, {"description": "James Parmelee [1855-1931], Washington, DC, by descent to Alice Maury Parmelee", "citations": [], "footnotes": null, "date": "?-1931", "sortorder": 2}, {"description": "Alice Maury Parmelee [1866-1940], Washington, DC, bequeathed to the Cleveland Museum of Art, Cleveland, OH through the Estate of James Parmelee", "citations": [], "footnotes": null, "date": "1931-1940", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1940-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The neighborhood where Bolton Abbey was found was one of David Cox's favorite places to paint and the church appeared as a subject throughout his works from about 1828 through 1857.", "description": "This moody, broadly painted watercolor on rough, brown paper is emblematic of David Cox\u2019s late style. Velvety grays and greens throughout the composition shift almost imperceptibly and streaks of blue wash, describing the distant hills and sky, are pierced by a sliver of brilliant yellow at the horizon. The ruined 12th-century priory is relegated to the background, nearly lost in the twilight.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80014886"], "internet_archive": ["https://archive.org/details/clevelandart-1940.552-bolton-abbey"]}, "citations": [{"citation": "Francis, Henry S. \"The Bequest of James Parmelee.\" <em>Bulletin of the Cleveland Museum of Art</em> 28, no. 2 (February 1941): 15-27, 31.", "page_number": "Mentioned: p. 17", "url": "https://www.jstor.org/stable/25140904"}, {"citation": "Brumbaugh, Thomas B. \"David Cox in American Collections.\" <em>Connoisseur</em> 197, no. 792 (February 1978): 83-88.", "page_number": "Reproduced: p. 85, no. 5", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 70-73, 144, no. 22b; Reproduced: pp. 72-73", "url": null}], "url": "https://clevelandart.org/art/1940.552", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.552/1940.552_web.jpg", "width": "900", "height": "588", "filesize": "172226", "filename": "1940.552_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.552/1940.552_print.jpg", "width": "3400", "height": "2221", "filesize": "2369622", "filename": "1940.552_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.552/1940.552_full.tif", "width": "7327", "height": "4786", "filesize": "105229336", "filename": "1940.552_full.tif"}}, "alternate_images": [{"date_created": "2010-08-04T16:29:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt0_web.jpg", "width": "1263", "height": "826", "filesize": "820857"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt0_print.jpg", "width": "3400", "height": "2223", "filesize": "6823246"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt0_full.tif", "width": "6634", "height": "4339", "filesize": "86390092"}}, {"date_created": "2010-08-04T16:29:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt1_web.jpg", "width": "1263", "height": "826", "filesize": "203868"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt1_print.jpg", "width": "3400", "height": "2224", "filesize": "1475949"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt1_full.tif", "width": "6668", "height": "4362", "filesize": "87282256"}}, {"date_created": "2010-08-04T16:42:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt2_web.jpg", "width": "1263", "height": "851", "filesize": "903504"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt2_print.jpg", "width": "3400", "height": "2292", "filesize": "6869524"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt2_full.tif", "width": "3828", "height": "2581", "filesize": "29668548"}}, {"date_created": "2010-08-04T16:42:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt3_web.jpg", "width": "1263", "height": "832", "filesize": "755645"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt3_print.jpg", "width": "3400", "height": "2239", "filesize": "5572775"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.552/1940.552_alt3_full.tif", "width": "3767", "height": "2481", "filesize": "28066924"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119716, "creators": [{"id": 5714, "description": "David Cox (British, 1783\u20131859)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1859", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "c. late 1840s-1857", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:46.547000"}, {"id": 151452, "accession_number": "1983.33", "share_license_status": "CC0", "tombstone": "Prestige Chair, 1800s. Africa, Central Africa, Cameroon, Babanki-style maker. Wood and paint; overall: 80.7 x 53.3 x 44.5 cm (31 3/4 x 21 x 17 1/2 in.). The Cleveland Museum of Art, Gift in memory of his parents, Wheeler B. and Dorothy Preston by Mary and John Preston, 1983.33", "current_location": null, "title": "Prestige Chair", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Cameroon, Babanki-style maker"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Furniture and woodwork", "measurements": "Overall: 80.7 x 53.3 x 44.5 cm (31 3/4 x 21 x 17 1/2 in.)", "dimensions": {"overall": {"height": 0.807, "width": 0.533, "depth": 0.445}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309669, "title": "The Year in Review for 1983", "description": "<i>The Year in Review for 1983</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 22-April 8, 1984).", "opening_date": "1984-02-22T05:00:00"}, {"id": 316953, "title": "Second Careers: Two Tributaries in African Art", "description": "<i>Second Careers: Two Tributaries in African Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1, 2020-March 14, 2021).", "opening_date": "2020-11-01T04:00:00"}], "legacy": [{"description": "CMA 1984: \"Year in Review 1983,\" Bulletin, 71 (February 1984), p. 76, no. 223", "opening_date": "1984-02-01T00:00:00"}]}, "provenance": [{"description": "Wheeler B. Preston by field collection, German Cameroons during World War I", "citations": [], "footnotes": ["<div><!--block-->Nzewi, Ugochukwu-Smooth<em>. Second Careers: Two Tributaries in African Art</em>. P. 34</div>"], "date": "c. 1914\u20131918", "sortorder": 1}, {"description": "Mr. and Mrs. John (Mary) Preston, Concord, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "by at least 1983", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1983-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A British soldier acquired this work in Cameroon during the First World War.", "description": "This stately chair attributed to the Babanki peoples of the Cameroon Grassfields features an unusual configuration of male and female figures. They are mounted on stylized leopards, animals revered as embodiments of power and royalty, which stand atop a base of three undulating rings bearing 24 heads. Chairs like this one serve as visual records that help mark kingships through the ages, conveying power and authority. The chair type was relatively common at the time; they were carved for sale to Europeans and local patrons, and also used as articles of royal gift exchange.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60741217"], "internet_archive": ["https://archive.org/details/clevelandart-1983.33-prestige-chair"]}, "citations": [{"citation": "Turner, Evan H. \u201cYear in Review for 1983.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 71, no. 2 (February 1984): 38\u201379.", "page_number": "Mentioned and reproduced: p. 76, no. 223", "url": "http://www.jstor.org/stable/25159848"}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Mentioned:  p. 34; reproduced: p. 9; p. 35, fig. 24; p. 63, pl. 9.", "url": ""}, {"citation": "Nzewi, Ugochukwu-Smooth C. <em>Second Careers : Two Tributaries in African Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2019", "page_number": "Mentioned:  p. 34; reproduced: p. 9; p. 35, fig. 24; p. 63, pl. 9.", "url": ""}], "url": "https://clevelandart.org/art/1983.33", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1983.33/1983.33_web.jpg", "width": "686", "height": "893", "filesize": "393825", "filename": "1983.33_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1983.33/1983.33_print.jpg", "width": "2610", "height": "3400", "filesize": "5667919", "filename": "1983.33_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1983.33/1983.33_full.tif", "width": "4490", "height": "5849", "filesize": "78820208", "filename": "1983.33_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt0_web.jpg", "width": "716", "height": "893", "filesize": "479266"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt0_print.jpg", "width": "1536", "height": "1915", "filesize": "2316041"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt0_full.tif", "width": "1536", "height": "1915", "filesize": "8827564"}}, {"date_created": "2009-08-12T15:02:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt1_web.jpg", "width": "716", "height": "893", "filesize": "367470"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt1_print.jpg", "width": "2727", "height": "3400", "filesize": "5288928"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt1_full.tif", "width": "4540", "height": "5660", "filesize": "77122780"}}, {"date_created": "2009-08-12T15:17:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt2_web.jpg", "width": "704", "height": "893", "filesize": "359688"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt2_print.jpg", "width": "2679", "height": "3400", "filesize": "5136165"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt2_full.tif", "width": "4627", "height": "5873", "filesize": "81556760"}}, {"date_created": "2009-08-12T15:10:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt3_web.jpg", "width": "729", "height": "893", "filesize": "402323"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt3_print.jpg", "width": "2775", "height": "3400", "filesize": "5729900"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1983.33/1983.33_alt3_full.tif", "width": "4640", "height": "5685", "filesize": "79169520"}}], "creditline": "Gift in memory of his parents, Wheeler B. and Dorothy Preston by Mary and John Preston", "image_credit": null, "sketchfab_id": "03d10a0ccb254061a8ec77b8cc14b40c", "sketchfab_url": "https://sketchfab.com/models/03d10a0ccb254061a8ec77b8cc14b40c", "gallery_donor_text": null, "athena_id": 151452, "creators": [], "legal_status": "accessioned", "accession_date": "1983-03-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-10 07:02:59.594000"}, {"id": 159880, "accession_number": "1997.180", "share_license_status": "CC0", "tombstone": "Prestige Cap (mpu ngola), late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo, Republic of Congo, or Cabinda (Angola), Kongo-style maker, possibly Yombe subgroup. Raffia palm fiber (Raphia ruffia or R. vinifera) and leopard claws; overall: 42 x 19.3 x 19 cm (16 9/16 x 7 5/8 x 7 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.180", "current_location": null, "title": "Prestige Cap (mpu ngola)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Republic of Congo, or Cabinda (Angola), Kongo-style maker, possibly Yombe subgroup"], "technique": "Raffia palm fiber (Raphia ruffia or R. vinifera) and leopard claws", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 42 x 19.3 x 19 cm (16 9/16 x 7 5/8 x 7 1/2 in.)", "dimensions": {"overall": {"height": 0.42, "width": 0.193, "depth": 0.19}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 207453, "title": "Kongo: Power and Majesty", "description": "<i>Kongo: Power and Majesty</i>. The Metropolitan Museum of Art, New York, NY (organizer) (September 18, 2015-January 3, 2016).", "opening_date": "2015-09-18T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Captain-Commandant Alfred Lens, Congo, AF, 1891-1903, field-collected.", "citations": [], "footnotes": null, "date": "1891-1903", "sortorder": 1}, {"description": "Captain-Commandant Alfred Lens, Belgium, BE, 1995, by descent to his family.", "citations": [], "footnotes": [], "date": "?-1995", "sortorder": 2}, {"description": "(Jacques Hautelet, La Jolla, CA, 1997, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-1997", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1997-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The geometric motifs on this <em>mpu</em> cap\u2014including diamonds and interlaces\u2014are seen on Kongo, Vili, and Yombe works in other materials, including ivory and basketry.", "description": "<em>Zimpu </em>(singular: <em>mpu</em>) are intricately knotted caps worn by men in parts of Central Africa. Ringed with leopard claws, this long cap (<em>mpu ngola</em>) once belonged to a high-status man; the fierce feline attachments alluded to his personal qualities, as both were seen as leaders in their domains. Its interlacing motifs appear across artforms made by the Kongo, Vili, and Yombe peoples. When new, caps draped over the head. However, raffia fibers stiffen over time. To support this now-delicate <em>ngola,</em> the CMA\u2019s conservators mounted it upright. Known since at least 1607 in the former Loango Kingdom, as well as the adjacent Kongo Kingdom, such caps were once made by noblemen and worn into at least the 1980s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980206"], "internet_archive": ["https://archive.org/details/clevelandart-1997.180-prestige-cap-mpu-ngo"]}, "citations": [{"citation": "Petridis, Constantine<em>. South of the Sahara: Selected Works of African Art</em>. Cleveland, OH: Cleveland Museum of Art; Seattle, WA: University of Washington Press (distributor), 2003, 17, fig. 6.", "page_number": "p. 17: fig. 6", "url": null}, {"citation": "Sims, Lowery Stokes. <em>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, 2006, 118; color repr. p. 53, no. 46.", "page_number": "p. 118; color repr. p. 53", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 40", "url": ""}], "url": "https://clevelandart.org/art/1997.180", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.180/1997.180_web.jpg", "width": "581", "height": "900", "filesize": "222290", "filename": "1997.180_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.180/1997.180_print.jpg", "width": "2194", "height": "3400", "filesize": "1774631", "filename": "1997.180_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.180/1997.180_full.tif", "width": "3754", "height": "5817", "filesize": "65533436", "filename": "1997.180_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt0_web.jpg", "width": "568", "height": "893", "filesize": "285828"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt0_print.jpg", "width": "2163", "height": "3400", "filesize": "4463876"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt0_full.tif", "width": "3754", "height": "5901", "filesize": "66472344"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt1_web.jpg", "width": "547", "height": "893", "filesize": "284555"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt1_print.jpg", "width": "2082", "height": "3400", "filesize": "4296516"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt1_full.tif", "width": "3402", "height": "5555", "filesize": "56709564"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt2_web.jpg", "width": "537", "height": "893", "filesize": "285739"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt2_print.jpg", "width": "2043", "height": "3400", "filesize": "4329416"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt2_full.tif", "width": "3281", "height": "5459", "filesize": "53748308"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt3_web.jpg", "width": "635", "height": "893", "filesize": "594227"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt3_print.jpg", "width": "2048", "height": "2882", "filesize": "5192049"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt3_full.tif", "width": "2048", "height": "2882", "filesize": "17721832"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt4_web.jpg", "width": "1263", "height": "842", "filesize": "757905"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt4_print.jpg", "width": "3072", "height": "2048", "filesize": "4440375"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.180/1997.180_alt4_full.tif", "width": "3072", "height": "2048", "filesize": "18893832"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": "ca93a8e164f040ffa246b64df348d11b", "sketchfab_url": "https://sketchfab.com/models/ca93a8e164f040ffa246b64df348d11b", "gallery_donor_text": null, "athena_id": 159880, "creators": [], "legal_status": "accessioned", "accession_date": "1997-09-15T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Chief's Cap", "Prestige cap (mpu)"], "is_highlight": true, "updated_at": "2026-04-10 07:02:54.394000"}, {"id": 162397, "accession_number": "2002.92", "share_license_status": "CC0", "tombstone": "Eva Meurier in a Green Dress, 1891. Maurice Denis (French, 1870\u20131943). Oil on canvas; framed: 72.7 x 56.5 x 6.4 cm (28 5/8 x 22 1/4 x 2 1/2 in.); overall: 55 x 38 cm (21 5/8 x 14 15/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 2002.92", "current_location": null, "title": "Eva Meurier in a Green Dress", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 72.7 x 56.5 x 6.4 cm (28 5/8 x 22 1/4 x 2 1/2 in.); Overall: 55 x 38 cm (21 5/8 x 14 15/16 in.)", "dimensions": {"framed": {"height": 0.727, "width": 0.565, "depth": 0.064}, "overall": {"height": 0.55, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": [{"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}]}, "provenance": [{"description": "Maurice Denis; one of his sons until 2002.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Maurice Denis painted this early in his career, when he was only 21.", "description": "Delicate, elegantly folded hands in this painting allude to the sitter\u2019s musical abilities. Eva Meurier, the sister-in-law of the artist, was a talented pianist. Maurice Denis painted the portrait on a fragment of an abandoned picture, hints of which appear around the edges of the composition, as if Eva\u2019s portrait is mysteriously emerging from another painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478465"], "internet_archive": ["https://archive.org/details/clevelandart-2002.92-eva-meurier-in-a-gre"]}, "citations": [{"citation": "\"Off the walls.\"<em> Fine Art Connoisseur </em>18, no.4 (August 2021):128.", "page_number": "Reproduced p.128", "url": ""}, {"citation": "Muse\u0301e Toulouse-Lautrec. <em>Exposition Maurice Denis; peintures, aquarelles, dessins, lithographies, du 28 juin au 29 septembre 1963, Muse\u0301e Toulouse-Lautrec. </em>Albi.1963.", "page_number": "Mentioned: P. 23, cat.no. 14; Reproduced: Pl. 1, cat. no. 14", "url": ""}, {"citation": "Chapin, Mary Weaver. \u201cMusic Chez Soi.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 142-186. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 144; Reproduced: P. 157, no. 83", "url": ""}], "url": "https://clevelandart.org/art/2002.92", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.92/2002.92_web.jpg", "width": "625", "height": "900", "filesize": "356893", "filename": "2002.92_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.92/2002.92_print.jpg", "width": "2360", "height": "3400", "filesize": "3986210", "filename": "2002.92_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.92/2002.92_full.tif", "width": "8199", "height": "11814", "filesize": "290619220", "filename": "2002.92_full.tif"}}, "alternate_images": [{"date_created": "2009-01-29T19:59:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt0_web.jpg", "width": "613", "height": "893", "filesize": "482981"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt0_print.jpg", "width": "2335", "height": "3400", "filesize": "6866164"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt0_full.tif", "width": "3896", "height": "5674", "filesize": "66349796"}}, {"date_created": "2023-10-20T12:53:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt1_web.jpg", "width": "633", "height": "900", "filesize": "309673"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt1_print.jpg", "width": "2392", "height": "3400", "filesize": "3177502"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt1_full.tif", "width": "9024", "height": "12829", "filesize": "347336728"}}, {"date_created": "2023-10-20T12:37:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt2_web.jpg", "width": "708", "height": "900", "filesize": "248738"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt2_print.jpg", "width": "2673", "height": "3400", "filesize": "2583902"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt2_full.tif", "width": "8908", "height": "11330", "filesize": "302812648"}}, {"date_created": "2023-10-20T12:30:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt3_web.jpg", "width": "694", "height": "900", "filesize": "359148"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt3_print.jpg", "width": "2622", "height": "3400", "filesize": "4000999"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.92/2002.92_alt3_full.tif", "width": "9439", "height": "12242", "filesize": "346687592"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162397, "creators": [{"id": 22965, "description": "Maurice Denis (French, 1870\u20131943)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1943", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-12-02T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:21.515000"}, {"id": 163547, "accession_number": "2004.87", "share_license_status": "CC0", "tombstone": "Self-Portrait, 1857. Edgar Degas (French, 1834\u20131917). Etching and drypoint; platemark: 23 x 14.5 cm (9 1/16 x 5 11/16 in.); sheet: 31.5 x 22.6 cm (12 3/8 x 8 7/8 in.). The Cleveland Museum of Art, John L. Severance Fund, 2004.87", "current_location": null, "title": "Self-Portrait", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching and drypoint", "support_materials": [{"description": "laid paper", "watermarks": []}], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 23 x 14.5 cm (9 1/16 x 5 11/16 in.); Sheet: 31.5 x 22.6 cm (12 3/8 x 8 7/8 in.)", "dimensions": {"sheet": {"height": 0.315, "width": 0.226}, "platemark": {"height": 0.23, "width": 0.145}}, "state_of_the_work": "III/IV", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed at lower left, in lithographic crayon: \u00e1 Bartholom\u00e9 / Degas", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 218915, "title": "L'Impressionnisme vu d'Am\u00e9rique", "description": "<i>L'Impressionnisme vu d'Am\u00e9rique</i>. Mus\u00e9e Fabre, Montpellier, France (organizer) (June 9-September 9, 2007); Mus\u00e9e de Grenoble, Grenoble, France (October 6, 2007-January 20, 2008).", "opening_date": "2007-06-09T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 295882, "title": "Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers", "description": "<i>Innovative Impressions: Cassatt, Degas, and Pissarro as Painter-Printmakers</i>. Philbrook Museum of Art, Tulsa, OK (organizer) (June 9-September 9, 2018).", "opening_date": "2018-06-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "Paul-Albert Bartholom\u00e9", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(Cesar M. de Hauke)", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 2}, {"description": "Kimbell Art Foundation, Fort Worth, TX", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 3}, {"description": "(sale, Sotheby's, New York, May 13, 1987, sold to Robert Light)", "citations": [], "footnotes": [], "date": "1987", "sortorder": 4}, {"description": "(Samuel Josefowitz, Lausanne, Switzerland, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "after 1987-by 2004", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2004-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This early self-portrait is especially rare among Edgar Degas's prints, and few impressions are known to exist.", "description": "In the 1850s Degas frequently used himself as a model, but he made only one printed self-portrait. Through successive stages of biting the plate and layers of crosshatching, Degas gradually built areas of dark tone. In this impression, Degas added etched lines on the face, hat, and coat and carefully wiped his copper plate to create atmospheric effects. His clearly drawn eyes directly engage the viewer, resulting in a psychologically powerful and intense portrait of the young artist at age 23. This impression was dedicated to his friend, the painter and sculptor Paul Albert Bartholom\u00e9.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781142"], "internet_archive": ["https://archive.org/details/clevelandart-2004.87-self-portrait"]}, "citations": [{"citation": "\"Major Acquisitions 2000-2005.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 6 (July/August 2005): 6-19.", "page_number": "Mentioned and reproduced: p. 15", "url": "https://archive.org/details/CMAMM2005-06/page/14/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 354", "url": ""}, {"citation": "Lees, Sarah, and Richard R. Brettell. <em>Innovative Impressions: Prints by Cassatt, Degas, and Pissarro</em>. Tulsa, Oklahoma : Philbrook Museum of Art, 2018", "page_number": "Reproduced and mentioned: p. 23, fig. 18", "url": null}], "catalogue_raisonne": "Reed and Shapiro 8", "url": "https://clevelandart.org/art/2004.87", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.87/2004.87_web.jpg", "width": "525", "height": "900", "filesize": "170839", "filename": "2004.87_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.87/2004.87_print.jpg", "width": "1982", "height": "3400", "filesize": "2117735", "filename": "2004.87_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.87/2004.87_full.tif", "width": "3617", "height": "6205", "filesize": "67360436", "filename": "2004.87_full.tif"}}, "alternate_images": [{"date_created": "2004-08-24T18:53:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt0_web.jpg", "width": "572", "height": "893", "filesize": "354846"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt0_print.jpg", "width": "2177", "height": "3400", "filesize": "4919922"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt0_full.tif", "width": "3202", "height": "5000", "filesize": "48050144"}}, {"date_created": "2005-12-16T17:12:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt1_web.jpg", "width": "546", "height": "893", "filesize": "334886"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt1_print.jpg", "width": "2080", "height": "3400", "filesize": "4513231"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.87/2004.87_alt1_full.tif", "width": "3046", "height": "4980", "filesize": "45536592"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163547, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:04:48.116000"}, {"id": 166681, "accession_number": "2008.394", "share_license_status": "CC0", "tombstone": "Head of a Boy Singing (Study for Music), c. 1898. Luc-Olivier Merson (French, 1846\u20131920). Black, white, and red chalk with stumping, pricked for transfer; sheet: 39.6 x 27.2 cm (15 9/16 x 10 11/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.394", "current_location": null, "title": "Head of a Boy Singing (Study for Music)", "creation_date": "c. 1898", "creation_date_earliest": 1893, "creation_date_latest": 1903, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black, white, and red chalk with stumping, pricked for transfer", "support_materials": [{"description": "light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 39.6 x 27.2 cm (15 9/16 x 10 11/16 in.)", "dimensions": {"sheet": {"height": 0.396, "width": 0.272}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, center right, in black chalk: L. O. M; lower left, in graphite: 33 40 ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}, {"id": 203744, "title": "Themes and Variations: Musical Drawings and Prints", "description": "<i>Themes and Variations: Musical Drawings and Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}], "legacy": [{"description": "<em>Visages du dix-neuvi\u00e8me si\u00e8cle</em>, Galerie Jacques Fischer-Chantal Kiener, Paris (December 1 - 15, 1977).", "opening_date": "1977-12-01T00:00:00"}]}, "provenance": [{"description": "(Galerie Jacques Fischer-Chantal Kiener, Paris, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "?-1977", "sortorder": 1}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1977-2008", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The face of the boy in this drawing is pricked extensively so that the image could be transferred directly to the final painting for which it was a study. The two works differ only in the addition of a hat on the boy's head in the final work.", "description": "This sheet was a preparatory study for the face of a singing boy who appears near the center of <em>Music</em>, a mural decorating the left grand staircase at the Th\u00e9\u00e2tre National de l\u2019Op\u00e9ra-Comique in Paris. Drawn from life with exquisite naturalism, Luc-Olivier Merson captured the sitter\u2019s youthful beauty with such clarity that the purity of the boy\u2019s voice seems to emanate from the drawing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997269"], "internet_archive": ["https://archive.org/details/clevelandart-2008.394-head-of-a-boy-singin"]}, "citations": [{"citation": "<em>Visages du dix-neuvie\u0300me sie\u0300cle</em>. Exh. Cat. Paris: Galerie Jacques Fischer-Chantal Kiener, 1977.", "page_number": "Mentioned and reproduced: no. 28", "url": null}, {"citation": "<em>Le Moyen-A\u0302ge et les peintres franc\u0327ais de la fin du XIXe sie\u0300cle: Jean-Paul Laurens et ses contemporains</em>. Exh. Cat. Cagnes-sur-Mer: Ch\u00e2teau-Muse\u0301e de Cagnes-sur-Mer, 1980.", "page_number": "Mentioned: p. 65, under no. 42", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: pp. 128-29, 144, no. 59; Reproduced: p. 129", "url": null}], "url": "https://clevelandart.org/art/2008.394", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.394/2008.394_web.jpg", "width": "764", "height": "893", "filesize": "128652", "filename": "2008.394_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.394/2008.394_print.jpg", "width": "2910", "height": "3400", "filesize": "1863206", "filename": "2008.394_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.394/2008.394_full.tif", "width": "3212", "height": "3752", "filesize": "36178676", "filename": "2008.394_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T20:01:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.394/2008.394_alt0_web.jpg", "width": "842", "height": "893", "filesize": "533577"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.394/2008.394_alt0_print.jpg", "width": "3207", "height": "3400", "filesize": "7866174"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.394/2008.394_alt0_full.tif", "width": "4716", "height": "5000", "filesize": "70758372"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166681, "creators": [{"id": 9567, "description": "Luc-Olivier Merson (French, 1846\u20131920)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1846", "death_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "c. 1898", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:38.865000"}, {"id": 168423, "accession_number": "2010.202", "share_license_status": "CC0", "tombstone": "Snuff Container, 1800s-1900s. Africa, Southern Africa, Lesotho, South Sotho maker. Horn and wood; overall: 10.3 x 4 x 3.5 cm (4 1/16 x 1 9/16 x 1 3/8 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.202", "current_location": null, "title": "Snuff Container", "creation_date": "1800s-1900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, Lesotho, South Sotho maker"], "technique": "Horn and wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Vessels", "measurements": "Overall: 10.3 x 4 x 3.5 cm (4 1/16 x 1 9/16 x 1 3/8 in.)", "dimensions": {"overall": {"height": 0.103, "width": 0.04, "depth": 0.035}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}, {"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 23", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Steven Alpert, Dallas, TX", "citations": [], "footnotes": [], "date": "2005", "sortorder": null}, {"description": "(Jacaranda Tribal Art Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The tobacco product snuff was stored in decorative, yet useful, containers like this one.", "description": "This snuff container in the form of a human (female) figure was carved from cattle horn. The form of the image follows the curve of the horn, with arms and hands held to the chest. Despite its smallish size and minimalist execution, this object demonstrates considerable expressive power. Cattle had special meaning for the pastoralist peoples of southern Africa in that it stood for the wealth and status of the individual and the group. However, similar to the ideas associated with tobacco and snuff, cattle also referred to the world of the ancestors. Snuff containers like this one had great significance for their owners and users.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778298"], "internet_archive": ["https://archive.org/details/clevelandart-2010.202-snuff-container"]}, "citations": [{"citation": "Petridis, Constatine. \"The Art of Daily Life: Portable Objects from Southeast Africa. \" Tribal Art. (Summer 2011). Pg. 66, Fig. 2.", "page_number": "", "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. 41", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. T<em>he language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.202", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.202/2010.202_web.jpg", "width": "640", "height": "900", "filesize": "134831", "filename": "2010.202_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.202/2010.202_print.jpg", "width": "2418", "height": "3400", "filesize": "720421", "filename": "2010.202_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.202/2010.202_full.tif", "width": "5800", "height": "8156", "filesize": "141938692", "filename": "2010.202_full.tif"}}, "alternate_images": [{"date_created": "2010-08-26T14:03:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.202/2010.202_alt0_web.jpg", "width": "825", "height": "893", "filesize": "245953"}, "print": {"url": 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{"date_created": "2021-04-21T19:00:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.202/2010.202_alt6_web.jpg", "width": "900", "height": "837", "filesize": "142398"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.202/2010.202_alt6_print.jpg", "width": "3400", "height": "3162", "filesize": "810900"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.202/2010.202_alt6_full.tif", "width": "4506", "height": "4190", "filesize": "56664964"}}, {"date_created": "2021-04-21T19:20:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.202/2010.202_alt7_web.jpg", "width": "900", "height": "825", "filesize": "184835"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.202/2010.202_alt7_print.jpg", "width": "3400", "height": "3115", "filesize": "1233318"}, "full": {"url": 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Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168423, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:08.123000"}, {"id": 441005, "accession_number": "2021.140", "share_license_status": "CC0", "tombstone": "Three Fishermen Along the Banks of a River at the Edge of a Forest, 1868. Adolphe Appian (French, 1818\u20131898). Charcoal with stumping and scratching out and touches of white chalk on beige paper; sheet: 59.4 x 98.5 cm (23 3/8 x 38 3/4 in.); secondary support: 60.5 x 99.5 cm (23 13/16 x 39 3/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2021.140", "current_location": null, "title": "Three Fishermen Along the Banks of a River at the Edge of a Forest", "creation_date": "1868", "creation_date_earliest": 1868, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": [], "technique": "charcoal with stumping and scratching out and touches of white chalk on beige paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 59.4 x 98.5 cm (23 3/8 x 38 3/4 in.); Secondary Support: 60.5 x 99.5 cm (23 13/16 x 39 3/16 in.)", "dimensions": {"sheet": {"height": 0.594, "width": 0.985}, "secondary support": {"height": 0.605, "width": 0.995}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in dark brown ink: Appian 1868", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Dreaming of France</em>. Jill Newhouse Gallery, New York, NY (May 4\u201328, 2021).", "opening_date": "2021-01-01T00:00:00"}, {"description": "<em>Master Drawings: Vasari to Bonnard</em>. W.M. Brady &amp; Co., New York, NY (January 24\u2013February 17, 2017).", "opening_date": "2017-02-17T00:00:00"}]}, "provenance": [{"description": "the artist\u2019s family, by descent", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Paul Prout\u00e9, Paris, sold to Nicholas and Margaret Grasselli)", "citations": [], "footnotes": null, "date": "?", "sortorder": 2}, {"description": "Nicholas and Margaret Grasselli, Washington, D.C.", "citations": [], "footnotes": null, "date": "2012-2017", "sortorder": 3}, {"description": "(W. M. Brady, & Co., New York, NY)", "citations": [], "footnotes": null, "date": "2017", "sortorder": 4}, {"description": "Private Collection, United States", "citations": [], "footnotes": null, "date": "2017-2021", "sortorder": 5}, {"description": "(Jill Newhouse Gallery, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2021", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Adolphe Appian was so well known for his skillful use of charcoal that many artists wrote to him asking for technical advice.", "description": "Adolphe Appian was renowned during the 19th century for his mastery of charcoal drawing. He specialized in large-scale landscapes depicting Lyon, his native region in southeastern France, and focused on what he termed \u201cprivate little corners\u201d rather than grandiose views. This drawing is one of several in which Appian depicted the winding Rh\u00f4ne River and the dense trees and large boulders that surrounded it. Two small fishermen give a sense of scale and draw the viewer into the scene. Appian worked with charcoal sticks and powder, wiping the material with cloth, paper, and even breadcrumbs before scratching into the paper\u2019s surface to create an unprecedented tonal range.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246820"], "internet_archive": ["https://archive.org/details/clevelandart-2021.140-three-fishermen-alon"]}, "citations": [{"citation": "<em>Master Drawings: Vasari to Bonnard. </em>Exh. cat. New York: W. M. Brady &amp; Co., 2017.", "page_number": "Mentioned and reproduced: no. 33", "url": ""}, {"citation": "Dumas, Ann, Lei\u0308la Jarbouai, Christopher Lloyd, and Harriet K. Stratis. Impressionists on Paper: Degas to Toulouse-Lautrec. London : Royal Academy of Arts, 2023.", "page_number": "Reproduced: p. 44, fig. 28", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 110-111, no. 15", "url": ""}], "url": "https://clevelandart.org/art/2021.140", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.140/2021.140_web.jpg", "width": "900", "height": "547", "filesize": "265911", "filename": "2021.140_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.140/2021.140_print.jpg", "width": "3400", "height": "2068", "filesize": "3378993", "filename": "2021.140_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.140/2021.140_full.tif", "width": "12970", "height": "7889", "filesize": "306987000", "filename": "2021.140_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 441005, "creators": [{"id": 1548, "description": "Adolphe Appian (French, 1818\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "At a young age, Jacques Barth\u00e9lemy Appian, who changed his first name to Adolphe, began his studies at the \u00c9cole de Dessin et Beaux-Arts in Lyons, which specialized in training artists to decorate luxury fabrics produced by the local silk industry. There he met his teacher, landscape painter Jean-Michel Grobon (1770-1853). Grobon certainly influenced Appian's shift toward the study of nature. Appian's career as a painter began in 1851, when three of his works were exhibited at the Lyons Salon. The following year he settled in Cr\u00e9mieu, a small fortified town in the Dauphin\u00e9, where he painted picturesque sites of the region, including views of Optevoz. He met and became friends with Corot (q.v.) and Daubigny (q.v.), whom he recognized as his true teachers. From 1853 he exhibited almost continuously, not only in the Salons of Paris and Lyons but in numerous towns all over France: paintings, charcoal drawings, and prints exclusively devoted to landscapes. In 1854 he made his first excursion to the forest of Fontainebleau, where he would return throughout the following years. He traveled around France but always returned to Cr\u00e9mieu. In 1861 Appian settled in Creys, located twenty-five kilometers from Cr\u00e9mieu and ten kilometers from Morestel. In 1863 he became an active member of the new Soci\u00e9t\u00e9 des Aquafortistes founded by Alfred Cadart in 1862. Appian exhibited two works at the 1866 Paris Salon, one of which was bought by Princess Mathilde and the other by the emperor. Two years later he was awarded the gold medal at the Paris Salon, which truly established his reputation. For twenty years, begin-ning in 1871, Appian frequently spent time on the Mediterranean coast, from Collioure to San Remo, visiting S\u00e8te, Martigues, Toulon, Carqueiranne, Nice, Beaulieu, Monaco, Menton, and Bodighera and painting in all of these places. Sometimes he traveled as far as Venice and Chioggia, where he found inspiration for several paintings as well. His palette grew lighter. The chorus of grays and greens of the Dauphin\u00e9 and Bugey paintings is followed by an increasingly golden harmony, enhanced by purer tones. Appian was awarded the gold medal at the Exposition Interna-tionale of Lyons in 1894, but the last few years of his life were not happy ones. His paintings no longer sold and his only son, Louis, a painter as well, died in 1896. Such was the end of a long and mostly successful career. In the nineteenth cen-tury art critics often preferred Appian's charcoal drawings and prints to his paintings, which they found rushed and lacking in finish. His works were pub-lished in several journals, such as Gazette des Beaux-Arts, La revue du Lyonnais, Le Fusain, and Paris Salon.", "name_in_original_language": null, "birth_year": "1818", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Near Rochefort"], "is_highlight": false, "updated_at": "2026-03-27 00:02:52.715000"}, {"id": 109190, "accession_number": "1927.344", "share_license_status": "CC0", "tombstone": "Homage to Goya, 1885. Odilon Redon (French, 1840\u20131916), printed by Lemercier & Cie.. Six lithographs on China paper laid on wove paper. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1927.344", "current_location": null, "title": "Homage to Goya", "creation_date": "1885", "creation_date_earliest": 1885, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "six lithographs on China paper laid on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "I/I", "edition_of_the_work": "first edition (edition of 50)", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 309840, "title": "Odilon Redon: Dream Creatures and Anemones", "description": "<i>Odilon Redon: Dream Creatures and Anemones</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 21-October 14, 1984).", "opening_date": "1984-08-21T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Maurice Le Garrec, Paris, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1927", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1927-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This portfolio was published in an edition of 50, one of which Redon sent to poet St\u00e9phane Mallarm\u00e9 soon after Redon became a frequent participant in a literary salon held regularly at Mallarm\u00e9's home.", "description": "This series is one of many that Odilon Redon created throughout his career. Nearly two-thirds of his lithographs took the form of portfolios\u2014prints connected conceptually by a theme or narrative and physically by a folder or binding. Such works were often dispersed over time, but Cleveland was fortunate to acquire several complete sets with their original covers during the 1920s. Dating from Redon\u2019s early experimentation with lithography, <em>Homage to Goya</em> was intended as a tribute to 18th-century Spanish master Francisco de Goya, whose interest in dreams and the subconscious influenced Redon. The six seemingly unrelated images celebrate Goya\u2019s ambiguity and collectively suggest the introspection and isolation of artistic practice.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001376"], "internet_archive": ["https://archive.org/details/clevelandart-1927.344-homage-to-goya"]}, "citations": [{"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 157-159, fig. 83", "url": ""}], "catalogue_raisonne": "Mellerio 54-59", "url": "https://clevelandart.org/art/1927.344", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.344/1927.344_web.jpg", "width": "900", "height": "553", "filesize": "221419", "filename": "1927.344_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.344/1927.344_print.jpg", "width": "3400", "height": "2088", "filesize": "2245035", "filename": "1927.344_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.344/1927.344_full.tif", "width": "16007", "height": "9831", "filesize": "472117852", "filename": "1927.344_full.tif"}}, "alternate_images": [{"date_created": "2006-03-07T19:06:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344/1927.344_alt0_web.jpg", "width": "709", "height": "900", "filesize": "271342"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344/1927.344_alt0_print.jpg", "width": "2680", "height": "3400", "filesize": "3012420"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344/1927.344_alt0_full.tif", "width": "3852", "height": "4886", "filesize": "56489180"}}, {"date_created": "2006-03-07T19:01:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344/1927.344_alt1_web.jpg", "width": "900", "height": "736", "filesize": "300074"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344/1927.344_alt1_print.jpg", "width": "3400", "height": "2780", "filesize": "3435385"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.344/1927.344_alt1_full.tif", "width": "12023", "height": "9831", "filesize": "354618748"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109190, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "1885", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:31.304000"}, {"id": 115159, "accession_number": "1935.306", "share_license_status": "CC0", "tombstone": "Gold Weight (abrammuo):  Antelope, 1800s. Africa, West Africa, Ghana, Akan-style artist. Copper alloy; overall: 5.2 cm (2 1/16 in.). The Cleveland Museum of Art, James Albert Ford Memorial Fund, 1935.306", "current_location": null, "title": "Gold Weight (abrammuo):  Antelope", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Akan-style artist"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 5.2 cm (2 1/16 in.)", "dimensions": {"overall": {"height": 0.052, "length": 0.07}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 355594, "title": "Exhibition of the Month: Masterpieces in Miniature", "description": "<i>Exhibition of the Month: Masterpieces in Miniature</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 3-August 29, 1949).", "opening_date": "1949-06-03T04:00:00"}, {"id": 300779, "title": "Juxtapositions", "description": "<i>Juxtapositions</i>. The Cleveland Museum of Art, Cleveland, OH (September 11-October 10, 1965).", "opening_date": "1965-09-11T04:00:00"}], "legacy": [{"description": "NY, Museum of Modern Art, 1935: African Negro Art, cat. no. 190, (also to CMA 9/27 - 10/27, 1935).", "opening_date": "1927-09-01T00:00:00"}]}, "provenance": [{"description": "(Charles Ratton Gallery, Paris, France, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131935", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1935\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "To make this casting, a brass caster first modeled the shape in wax.", "description": "The wealth and power of the Asante kingdom were derived primarily from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weigh gold dust and nuggets. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad categories: geometric and representational. The latter often refers to proverbs, which used judiciously, mark a wise person. The weight in the form of an antelope with enormous horns may refer to the proverb \"had I known\"\u2014a visual pun between the length of the horns and the idea of hindsight as perfect vision.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80008259"], "internet_archive": ["https://archive.org/details/clevelandart-1935.306-gold-weight-abrammuo"]}, "citations": [{"citation": "Museum of Modern Art (New York, N.Y.), and James Johnson Sweeney. <em>African Negro Art</em>. New York: Museum of Modern Art, 1935.", "page_number": "Mentioned: p. 39, no. 190.", "url": null}], "url": "https://clevelandart.org/art/1935.306", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1935.306/1935.306_web.jpg", "width": "994", "height": "893", "filesize": "364540", "filename": "1935.306_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1935.306/1935.306_print.jpg", "width": "3400", "height": "3055", "filesize": "839019", "filename": "1935.306_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1935.306/1935.306_full.tif", "width": "4694", "height": "4218", "filesize": "59418724", "filename": "1935.306_full.tif"}}, "alternate_images": [{"date_created": "2009-11-05T16:13:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.306/1935.306_alt0_web.jpg", "width": "900", "height": "423", "filesize": "157491"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.306/1935.306_alt0_print.jpg", "width": "3400", "height": "1599", "filesize": "717440"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1935.306/1935.306_alt0_full.tif", "width": "5884", "height": "2768", "filesize": "48892888"}}], "creditline": "James Albert Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 115159, "creators": [], "legal_status": "accessioned", "accession_date": "1935-10-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Weight for Measuring Gold :  Antelope"], "is_highlight": false, "updated_at": "2026-03-27 00:07:59.928000"}, {"id": 123915, "accession_number": "1944.431", "share_license_status": "CC0", "tombstone": "Landscapes: Woman in a Striped Dress, c. 1900. Ker Xavier Roussel (French, 1867\u20131944), Ambroise Vollard (French, 1867\u20131939). Color lithograph. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1944.431", "current_location": null, "title": "Woman in a Striped Dress", "series": "Landscapes", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["Nabis", "male"], "culture": ["France, 20th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302281, "title": "Landscape", "description": "<i>Landscape</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 9-April 22, 1962).", "opening_date": "1962-01-09T05:00:00"}, {"id": 301359, "title": "The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review", "description": "<i>The Print Club of Cleveland, 1919 - 1969: Fifty Years in Review</i>. The Cleveland Museum of Art, Cleveland, OH (January 14-March 31, 1970).", "opening_date": "1970-01-14T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Ten-Thirty Gallery, Cleveland, OH, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1944", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1944-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ker Xavier Roussel married Marie Vuillard, the sister of painter and fellow Nabi artist \u00c9douard Vuillard.", "description": "Almost indistinguishable from the patterned landscape surrounding her, a woman in a striped dress strolls through a spring landscape. In this image, Ker Xavier Roussel explored a decorative abstraction that blended figure and ground into a field of shared color.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79901387"], "internet_archive": ["https://archive.org/details/clevelandart-1944.431-woman-in-a-striped-d"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Landscape with Figure in a Striped Dress.", "page_number": "Mentioned: p. 61", "url": "https://archive.org/details/Lithography/page/n67"}], "catalogue_raisonne": "Salomon 16", "url": "https://clevelandart.org/art/1944.431", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1944.431/1944.431_web.jpg", "width": "1263", "height": "859", "filesize": "881904", "filename": "1944.431_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1944.431/1944.431_print.jpg", "width": "3400", "height": "2313", "filesize": "5734492", "filename": "1944.431_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1944.431/1944.431_full.tif", "width": "4922", "height": "3348", "filesize": "49467772", "filename": "1944.431_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123915, "creators": [{"id": 29642, "description": "Ker Xavier Roussel (French, 1867\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1867", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1944-12-15T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscape with Figure in a Striped Dress", "l'Album de paysage: Landscape with Figure in a Striped Dress"], "is_highlight": false, "updated_at": "2026-03-27 00:10:42.205000"}, {"id": 144614, "accession_number": "1969.253", "share_license_status": "CC0", "tombstone": "Plate with Bird and Flower, early 1900s. Japan, Meiji period (1868\u20131912) or Taish\u014d period (1912\u201326). Porcelain with overglaze enamel (Ko-Kutani revival style); diameter: 37.5 cm (14 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. Terrence O. Kennedy in memory of her husband, Terrence O. Kennedy, 1969.253", "current_location": null, "title": "Plate with Bird and Flower", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1926, "artists_tags": [], "culture": ["Japan, Meiji period (1868\u20131912) or Taish\u014d period (1912\u201326)"], "technique": "Porcelain with overglaze enamel (Ko-Kutani revival style)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Diameter: 37.5 cm (14 3/4 in.)", "dimensions": {"diameter": {"width": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 300223, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (January 2-July 9, 2018).", "opening_date": "2018-01-02T05:00:00"}, {"id": 455863, "title": "Animals in Japanese Art", "description": "<i>Animals in Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-December 10, 2023).", "opening_date": "2023-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Terrence O. [May Maxfield Powers] Kennedy [1889-1973], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1969", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Porcelain must be fired at a high temperature to achieve its strength and semitranslucent surface.", "description": "This dish is a sophisticated example of later ceramists reinterpreting earlier styles of Japanese porcelain. The colors and patterns used look similar to some works produced on the island of Kyushu in the1600s and 1700s. However, the idea to combine alternating blocks of yellow, green, purple, and blue with a \"Chinese grasses\" (<em>karakusa</em>) pattern around the rim of the dish is one hit upon in the early 1900s by an artist familiar with the colors and patterns of earlier works.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60752888"], "internet_archive": ["https://archive.org/details/clevelandart-1969.253-plate-with-bird-and"]}, "citations": [{"citation": "Cleveland Museum of Art, and Jenifer Neils. <em>The World of Ceramics: Masterpieces from the Cleveland Museum of Art</em>. Cleveland: Museum in cooperation with Indiana University Press, 1982.", "page_number": "Mentioned and reproduced: P. 147-148, no. 151", "url": ""}], "url": "https://clevelandart.org/art/1969.253", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.253/1969.253_web.jpg", "width": "900", "height": "858", "filesize": "262949", "filename": "1969.253_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.253/1969.253_print.jpg", "width": "3400", "height": "3243", "filesize": "1746798", "filename": "1969.253_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.253/1969.253_full.tif", "width": "5657", "height": "5395", "filesize": "91595000", "filename": "1969.253_full.tif"}}, "alternate_images": [{"date_created": "2014-11-04T15:12:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.253/1969.253_alt0_web.jpg", "width": "900", "height": "892", "filesize": "259263"}, 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"width": "3400", "height": "1547", "filesize": "421390"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.253/1969.253_alt7_full.tif", "width": "5316", "height": "2419", "filesize": "38606460"}}, {"date_created": "2017-12-20T15:31:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.253/1969.253_alt8_web.jpg", "width": "900", "height": "410", "filesize": "59575"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.253/1969.253_alt8_print.jpg", "width": "3400", "height": "1547", "filesize": "328979"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.253/1969.253_alt8_full.tif", "width": "5316", "height": "2419", "filesize": "38606460"}}], "creditline": "Gift of Mrs. Terrence O. Kennedy in memory of her husband, Terrence O. Kennedy", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144614, "creators": [], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Plate of Birds in a Landscape: Old Kutani Ware"], "is_highlight": false, "updated_at": "2026-03-27 00:01:20.735000"}, {"id": 148774, "accession_number": "1976.30", "share_license_status": "CC0", "tombstone": "Niagara Falls by Moonlight, probably 1856. Frederic Edwin Church (American, 1826\u20131900). Graphite and white gouache; sheet: 11.6 x 16.4 cm (4 9/16 x 6 7/16 in.). The Cleveland Museum of Art, Gift of Robert Arthur Mann, 1976.30", "current_location": null, "title": "Niagara Falls by Moonlight", "creation_date": "probably 1856", "creation_date_earliest": 1851, "creation_date_latest": 1861, "artists_tags": ["male"], "culture": ["America"], "technique": "graphite and white gouache", "support_materials": [{"description": "brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 11.6 x 16.4 cm (4 9/16 x 6 7/16 in.)", "dimensions": {"sheet": {"height": 0.116, "width": 0.164}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed?, lower left, in graphite: f. church\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001).", "opening_date": "2000-08-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "Robert Arthur Mann [1947-2017], Miami, FL, gift to The Cleveland Museum of Art.", "citations": [], "footnotes": null, "date": "?-1976", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": null, "date": "1976 -", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In this drawing, Church manipulates negative space\u2014the space around and between his drawn subjects\u2014to suggest the forms of water and smoke.", "description": "By the time Frederic E. Church executed this study of the Canadian side of Horseshoe Falls, Niagara Falls was already an icon of both American art and the American nation. Tourists and artists flocked to the falls in pursuit of a firsthand experience of the sublime, a sensation of elation and terror that portrayals of Niagara Falls had notorious difficulty reproducing. Church\u2019s celebrated oil painting <em>The Great Fall, Niagara</em> (1857) was one of the few depictions believed to capture the fall\u2019s power in pictorial terms. Like many artists of the Hudson River School, Church used drawings made on site to preserve the visual memory of the place he intended to paint in oil. Cleveland\u2019s sheet was possibly executed during one of the four trips he took to the falls in 1856 to prepare for <em>Niagara. </em>As a night scene, this study in light and shadow is unusual among Church\u2019s drawings. The dark brown paper enhances the image\u2019s nocturnal quality and allowed Church to render the atmospheric effects of mist and clouds. He used white gouache not only as a highlight, but also to define the luminous forms of water and vapor, crafting the landscape\u2019s substance out of negative and positive space. On the picture\u2019s left-hand side, Church represented the man-made Terrapin Tower in shadowy miniature, a testament to his interest in site-specific details\u2014and also, perhaps, a reminder of the diminutive status of human creation in the face of awesome natural forces.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79929257"], "internet_archive": ["https://archive.org/details/clevelandart-1976.30-niagara-falls-by-moo"]}, "citations": [{"citation": "Foster, Carter E., \"Drawing Power\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 38 no. 04, April 1998", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM1998-04/page/4"}], "url": "https://clevelandart.org/art/1976.30", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.30/1976.30_web.jpg", "width": "1263", "height": "823", "filesize": "718106", "filename": "1976.30_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.30/1976.30_print.jpg", "width": "3400", "height": "2216", "filesize": "5140633", "filename": "1976.30_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.30/1976.30_full.tif", "width": "6148", "height": "4007", "filesize": "73937752", "filename": "1976.30_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.30/1976.30_alt0_web.jpg", "width": "1263", "height": "820", "filesize": "871154"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.30/1976.30_alt0_print.jpg", "width": "2048", "height": "1330", "filesize": "2353481"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.30/1976.30_alt0_full.tif", "width": "2048", "height": "1330", "filesize": "8174364"}}], "creditline": "Gift of Robert Arthur Mann", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148774, "creators": [{"id": 2697, "description": "Frederic Edwin Church (American, 1826\u20131900)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1826", "death_year": "1900", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1976-05-07T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "probably 1856", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Moonlight Landscape"], "is_highlight": true, "updated_at": "2026-03-27 00:02:36.218000"}, {"id": 165187, "accession_number": "2007.181", "share_license_status": "CC0", "tombstone": "Headdress, 1900s. Africa, Central Africa, Cameroon, Grassfields region, Bamileke-style maker. African gray parrot feathers, wood, plant fiber, probably cotton, string, and colorant; diameter: 90 cm (35 7/16 in.). The Cleveland Museum of Art, Sundry Purchase Fund, 2007.181", "current_location": null, "title": "Headdress", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, Central Africa, Cameroon, Grassfields region, Bamileke-style maker"], "technique": "African gray parrot feathers, wood, plant fiber, probably cotton, string, and colorant", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Diameter: 90 cm (35 7/16 in.)", "dimensions": {"diameter": {"width": 0.9}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 387030, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 17, 2010-June 20, 2011).", "opening_date": "2010-05-17T04:00:00"}, {"id": 387033, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 20, 2014-October 19, 2015).", "opening_date": "2014-10-20T04:00:00"}], "legacy": [{"description": "Main Gallery Rotation (gallery 108): May 17, 2010 - June 20, 2011.", "opening_date": "2010-05-17T00:00:00"}, {"description": "Main Gallery Rotation (gallery 108): October 20, 2014 -", "opening_date": "2014-10-20T00:00:00"}]}, "provenance": [{"description": "(Jacques Hautelet, La Jolla, CA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2007", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This headdress has an ingenious built-in storage system: it can be flipped inside out to encase the feathers within a rigid woven structure, protecting them during storage or travel.", "description": "Hundreds of red tail feathers from the grey parrot (<em>Psittacus</em> <em>erithacus</em>) decorate this disk-shaped headdress. Only the king, some high-ranking individuals, and members of the all-male elephant society\u2014known in different languages as Kuosi, Nekang, or Kem-ndze\u2014wore this prestigious headgear at ceremonies and funerals. Typically, the headdress was worn pushed slightly back from the hairline. When used by members of the elephant society, it was accompanied by a cloth and glass bead mask (<em>mbap</em> <em>mteng</em>) in the shape of that animal, such as 1985.1082.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993770"], "internet_archive": ["https://archive.org/details/clevelandart-2007.181-headdress"]}, "citations": [{"citation": "Petridis, Constantine. \"New Acquisitions of African Art at the Cleveland Museum of Art\". African Arts, 44, no. 1, (Spring 2011):  52-67.", "page_number": "Mentioned: p . 59; reproduced:  p. 63, fig. 11.", "url": "https://ingallslibrary.on.worldcat.org/oclc/7021560093"}], "url": "https://clevelandart.org/art/2007.181", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2007.181/2007.181_web.jpg", "width": "953", "height": "893", "filesize": "617076", "filename": "2007.181_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2007.181/2007.181_print.jpg", "width": "3400", "height": "3185", "filesize": "6073605", "filename": "2007.181_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2007.181/2007.181_full.tif", "width": "3937", "height": "3688", "filesize": "43618548", "filename": "2007.181_full.tif"}}, "alternate_images": [{"date_created": "2009-10-28T14:44:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.181/2007.181_alt0_web.jpg", "width": "971", "height": "893", "filesize": "606164"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.181/2007.181_alt0_print.jpg", "width": "3400", "height": "3128", "filesize": "6299591"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.181/2007.181_alt0_full.tif", "width": "3808", "height": "3503", "filesize": "40071780"}}, {"date_created": "2010-05-10T15:27:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.181/2007.181_alt1_web.jpg", "width": "876", "height": "893", "filesize": "502319"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.181/2007.181_alt1_print.jpg", "width": "3335", "height": "3400", "filesize": "7818686"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.181/2007.181_alt1_full.tif", "width": "4565", "height": "4653", "filesize": "63752188"}}], "creditline": "Sundry Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165187, "creators": [], "legal_status": "accessioned", "accession_date": "2007-09-05T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hat (Tse Nteng)", "Headdress"], "is_highlight": false, "updated_at": "2026-03-27 00:01:00.214000"}, {"id": 117915, "accession_number": "1938.67", "share_license_status": "CC0", "tombstone": "The Ruby Range, Nevada, 1879. Thomas Moran (American, born England, 1837\u20131926). Watercolor, gouache and graphite; sheet: 19.6 x 36.2 cm (7 11/16 x 14 1/4 in.). The Cleveland Museum of Art, Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection, 1938.67", "current_location": null, "title": "The Ruby Range, Nevada", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor, gouache and graphite", "support_materials": [{"description": "gray wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 19.6 x 36.2 cm (7 11/16 x 14 1/4 in.)", "dimensions": {"sheet": {"height": 0.196, "width": 0.362}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in graphite: The Ruby Range / Nevada Aug 8th --79. TMoran. / TM ; by artist, lower right, in graphite [partially erased]: The Ruby Range Nevada / Aug 8th TM ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 346276, "title": "Watercolors and Drawings form the Museum Collection", "description": "<i>Watercolors and Drawings form the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-28, 1939).", "opening_date": "1939-02-07T05:00:00"}, {"id": 304428, "title": "The Most Remarkable Scenery: Thomas Moran's Watercolors of the American West", "description": "<i>The Most Remarkable Scenery: Thomas Moran's Watercolors of the American West</i>. Amon Carter Museum (organizer) (May 23-July 13, 1980); The Cleveland Museum of Art (August 5-October 5, 1980); Yale University Art Gallery (October 23, 1980-January 4, 1981).", "opening_date": "1980-05-23T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 442065, "title": "Visions of the American West", "description": "<i>Visions of the American West</i>. Art Gallery of Western Australia, Perth, Perth, Australia (December 15, 1986-February 7, 1987); Art Gallery of New South Wales, Sydney, Australia (co-organizer) (February 23-April 6, 1987).", "opening_date": "1986-12-15T05:00:00"}, {"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "<em>The Works of Thomas Moran,</em> no. 82 (as <em>The Smelters, Denver</em>). Denver Art League, Denver, CO (December 1892). No. 53.", "opening_date": "1892-12-01T05:00:00Z"}, {"description": "<em>Memorial Exhibition: Water Color Sketches by Thomas Moran, N.A., </em>no. 53 (as <em>The Smelters, Denver, Col., June 12</em>). The Milch Galleries, New York, NY (December 20, 1926 - January 8, 1927). No. 21", "opening_date": "1926-12-20T05:00:00Z"}, {"description": "<em>Water Colors by Thomas Moran, N.A.</em>, no. 6 (as <em>The Smelters, Denver, Colorado)</em>. The Biltmore Salon, Los Angeles, CA (January 2 - January 29, 1927). No. 22.", "opening_date": "1927-01-02T05:00:00Z"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; 4/19/98 - 7/12/98. \"American Drawings from the Permanent Collection.\"", "opening_date": "1998-04-19T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\". No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [{"description": "(The Milch Galleries, New York, NY, cat no. 21.)", "citations": [], "footnotes": null, "date": "1927-1927", "sortorder": 1}, {"description": "(Biltmore Salon, Los Angeles, CA, January 1927, cat. no. 22, sold.)", "citations": [], "footnotes": null, "date": "1927", "sortorder": 2}, {"description": "Henry A. [1856-1917] and Josephine P. [1866-1938] Everett, Cleveland, OH.", "citations": [], "footnotes": null, "date": "1927?-1938", "sortorder": 3}, {"description": "Bequest of Josephine P. Everett to The Cleveland Museum of Art, Cleveland, OH, for the Dorothy Burnham Everett Memorial Collection.", "citations": [], "footnotes": null, "date": "1938-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Thomas Moran is especially well known for his sweeping views of remote areas in the American West. A gifted watercolorist who was deeply influenced by J. M. W. Turner, Moran found a realistic equivalent for the Englishman\u2019s art in the strange hues of the mountains of Wyoming and Nevada, the bubbling springs and vaporous geysers of Yellowstone, and the fantastic rock formations of Arizona. Although he enjoyed dramatic effects, Moran did not exaggerate the spectacular landscapes of the American West; watercolors such as <em>Ruby Range</em> are accurate even in their surprising palettes, achieving an almost visionary intensity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012667"], "internet_archive": ["https://archive.org/details/clevelandart-1938.67-the-ruby-range-nevad"]}, "citations": [{"citation": "<em>Catalogue of pictures of Thomas Moran, N.A.; exhibited under the auspices of the Denver Art League, Christmas, 1892</em>, 1892, File A, No. 88 (C-4), Moran Collection, East Hampton Library, East Hampton, New York.", "page_number": "Mentioned, P. 5, No. 53.", "url": ""}, {"citation": "The Milch Galleries, New York, NY. <em>Memorial Exhibition: Water Color Sketches by Thomas Moran, N.A. </em>December 20 - January 8, 1927. No. 21.", "page_number": "", "url": ""}, {"citation": "The Biltmore Salon, Los Angeles. CA. <em>Water colors by Thomas Moran, N.A., 1837-1926.</em> January 2 - January 29,1927. No. 22.", "page_number": "", "url": ""}, {"citation": "Francis, Henry Sayles, \"In Memoriam: Josephine Pettengill Everett 1866-1937,\" <em>The Bulletin of The Cleveland Museum of Art</em> No. 6/part II (June, 1938): 123-130.", "page_number": "Mentioned, p. 129.", "url": ""}, {"citation": "\u201cCleveland: The Latest Additions to the Everett Collection.\u201d <em>Art News</em> 36 Part II, no. 40. (Sep 17, 1938).", "page_number": "Mentioned, p. 16", "url": ""}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 31, no. 137", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Clark, Carol. Thomas Moran: <em>Watercolors of the American West : Text and Catalogue Raisonne\u0301. </em>Austin: Published for the Amon Carter Museum of Western Art by the University of Texas Press, 1980.", "page_number": "pp. 55, 147, no. 191.", "url": ""}, {"citation": "Adams, Celeste, Franklin Kelly, and Ron Tyler. <em>America: Art and the West. </em>[New York]: American-Australian Foundation for the Arts and International Cultural Corporation of Australia; distributed by H.N. Abrams, New York, 1986.", "page_number": "cat. 28", "url": ""}, {"citation": "Mansfield Art Center (Mansfield, Ohio). <em>The American West from the Long Expedition to the Taos Society of Artists. </em>Exhibition catalogue. The Mansfield Art Center, March 18-April 15, 1990. [Mansfield, Ohio]: [The Center], 1990.", "page_number": "no. 40", "url": ""}], "url": "https://clevelandart.org/art/1938.67", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1938.67/1938.67_web.jpg", "width": "1263", "height": "686", "filesize": "569124", "filename": "1938.67_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1938.67/1938.67_print.jpg", "width": "3400", "height": "1848", "filesize": "4582660", "filename": "1938.67_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1938.67/1938.67_full.tif", "width": "6239", "height": "3391", "filesize": "63501816", "filename": "1938.67_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.67/1938.67_alt0_web.jpg", "width": "1263", "height": "715", "filesize": "750242"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.67/1938.67_alt0_print.jpg", "width": "2048", "height": "1160", "filesize": "2137801"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.67/1938.67_alt0_full.tif", "width": "2048", "height": "1160", "filesize": "7129540"}}], "creditline": "Bequest of Mrs. Henry A. Everett for the Dorothy Burnham Everett Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117915, "creators": [{"id": 3207, "description": "Thomas Moran (American, born England, 1837\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1837", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:11.945000"}, {"id": 108601, "accession_number": "1926.296", "share_license_status": "CC0", "tombstone": "Light, 1893. Odilon Redon (French, 1840\u20131916), Becquet (French). Lithograph on China paper laid down on wove paper; image: 31.9 x 24.5 cm (12 9/16 x 9 5/8 in.). The Cleveland Museum of Art, Gift of Mrs. Ralph King, 1926.296", "current_location": null, "title": "Light", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on China paper laid down on wove paper", "support_materials": [{"description": "China paper", "watermarks": []}, {"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 31.9 x 24.5 cm (12 9/16 x 9 5/8 in.)", "dimensions": {"image": {"height": 0.319, "width": 0.245}}, "state_of_the_work": "I/I", "edition_of_the_work": "edition of 50", "copyright": null, "inscriptions": [{"inscription": "signed on stone, lower left: ODILON REDON; printed above upper left corner of image: LUMI\u00c8RE - 50 \u00e9pr.; inscribed, lower right, below image, in graphite: Odilon Redon", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 311560, "title": "Drawn on Stone: 19th-Century Lithography", "description": "<i>Drawn on Stone: 19th-Century Lithography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25, 1993-February 20, 1994).", "opening_date": "1993-09-25T04:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "Jules Chavasse [1858-1919; L. 1430], Paris", "citations": [], "footnotes": [], "date": "after 1893-by 1919", "sortorder": 1}, {"description": "(C.W. Kraushaar Art Galleries, New York, sold to Ralph King, Cleveland, OH)", "citations": [], "footnotes": [], "date": "after 1919-by 1926", "sortorder": 2}, {"description": "Ralph King [1855-1926], Cleveland, OH, by descent to his wife", "citations": [], "footnotes": [], "date": "?-1926", "sortorder": 3}, {"description": "Mrs. Ralph King, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1926-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Redon originally named this print \"Pensive Head.\"", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80000098"], "internet_archive": ["https://archive.org/details/clevelandart-1926.296-light"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Lumi\u00e8re.", "page_number": "Mentioned: p. 58", "url": "https://archive.org/details/Lithography/page/n65"}], "catalogue_raisonne": "Mellerio 123", "url": "https://clevelandart.org/art/1926.296", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.296/1926.296_web.jpg", "width": "660", "height": "900", "filesize": "269788", "filename": "1926.296_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.296/1926.296_print.jpg", "width": "2494", "height": "3400", "filesize": "3217269", "filename": "1926.296_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.296/1926.296_full.tif", "width": "3430", "height": "4676", "filesize": "48147552", "filename": "1926.296_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108601, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 61664, "description": "Becquet (French)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1926-07-07T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:46.279000"}, {"id": 156160, "accession_number": "1991.80", "share_license_status": "CC0", "tombstone": "Birds and Flowers (\ud654\uc870\ub3c4 (\u82b1\u9ce5\u5716)), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel folding screen with designs and inscriptions burnt into paper (pyrography); overall: 153.5 x 443 cm (60 7/16 x 174 7/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Alan Carter Covell and Kyu J. Pak-Covell, 1991.80", "current_location": null, "title": "Birds and Flowers", "title_in_original_language": "\ud654\uc870\ub3c4 (\u82b1\u9ce5\u5716)", "creation_date": "late 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen with designs and inscriptions burnt into paper (pyrography)", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 153.5 x 443 cm (60 7/16 x 174 7/16 in.)", "dimensions": {"overall": {"height": 1.535, "width": 4.43}, "each screen": {"height": 1.036, "width": 0.305}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 121)</em>. The Cleveland Museum of Art, Cleveland. OH (March 10, 2003-July 16, 2003).", "opening_date": "2003-03-10T00:00:00"}]}, "provenance": [{"description": "Alan Carter Covell [b. 1952] and Kyu J. Pak-Covell, Garden Grove, CA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131991", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1991\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The painting is done by a pyrography method, a technique of burning the surface of materials with a heated tool.", "description": "The image depicted on this folding screen is not executed in ink, but rather a method called \u201cpyrography\" or \"nakhwa,\u201d a technique of burning the surface of materials ranging from wood to paper with the delicately controlled application of a heated metal tool. This technique became widely popular in the 19th century. Scorched marks here replace brush strokes. Nakhwa method is now designated as a Korean Intangible Cultural Asset by the Korean government.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476771"], "internet_archive": ["https://archive.org/details/clevelandart-1991.80-birds-and-flowers"]}, "citations": [{"citation": "Yi, Seon-hyeong. \"Pak Chang-gyu's Scorched Painting of Birds and Flowers [\ubc15\ucc3d\uaddc(1783~?)\uc758 \ub099\ud654 \ud654\uc870\ub3c4].\" <em>Misulsa yeongu</em> (1989): 105-116.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00195338"}, {"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 78", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "Kim, In-gyu and Yeong-jo Kim. <em>Nakwajang</em>. Seoul: National Folk Museum of Korea: 2012.", "page_number": null, "url": null}, {"citation": "Pak, Jeong-hye. \u201cScorched Paintings of Korea During the 19th and early 20th century [19\uc138\uae30\uc640 20\uc138\uae30\uc804\ubc18\uc758 \uf916\u7575\uc5f0\uad6c]. <em>Misulsa yeongu </em>33. (2017), 73-102.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE07283427"}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 212-218, no. 121", "url": ""}], "url": "https://clevelandart.org/art/1991.80", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.80/1991.80_web.jpg", "width": "1263", "height": "438", "filesize": "103568", "filename": "1991.80_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.80/1991.80_print.jpg", "width": "3400", "height": "1180", "filesize": "791234", "filename": "1991.80_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.80/1991.80_full.tif", "width": "18695", "height": "6493", "filesize": "364197300", "filename": "1991.80_full.tif"}}, "alternate_images": [{"date_created": "2012-05-14T19:03:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt0_web.jpg", "width": "547", "height": "893", "filesize": "90308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt0_print.jpg", "width": "2081", "height": "3400", "filesize": "1258883"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt0_full.tif", "width": "3982", "height": "6505", "filesize": "77732276"}}, {"date_created": "2012-05-14T18:59:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt1_web.jpg", "width": "534", "height": "893", "filesize": "89584"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt1_print.jpg", "width": "2033", "height": "3400", "filesize": "1273487"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt1_full.tif", "width": "3895", "height": "6513", "filesize": "76127720"}}, {"date_created": "2012-05-14T18:53:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt2_web.jpg", "width": "528", "height": "893", "filesize": "89641"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt2_print.jpg", "width": "2009", "height": "3400", "filesize": "1254145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt2_full.tif", "width": "3836", "height": "6490", "filesize": "74710236"}}, {"date_created": "2012-05-14T18:49:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt3_web.jpg", "width": "539", "height": "893", "filesize": "90049"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt3_print.jpg", "width": "2052", "height": "3400", "filesize": "1257767"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt3_full.tif", "width": "3932", "height": "6513", "filesize": "76850660"}}, {"date_created": "2012-05-14T18:39:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt4_web.jpg", "width": "536", "height": "893", "filesize": "89614"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt4_print.jpg", "width": "2039", "height": "3400", "filesize": "1260937"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.80/1991.80_alt4_full.tif", "width": "3923", "height": "6541", "filesize": "77004340"}}], "creditline": "Seventy-fifth anniversary gift of Alan Carter Covell and Kyu J. Pak-Covell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156160, "creators": [], "legal_status": "accessioned", "accession_date": "1991-06-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:17.903000"}, {"id": 160208, "accession_number": "1998.120", "share_license_status": "CC0", "tombstone": "The Assembly of Tejaprabha Buddha (\uce58\uc131\uad11\uc5ec\ub798\ub3c4 [\u71be\u76db\u5149\u5982\u4f86\u5716]), 1878. Korea, Joseon dynasty (1392\u20131910). Hanging scroll; ink, color, and gold on silk; overall: 223 x 226.4 cm (87 13/16 x 89 1/8 in.). The Cleveland Museum of Art, Gift of Mitsuru Tajima, 1998.120", "current_location": null, "title": "The Assembly of Tejaprabha Buddha", "title_in_original_language": "\uce58\uc131\uad11\uc5ec\ub798\ub3c4 [\u71be\u76db\u5149\u5982\u4f86\u5716]", "creation_date": "1878", "creation_date_earliest": 1878, "creation_date_latest": 1878, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "hanging scroll; ink, color, and gold on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 223 x 226.4 cm (87 13/16 x 89 1/8 in.)", "dimensions": {"overall": {"height": 2.23, "width": 2.264}, "painting only": {"height": 1.265, "width": 2.108}, "inscription only": {"height": 0.357, "width": 0.081}, "overall with knobs": {"height": 2.23, "width": 2.413}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 373986, "title": "The Other Side of the Story - Korean Gallery 236 Rotation", "description": "<i>The Other Side of the Story - Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (October 27, 2020-April 25, 2021).", "opening_date": "2020-10-30T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 237)</em>. The Cleveland Museum of Art, Cleveland, OH (December 23, 2013-January 12, 2015).", "opening_date": "2013-12-23T05:00:00Z"}]}, "provenance": [{"description": "Mitsuru Tajima, Tokyo, Japan, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131998", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1998\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The central Buddha of Radiant Light is flanked by two attendant bodhisattvas, Sunlight and Moonlight, each in reverence posture.", "description": "The main deity seated at the center is Tejaprabha, the Buddha of Radiant Light. Blazing beams of light emanating from its celestial body are this deity\u2019s weapon to crush all kinds of calamities. Coincidently, when this painting was created, Korea was experiencing a height of foreign military aggressions, including invasions by the French (1866) and the US (1871). The inscription at the bottom center states that a group of ladies from the royal court commissioned the scroll to wish for the well-being of their families. During the late Joseon dynasty, Korean women became largely marginalized. Nevertheless, they remained important patrons of Buddhist art and architecture, voicing their concerns for their country and families in peril.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477593"], "internet_archive": ["https://archive.org/details/clevelandart-1998.120-the-assembly-of-teja"]}, "citations": [{"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Yi, Yong-yoon. \u201cBokjang Dedicated to Buddhist Paintings of the Late Joseon Period [\uc870\uc120\ud6c4\uae30 \u4f5b\u7575\uc758 \u8179\u85cf \uc5f0\uad6c].\u201d <em>Misulsahak yeongu </em>(2016): 121-154.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE06649823"}, {"citation": "Choe, Yeob. \u201cA Study of Subjects in the Inscriptions of Buddhist Paintings [\ubd88\ud654 \u7575\u8a18\uc758 \u7575\u984c \ubc0f \uba85\uce6d \uac80\ud1a0].\u201d <em>Misulsa nondan</em> (2017): 205-225.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE07368154"}, {"citation": "Galerie Jacques Barre\u0300re. <em>Japan = Nihon.</em> Paris, France: Galerie Jacques Barr\u00e8re, 2019.", "page_number": "Mentioned: p. 61", "url": null}, {"citation": "Kim, Jeong-hee. <em>Royal House, Power and Buddhist Painting</em> [\uc655\uc2e4, \uad8c\ub825 \uadf8\ub9ac\uace0 \ubd88\ud654]. Seoul: Sechang chulpansa, 2019.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 164-165, no. 107", "url": ""}], "url": "https://clevelandart.org/art/1998.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.120/1998.120_web.jpg", "width": "1263", "height": "773", "filesize": "230280", "filename": "1998.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.120/1998.120_print.jpg", "width": "3400", "height": "2080", "filesize": "1389259", "filename": "1998.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.120/1998.120_full.tif", "width": "7553", "height": "4622", "filesize": "104753740", "filename": "1998.120_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt0_web.jpg", "width": "1064", "height": "893", "filesize": "803598"}, "print": {"url": 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"144023120"}}, {"date_created": "2012-07-31T18:05:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt4_web.jpg", "width": "670", "height": "893", "filesize": "152522"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt4_print.jpg", "width": "2550", "height": "3400", "filesize": "1769162"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt4_full.tif", "width": "6000", "height": "8000", "filesize": "144023112"}}, {"date_created": "2012-07-31T18:00:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt5_web.jpg", "width": "620", "height": "893", "filesize": "137676"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt5_print.jpg", "width": "2362", "height": "3400", "filesize": "1611043"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt5_full.tif", "width": "5559", "height": "8000", "filesize": "133439344"}}, {"date_created": "2012-07-31T18:47:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt6_web.jpg", "width": "928", "height": "893", "filesize": "179294"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt6_print.jpg", "width": "3400", "height": "3272", "filesize": "2294693"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.120/1998.120_alt6_full.tif", "width": "6093", "height": "5864", "filesize": "107211416"}}], "creditline": "Gift of Mitsuru Tajima", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160208, "creators": [], "legal_status": "accessioned", "accession_date": "1998-09-08T00:00:00", "sortable_date": 1878, "date_added_to_oa": null, "date_text": "1878", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": "<strong>Emerald Green: Toxic Pigment </strong><br><br>Analysis of <em>The Assembly of Tejaprabha Buddha</em> led to the discovery that the light green pigment\u2014mainly applied to some of the clothing\u2014was not the finely ground malachite traditionally used, but was copper acetoarsenite. Commonly referred to as emerald green, this pigment was discovered in the early 1800s and first commercially manufactured in 1814.<br><br>Extremely poisonous, it was often used as an insecticide during the 19th and early 20th centuries. X-ray fluorescence (XRF) spectroscopy, a noninvasive analytical technique, revealed the presence of copper and arsenic. Further analysis of a small sample by Fourier-transform infrared (FTIR) spectroscopy confirmed emerald green. With this newly gained information, conservators must handle this work with caution, using gloves and masks.", "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-01 19:07:11.417000"}, {"id": 171385, "accession_number": "2014.2", "share_license_status": "CC0", "tombstone": "Landscape with Figure and Houses, c. 1891. Claude-Emile Schuffenecker (French, 1851\u20131934). Pastel on brown wove paper; sheet: 63 x 78.5 cm (24 13/16 x 30 7/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2014.2", "current_location": null, "title": "Landscape with Figure and Houses", "creation_date": "c. 1891", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pastel on brown wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 63 x 78.5 cm (24 13/16 x 30 7/8 in.)", "dimensions": {"sheet": {"height": 0.63, "width": 0.785}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 283693, "title": "Pure Color: Pastels from the Cleveland Museum of Art", "description": "<i>Pure Color: Pastels from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2016-March 19, 2017).", "opening_date": "2016-11-19T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Am\u00e9d\u00e9e Schuffenecker [1854-1936], Meudon, France", "citations": [], "footnotes": null, "date": "1903-?", "sortorder": 1}, {"description": "(M. Bonnel, Meudon, France, sold to Roland Robert, Nice)", "citations": [], "footnotes": null, "date": "after 1903-1954", "sortorder": 2}, {"description": "Roland Robert, Nice, by descent to Claude Robert", "citations": [], "footnotes": null, "date": "1954-1997", "sortorder": 3}, {"description": "Claude Robert", "citations": [], "footnotes": null, "date": "1997-about 2000", "sortorder": 4}, {"description": "Private collection, Belgium", "citations": [], "footnotes": null, "date": "after 2000 - by 2014", "sortorder": 5}, {"description": "(Boquet & Marty de Cambiaire, Paris, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-2014", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014-", "sortorder": 7}], "find_spot": null, "related_works": [{"id": 290348, "description": "Study for \"Landscape with Figure and Houses\", c. 1891. Claude-Emile Schuffenecker (French, 1851\u20131934). Pastel; sheet: 33.5 x 50 cm (13 3/16 x 19 11/16 in.). The Cleveland Museum of Art, Alma and Robert D. Milne Fund, 2016.269", "relationship": "based on"}], "former_accession_numbers": [], "did_you_know": "On the back of this drawing, Emile Schuffenecker noted \"Nocturne Espagnol / flute,\" referencing a specific piece of music that provided inspiration for the work.", "description": "To record rural landscapes, Emile Schuffenecker often took advantage of recently constructed train lines that facilitated travel outside Paris. Here, he portrayed Meudon, a southwestern suburb. Schuffenecker used easily portable pastel sticks to sketch outdoors, producing studies that he later developed into finished works in his studio. With distinctive vertical marks, he combined complementary colors to increase their intensity, choosing textured brown paper to further this impact. The shimmering result is grounded by massive lichen-covered rocks in the foreground that evoke ancient monumental stones in the area and give the drawing a sense of timelessness.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80081705"], "internet_archive": ["https://archive.org/details/clevelandart-2014.2-landscape-with-figur"]}, "citations": [{"citation": "<em>Oeuvres sur papier du XVIe au XXe si\u00e8cle</em>. Paris: Boquet &amp; Marty de Cambiaire, 2013.", "page_number": "Mentioned: pp. 78-80, 115-16; Reproduced: p. 79", "url": null}, {"citation": "Thea Burns and Philippe Saunier. <em>The Art of the Pastel</em>. New York: Abbeville, 2014.", "page_number": "Reproduced: pp. 326-27", "url": null}, {"citation": "<em>1824-1907: Paintings and Drawings</em>. Exh. Cat. Brussels: Eric Gillis Fine Art, 2015.", "page_number": "Mentioned: p. 32, no. 14", "url": null}, {"citation": "Lemonedes, Heather. \u201cAcquisition Highlights 2014: Drawings.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 2 (March/April 2015): 22.", "page_number": "Reproduced and Mentioned: p. 22", "url": "https://archive.org/details/CMAMM2015-02"}, {"citation": "Lemonedes, Heather. \u201cPure Color: A new exhibition celebrates luminous pastels.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 6 (November/December 2016): 8-9.", "page_number": "Reproduced and Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2016-06"}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 166-167, no. 32", "url": ""}], "url": "https://clevelandart.org/art/2014.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.2/2014.2_web.jpg", "width": "900", "height": "719", "filesize": "219064", "filename": "2014.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.2/2014.2_print.jpg", "width": "3400", "height": "2718", "filesize": "3309088", "filename": "2014.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.2/2014.2_full.tif", "width": "12168", "height": "9726", "filesize": "355067500", "filename": "2014.2_full.tif"}}, "alternate_images": [{"date_created": "2015-01-15T13:32:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.2/2014.2_alt0_web.jpg", "width": "900", "height": "748", "filesize": "197287"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.2/2014.2_alt0_print.jpg", "width": "3400", "height": "2826", "filesize": "2572447"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.2/2014.2_alt0_full.tif", "width": "7047", "height": "5858", "filesize": "123873568"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171385, "creators": [{"id": 56133, "description": "Claude-Emile Schuffenecker (French, 1851\u20131934)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1851", "death_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2014-03-03T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "c. 1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:25.046000"}, {"id": 294203, "accession_number": "2017.6", "share_license_status": "CC0", "tombstone": "Munja-Chaekgeori Screen (Character-Books Screen) (\ubb38\uc790\ucc45\uac70\ub9ac), early 1900s. Korea, Joseon dynasty (1392\u20131910). Eight-panel folding screen, ink on paper; overall: 150.5 x 330.2 cm (59 1/4 x 130 in.); painting only: 85.1 x 27.3 cm (33 1/2 x 10 3/4 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2017.6", "current_location": null, "title": "Munja-Chaekgeori Screen (Character-Books Screen)", "title_in_original_language": "\ubb38\uc790\ucc45\uac70\ub9ac", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1930, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Eight-panel folding screen, ink on paper", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 150.5 x 330.2 cm (59 1/4 x 130 in.); Painting only: 85.1 x 27.3 cm (33 1/2 x 10 3/4 in.)", "dimensions": {"overall": {"height": 1.505, "width": 3.302}, "painting only": {"height": 0.851, "width": 0.273}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 295535, "title": "Korean Gallery 236 Rotation", "description": "<i>Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (July 10, 2017-January 8, 2018).", "opening_date": "2017-07-10T04:00:00"}, {"id": 439071, "title": "Popular Art from Early Modern Korea", "description": "<i>Popular Art from Early Modern Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 2021-April 17, 2022).", "opening_date": "2021-10-29T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Kang Collection, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20132017", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2017\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The eight Korean characters each mean filial piety, brotherly love, loyalty, trust, propriety, righteousness or justice, modesty or integrity, and humility or the feeling of shame.", "description": "This folding screen is a whimsical harmony of two different subjects: <em>chaekgeori</em>, or books and things; and <em>munja</em>, or characters. The lower section of each panel depicts the imagery of things, including books, decorative arts, and utilitarian objects. The upper portion of each panel bears a classical Chinese character. Read from far right to left, the eight characters refer to the values of Confucian teachings of the Joseon dynasty: filial piety, brotherly love, loyalty, trust, propriety, righteousness, modesty, and humility. While these two pictorial genres are harmoniously conjoined on the same picture plane, two sharply contrasting world views\u2014urban consumerism and traditional Confucian ethics that despise materialism\u2014compete with one another.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60482858"], "internet_archive": ["https://archive.org/details/clevelandart-2017.6-munja-chaekgeori-scr"]}, "citations": [{"citation": "Yi, Young-joo. \"Character Painting in the Late Joseon Dynasty [\uc870\uc120\ud6c4\uae30\uc758 \u5b5d\u608c\u6587\u5b57\u5716].\" <em>Misulsa nondan</em> (2007): 231\u2013260.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01351981"}, {"citation": "Chung, Byong-mo. <em>Revolution of Anonymous Painters: Folk Painting</em> [\ubb34\uba85 \ud654\uac00\ub4e4 \uc758 \ubc18\ub780, \ubbfc\ud654]. Seoul: Dahal Media, 2011.", "page_number": null, "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Kim, Su-jin. \"\uc870\uc120 \ud6c4\uae30 \ubbfc\uac04 \uc0ac\ub840\uc6a9(\u56db\u79ae\u7528) \ubcd1\ud48d \uc5f0\uad6c [Painted Folding Screens for Confucian Rituals in the Late Joseon Period].\" <em>Hangukhak </em>(2019): 187\u2013229.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE08771723#none"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. 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Jean-Baptiste Carpeaux (French, 1827\u20131875). Marble; overall: 83.2 x 58.5 x 39.4 cm (32 3/4 x 23 1/16 x 15 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1975.5", "current_location": "218 European Sculpture", "title": "Bust of a Lady (possibly Fanny Coleman)", "creation_date": "1872", "creation_date_earliest": 1872, "creation_date_latest": 1872, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 83.2 x 58.5 x 39.4 cm (32 3/4 x 23 1/16 x 15 1/2 in.)", "dimensions": {"overall": {"height": 0.832, "width": 0.585, "depth": 0.394}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on base:  J. Bte CARPEAUX 1872.", "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"}], "legacy": [{"description": "Paris, Mus\u00e9e des Arts Decoratifs, April-July 1933:  \"Le Decor de la Vie sous la IIIe Republique,\" p. 110, no. 853.", "opening_date": "1933-04-01T00:00:00"}, {"description": "CMA 1976:  \"Year in Review 1975,\" Bulletin LXIII (February 1976), p. 65, #10, repr. p. 45.", "opening_date": "1976-02-01T00:00:00"}]}, "provenance": [{"description": "Fanny Coleman (?), London;  [Leon Helft, Paris];  David Weill, Paris; [Heim Gallery, Paris]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Abandoning the strict frontality and symmetry of the neoclassical style, Carpeaux was instead inspired by French portrait busts of the 1600s and 1700s. This bust probably depicts Fanny Coleman, an English actress with whom Carpeaux may have had a romantic relationship. The turn of the head and the undulating drapery infuse the figure with a sense of drama. Patronized by Napoleon III, Carpeaux created the celebrated figural group <em>La Danse</em> for the facade of the Opera Garnier in Paris, a work renowned for its sensual nudes, but denounced by contemporaries as an affront to public decency.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780923"], "internet_archive": ["https://archive.org/details/clevelandart-1975.5-bust-of-a-lady-possi"]}, "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. 45; Mentioned: p. 65, no. 10", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "Hawley, Henry H. \u201cCarpeaux\u2019s Mysterious Sculpture.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 4 (April 1976): 99\u2013107.", "page_number": "Mentioned and reproduced: p. 99-107, figs. 1, 4, 5", "url": "http://www.jstor.org/stable/25152633"}, {"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. 210", "url": "https://archive.org/details/CMAHandbook1978/page/n230"}], "url": "https://clevelandart.org/art/1975.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.5/1975.5_web.jpg", "width": "713", "height": "893", "filesize": "260518", "filename": "1975.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.5/1975.5_print.jpg", "width": "2716", "height": "3400", "filesize": "4140569", "filename": "1975.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.5/1975.5_full.tif", "width": "4640", "height": "5809", "filesize": "80900544", "filename": "1975.5_full.tif"}}, "alternate_images": [{"date_created": "2008-09-29T15:05:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt0_web.jpg", "width": "648", "height": "893", "filesize": "242694"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt0_print.jpg", "width": "2469", "height": "3400", "filesize": "4015702"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt0_full.tif", "width": "4166", "height": "5737", "filesize": "71738416"}}, {"date_created": "2008-09-29T15:53:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt1_web.jpg", "width": "689", "height": "893", "filesize": "248012"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt1_print.jpg", "width": "2624", "height": "3400", "filesize": "3695078"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt1_full.tif", "width": "4631", "height": "6001", "filesize": "83409148"}}, {"date_created": "2008-09-29T16:17:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt2_web.jpg", "width": "706", "height": "893", "filesize": "273418"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt2_print.jpg", "width": "2687", "height": "3400", "filesize": "4097525"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt2_full.tif", "width": "4344", "height": "5497", "filesize": "71673060"}}, {"date_created": "2013-08-14T10:43:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt3_web.jpg", "width": "1263", "height": "616", "filesize": "94499"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt3_print.jpg", "width": "3400", "height": "1659", "filesize": "575320"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.5/1975.5_alt3_full.tif", "width": "5740", "height": "2801", "filesize": "48282468"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 148325, "creators": [{"id": 5856, "description": "Jean-Baptiste Carpeaux (French, 1827\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1827", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "1872", "collapse_artists": false, "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": "2026-03-27 00:01:33.802000"}, {"id": 149536, "accession_number": "1979.115", "share_license_status": "CC0", "tombstone": "Woman with a Veil, c. 1891. Jean-L\u00e9on G\u00e9r\u00f4me (French, 1824\u20131904). Bronze; overall: 60.5 x 32.7 cm (23 13/16 x 12 7/8 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1979.115", "current_location": "221 19th Century Decorative Arts", "title": "Woman with a Veil", "creation_date": "c. 1891", "creation_date_earliest": 1886, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 60.5 x 32.7 cm (23 13/16 x 12 7/8 in.)", "dimensions": {"overall": {"height": 0.605, "width": 0.327}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed upper surface of base:  \"J L Gerome\"; inscribed edge of base at back:  \"F. Barbedienne, Fondeur, Paris.\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}], "legacy": [{"description": "CMA 1980:  \"Year in Review 1979,\" Bulletin, LVXI (March 1980), p. 96, cat. no. 32, repr. p. 77", "opening_date": "1980-03-01T00:00:00"}, {"description": "CMA 1982:  The Age of Bronze, July 13-October 17, 1982, no. cat.", "opening_date": "1982-07-13T00:00:00"}]}, "provenance": [{"description": "Thomas L. Fawick.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Many of G\u00e9r\u00f4me\u2019s best known works reflect the 19th-century European fascination with the Middle East, Asia, and North Africa, which manifested in Orientalist works like this sculpture depicting a woman adjusting her veil. Multiple versions of this sculpture exist, including some with marble and gold additions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60754865"], "internet_archive": ["https://archive.org/details/clevelandart-1979.115-woman-with-a-veil"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThomas L. Fawick Memorial Collection is on View in Year in Review Exhibition,\u201d February 7, 1980, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2737"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 32, p. 77; Mentioned: p. 59", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Rionnet, Florence. <em>Les bronzes Barbedienne: l'\u0153uvre d'une dynastie de fondeurs (1834-1954). </em>Paris: Arthena, 2016. p. 176-177.", "page_number": "Reproduced: p. 177.", "url": null}], "url": "https://clevelandart.org/art/1979.115", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.115/1979.115_web.jpg", "width": "603", "height": "900", "filesize": "121306", "filename": "1979.115_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.115/1979.115_print.jpg", "width": "2278", "height": "3400", "filesize": "1078368", "filename": "1979.115_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.115/1979.115_full.tif", "width": "5020", "height": "7493", "filesize": "112873468", "filename": "1979.115_full.tif"}}, "alternate_images": [{"date_created": "2014-07-14T15:28:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.115/1979.115_alt0_web.jpg", "width": "583", "height": "900", "filesize": "118853"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.115/1979.115_alt0_print.jpg", "width": "2204", "height": "3400", "filesize": "1034474"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.115/1979.115_alt0_full.tif", "width": "4933", "height": "7609", "filesize": "112634520"}}], "creditline": "The Thomas L. Fawick Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 149536, "creators": [{"id": 1694, "description": "Jean-L\u00e9on G\u00e9r\u00f4me (French, 1824\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Vesoul near the Swiss border, Jean-L\u00e9on G\u00e9r\u00f4me grew up in comfort. His goldsmith father approved of his decision to become an artist and supported his study in Paris with Delaroche (q.v.) during the early 1840s. Delaroche's interest in historical reconstruction, precise detail, and smooth picture surface had a significant effect on the young student. After failing to win the Prix de Rome in 1846, which his father pressured him to enter, G\u00e9r\u00f4me decided to make his name at the Salons. His debut there in 1847 with A Cock Fight (Mus\u00e9e d'Orsay, Paris) was a huge success and brought him and his fellow neo-Grecs, as they were called, much attention. Several important commissions and purchases followed, including church decoration and the huge historical picture The Age of Augustus (Mus\u00e9e d'Orsay, Paris) that emulated the kind of classicizing panorama of Delaroche in the hemicycle for the \u00c9cole des Beaux-Arts. G\u00e9r\u00f4me also studied briefly with Charles Gleyre (1808-1874) after Delaroche closed his studio in 1842. Gleyre's travel and sketches from the Near and Middle East may also have played a critical role in introducing the young artist to another major interest of his career, orientalist subject matter. With the twenty thousand francs paid for The Age of Augustus, the artist treated himself to a trip to Constantinople with his actor-friend Edmond Got. Further travels to the Middle East followed, and G\u00e9r\u00f4me exhibited his first Egyptian themes in the 1857 Salon. \r\nIn the 1878 Universal Exposition in Paris, he exhibited his first attempts at sculpture, which corresponded closely with his painted works, first following their themes, then serving as models for his canvases, especially the Pygmalion pictures. During the 1880s he was, like several other artists, drawn to incorporate polychromy and various precious and semi-precious materials into his sculpture; this was known to be a widespread practice among ancient sculptors, and it heightened the illusion of lifelikeness as well as the decorative aspect of these works. \r\nAlthough he had not succeeded at the \u00c9cole des Beaux-Arts, G\u00e9r\u00f4me received one of three prestigious professorships in 1863 following the somewhat controversial reforms of the fine arts institutions in Paris. His official rather than academic achievements made him a good candidate to lead the new generation of French painters out of the decadence into which many believed French art had fallen. He taught hundreds of students in his atelier at the \u00c9cole as well as at his independent studio and had an especially strong impact on his American students, such as Thomas Eakins (1844-1916) and Frederick Arthur Bridgman (1847-1928). Although the majority of G\u00e9r\u00f4me's students remember him as an exacting but fair master, he showed intractable resistance to the new modes of impressionism and symbolism and campaigned against the acceptance of Gustave Caillebotte's (1843-1893) bequest of such art to the French state. \r\nIn 1863 G\u00e9r\u00f4me married Marie Goupil, the daughter of well-known international art dealer Adolphe Goupil, who became the exclusive representative of his work. Goupil not only sold his son-in-law's pictures through his branches in Europe and New York, but he also disseminated their reputation through photographic reproductions.1 G\u00e9r\u00f4me received all the highest honors awarded to nineteenth-century artists and achieved considerable financial success.\r\n1. See Linda Whiteley, \"Goupil, (Jean-Michel-) Adolphe,\" Dictionary of Art (London, 1996), 13:228; and Mus\u00e9e Goupil, Conservatoire de L'image Industrielle Bordeaux, \u00c9tat des lieux 1 (Bordeaux, 1994), esp. 9-36.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-02-05T00:00:00", "sortable_date": 1886, "date_added_to_oa": null, "date_text": "c. 1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:27.821000"}, {"id": 149771, "accession_number": "1979.83", "share_license_status": "CC0", "tombstone": "Mask, late 1800s\u2013early 1900s. Native North America, Northwest Coast, Alaska, Tlingit. Wood (alder), pigment; overall: 21.4 x 17.2 x 8.9 cm (8 7/16 x 6 3/4 x 3 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1979.83", "current_location": "231 Native North American", "title": "Mask", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1850, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Native North America, Northwest Coast, Alaska, Tlingit"], "technique": "wood (alder), pigment", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Sculpture", "measurements": "Overall: 21.4 x 17.2 x 8.9 cm (8 7/16 x 6 3/4 x 3 1/2 in.)", "dimensions": {"overall": {"height": 0.214, "width": 0.172, "depth": 0.089}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}, {"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": "CMA 1980:  \"Year in Review 1979,\" Bull., LXVII (March, 1980), p. 96, cat. #43, repr. p. 94", "opening_date": "1980-03-01T00:00:00"}, {"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. 48, p. 118.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "de Menil, Houston; (Sotheby Parke Bernet, Inc., sale #4291, lot #348)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In 1998, Robert Joseph, a Northwest Coast chief, recalled that when he donned ceremonial dance masks as a youth, \"all the world is somewhere else . . . I am the mask . . . the bird . . . the animal . . . the spirit. I transcend into the being of the mask.\" Although this mask's identity is lost, it may represent a mythic ancestor of a Tlingit family and perhaps was worn during a winter ceremony.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60778370"], "internet_archive": ["https://archive.org/details/clevelandart-1979.83-face-mask", "https://archive.org/details/clevelandart-1979.83-mask"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 43, p. 94; Mentioned: p. 62", "url": "https://www.jstor.org/stable/25159667"}], "url": "https://clevelandart.org/art/1979.83", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.83/1979.83_web.jpg", "width": "718", "height": "893", "filesize": "275418", "filename": "1979.83_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.83/1979.83_print.jpg", "width": "2735", "height": "3400", "filesize": "5401390", "filename": "1979.83_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.83/1979.83_full.tif", "width": "4817", "height": "5988", "filesize": "86558624", "filename": "1979.83_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.83/1979.83_alt0_web.jpg", "width": "765", "height": "893", "filesize": "491935"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.83/1979.83_alt0_print.jpg", "width": "1536", "height": "1792", "filesize": "2064268"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.83/1979.83_alt0_full.tif", "width": "1536", "height": "1792", "filesize": "8260588"}}, {"date_created": "2010-12-15T19:09:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.83/1979.83_alt1_web.jpg", "width": "678", "height": "893", "filesize": "278920"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.83/1979.83_alt1_print.jpg", "width": "2582", "height": "3400", "filesize": "5051020"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.83/1979.83_alt1_full.tif", "width": "4713", "height": "6205", "filesize": "87758608"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149771, "creators": [], "legal_status": "accessioned", "accession_date": "1979-11-14T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:09.008000"}, {"id": 311854, "accession_number": "2018.76", "share_license_status": "CC0", "tombstone": "Portrait of Paul S\u00e9rusier, 1893. \u00c9mile Bernard (French, 1868\u20131941). Gouache and watercolor on thin beige wove paper; sheet: 41.9 x 27.7 cm (16 1/2 x 10 7/8 in.); secondary support: 52.2 x 36.7 cm (20 9/16 x 14 7/16 in.). The Cleveland Museum of Art, Bequest of William Kelly Simpson, 2018.76", "current_location": null, "title": "Portrait of Paul S\u00e9rusier", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "gouache and watercolor on thin beige wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 41.9 x 27.7 cm (16 1/2 x 10 7/8 in.); Secondary Support: 52.2 x 36.7 cm (20 9/16 x 14 7/16 in.)", "dimensions": {"sheet": {"height": 0.419, "width": 0.277}, "secondary support": {"height": 0.522, "width": 0.367}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in diluted ink: Portrait de Paul S\u00e9ruzier / Emile Bernard / Florence 1893", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Paul S\u00e9rusier [1864-1927], Morlaix", "citations": [], "footnotes": [], "date": "1893-?", "sortorder": 1}, {"description": "Marcel Gu\u00e9rin [1873-1948], Paris", "citations": [], "footnotes": [], "date": "? - by 1950", "sortorder": 2}, {"description": "possibly Marguerite S\u00e9rusier [1879\u20131950], Ch\u00e2teauneuf-du-Faou", "citations": [], "footnotes": null, "date": "? - ?", "sortorder": 3}, {"description": "Henriette Boutaric [?-1983], Paris", "citations": [], "footnotes": [], "date": "? - probably 1983", "sortorder": 4}, {"description": "(sale, Christie's, London, Dec. 9, 1998, no. 210, sold to William Kelly Simpson, Katonah, NY)", "citations": [], "footnotes": null, "date": "1998", "sortorder": 5}, {"description": "William Kelly Simpson [1928-2017], Katonah, NY, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1998 - 2018", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2018 -", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The subject of this portrait, \u00c9mile Bernard, was known as \"the Nabi with the red beard\" for his distinctive facial hair.", "description": "Throughout his career, \u00c9mile Bernard made numerous portraits of his friends and colleagues, including this image of the painter Paul S\u00e9rusier. The two artists traveled to Florence in 1893 to study Renaissance painting and exchanged portraits of one another while they were there. Bernard portrayed his friend formally, presenting him frontally alongside a notation that the drawing was made during his Italian travels.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79873638"], "internet_archive": ["https://archive.org/details/clevelandart-2018.76-portrait-of-paul-ser"]}, "citations": [{"citation": "Chasse, Charles. <em>Le mouvement symboliste dans l\u2019art du XIXe si\u00e8cle</em>. Paris: Floury, 1947.", "page_number": "Reproduced: n.p.", "url": ""}, {"citation": "Se\u0301rusier, Paul. <em>ABC De La Peinture</em>. Paris: Libraririe Floury, 1950.", "page_number": "Mentioned: p. 63n1", "url": null}, {"citation": "Colombier, Pierre du. \u201cQu\u2019est-ce que les Nabis?\u201d <em>Le Jardin des arts </em>8 (June 1955): 503.", "page_number": "Mentioned and Reproduced: p. 503", "url": null}, {"citation": "Rewald, John. <em>Post-Impressionism: From Van Gogh to Gauguin</em>. New York: Museum of Modern Art, 1956.", "page_number": "Mentioned and reproduced: p. 455", "url": null}, {"citation": "Guicheteau, Marcel. <em>Paul Serusier</em>. Paris: Side, 1976.", "page_number": "Mentioned: p. 76", "url": ""}, {"citation": "Pickvance, Ronald. <em>Gauguin and the School of Pont-Aven</em>. London: Apollo, 1994.", "page_number": "Mentioned: p. 146", "url": null}, {"citation": "<em>Impressionist &amp; Nineteenth Century Art</em>. London: Christie's, 1998.", "page_number": "Mentioned and Reproduced: p. 126, no. 210", "url": null}, {"citation": "Delannoy, Agnes, ed., <em>J\u00f3zsef Rippl</em>-<em>R\u00f3nai</em>: <em>le Nabi hongrois</em>, Exh. Cat. Paris: Somogy, 1999.", "page_number": "Mentioned: p. 65", "url": null}, {"citation": "Luthi, Jean-Jacques, and Armand Isra\u00ebl. <em>\u00c9mile Bernard, 1868\u20131941: Fondateur de l\u2019\u00e9cole de Pont-Aven et pr\u00e9curseur de l\u2019art moderne</em>. Paris: \u00c9ditions de l\u2019amateur, 2003.", "page_number": "Mentioned: 76, 243", "url": ""}, {"citation": "Luthi, Jean-Jacques, and Armand Israe\u0308l. <em>E\u0301mile Bernard: instigateur de l'e\u0301cole de Pont-Aven, pre\u0301curseur de l'art moderne: sa vie, son \u0153uvre: catalogue raisonne\u0301</em>. Paris: Editions des Catalogues raisonn\u00e9s, 2014.", "page_number": "Mentioned: p. 52", "url": null}, {"citation": "Brown, Heather Lemonedes. \u201cIntroducing the Nabis.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 1-19. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned and reproduced; p. 1", "url": ""}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 172-173, no. 35", "url": ""}], "url": "https://clevelandart.org/art/2018.76", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.76/2018.76_web.jpg", "width": "607", "height": "900", "filesize": "158434", "filename": "2018.76_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.76/2018.76_print.jpg", "width": "2293", "height": "3400", "filesize": "1825465", "filename": "2018.76_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.76/2018.76_full.tif", "width": "4068", "height": "6033", "filesize": "73656068", "filename": "2018.76_full.tif"}}, "alternate_images": [], "creditline": "Bequest of William Kelly Simpson", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 311854, "creators": [{"id": 46188, "description": "\u00c9mile Bernard (French, 1868\u20131941)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1868", "death_year": "1941", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:24.564000"}, {"id": 98000, "accession_number": "1917.63", "share_license_status": "CC0", "tombstone": "Beach Scene, c. 1865\u20131867. Eug\u00e8ne Boudin (French, 1824\u20131898). Oil on wood panel; framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.). The Cleveland Museum of Art, Gift of Mrs. D. Z. Norton, 1917.63", "current_location": null, "title": "Beach Scene", "creation_date": "c. 1865\u20131867", "creation_date_earliest": 1865, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on wood panel", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 54 x 75 x 6.4 cm (21 1/4 x 29 1/2 x 2 1/2 in.); Unframed: 34.7 x 57.7 cm (13 11/16 x 22 11/16 in.)", "dimensions": {"framed": {"height": 0.54, "width": 0.75, "depth": 0.064}, "unframed": {"height": 0.347, "width": 0.577}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: E. Bou[. . .]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338065, "title": "French Art Since Eighteen Hundred", "description": "<i>French Art Since Eighteen Hundred</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 8-December 8, 1929).", "opening_date": "1929-11-08T05:00:00"}, {"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}, {"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}], "legacy": [{"description": "CMA. French Art since Eighteen Hundred (1929), CMA Bulletin 16 (1929): 162.", "opening_date": "1929-01-01T00:00:00"}, {"description": "Art Institute of Chicago. Loan Exhibition of Paintings by Eug\u00e8ne Boudin (1935-36), no. 21.", "opening_date": "1935-01-01T00:00:00"}, {"description": "cma. Catalogue of the Twentieth Anniversary Exhibition of the Cleveland Museum of Art (1936), 99, no. 252.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Kansas City, William Rockhill Nelson Gallery of Art and Mary Atkins Museum. French Impressionist Landscape Painting (1936), no. 8.", "opening_date": "1936-01-01T00:00:00"}, {"description": "Pittsburgh, Carnegie Institute. Pictures of Everyday Life: Genre Painting in Europe 1500-1900 (1954), no. 76 (repr.).", "opening_date": "1954-01-01T00:00:00"}, {"description": "Denver Art Museum. Clothes Make the Man (1956), no catalogue.", "opening_date": "1956-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "On a beach where a strong breeze moves off the water from left to right, figures of French women, men, and children in chic Parisian dress stroll, sit, chat, or take donkey rides. The activities depicted (promenades, socializing, riding, sandbox playing) are the same as those enjoyed by residents of London or Paris. At the right, the dog suggests that these are vacationers rather than tourists seeking to recreate their urban pastimes at the seashore. Painted outdoors, this composition is typical of Boudin's beach scenes in the 1860s in its low-lying horizon, cloud-filled sky, and figures ranged across the middle ground. By scattering the figures over the surface and not closing off the scene with framing elements, the artist created the impression of a partial view of a much larger scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503008"], "internet_archive": ["https://archive.org/details/clevelandart-1917.63-beach-scene"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 65", "url": "http://www.jstor.org/stable/25136092"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 31", "url": "https://archive.org/details/CMAHandbook_80839/page/n33"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 38", "url": "https://archive.org/details/CMAHandbook1928/page/n42"}, {"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. 89", "url": "https://www.jstor.org/stable/25140932"}, {"citation": "<em>Paintings in the Cleveland Museum of Art.</em> [Cleveland]: The Cleveland Museum of Art, 1945.", "page_number": "Reproduced: p. 34", "url": "https://archive.org/details/CMAPaintings1945/page/n42"}, {"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. 497", "url": "https://archive.org/details/CMAHandbook1958/page/n91"}, {"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. 171", "url": "https://archive.org/details/CMAHandbook1966/page/n195"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 68-70, Vol. I, no. 25", "url": ""}], "url": "https://clevelandart.org/art/1917.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.63/1917.63_web.jpg", "width": "1263", "height": "759", "filesize": "200841", "filename": "1917.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.63/1917.63_print.jpg", "width": "3400", "height": "2044", "filesize": "1692637", "filename": "1917.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.63/1917.63_full.tif", "width": "7551", "height": "4540", "filesize": "102868376", "filename": "1917.63_full.tif"}}, "alternate_images": [{"date_created": "2012-01-10T18:32:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.63/1917.63_alt0_web.jpg", "width": "1263", "height": "761", "filesize": "305506"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.63/1917.63_alt0_print.jpg", "width": "3400", "height": "2049", "filesize": "2385361"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.63/1917.63_alt0_full.tif", "width": "4644", "height": "2800", "filesize": "39031428"}}, {"date_created": "2012-01-10T18:32:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.63/1917.63_alt1_web.jpg", "width": "1263", "height": "761", "filesize": "305506"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.63/1917.63_alt1_print.jpg", "width": "3400", "height": "2049", "filesize": "2385361"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.63/1917.63_alt1_full.tif", "width": "4644", "height": "2800", "filesize": "39031428"}}], "creditline": "Gift of Mrs. D. Z. Norton", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98000, "creators": [{"id": 1568, "description": "Eug\u00e8ne Boudin (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Boudin is traditionally presented in literature as a self-taught artist, independent of the Parisian art world whose works, painted out of doors in a sketchy, light-hued style, foreshadowed impressionism.1 Recent scholarship has tempered this interpretation of the artist, but it conserves his importance to contemporaneous artistic concerns of modernity, the notion of \"finish,\" the relationship between the French city and countryside, and the marketing of art works.2 Raised by parents who worked on steamers, Boudin grew up in Le Havre on the Normandy coast. At the age of twenty, he and an associate established their own framing and stationery shop where they regularly served artists. In 1847 Boudin went to Paris to study art and made contacts with artists such as Couture (q.v.), who helped him win a three-year study grant in 1850 from the municipal council of Le Havre, and Constant Troyon (1810-1865). But it was along the Normandy coast, not in Paris, where Boudin first met painters Ribot (q.v.) in 1851, Monet (q.v.) in 1858, and Courbet (q.v.) in 1859 and art critic Charles Baudelaire in 1859 and painted in a coarse realist style. Boudin spent each winter, roughly November to May, in Paris, working in his studio. He spent the summer season, lasting from two to five months, making pictures on the Normandy coast or in the Breton landscape. In 1860 he began to paint scenes of fashionable society at the beach resorts of Trouville (The Beach at Trouville, Minneapolis Institute of Arts) and Deauville. At first his work attracted little critical notice, but Baudelaire praised his pastels in a review of the 1859 Salon where Boudin made his debut.4 By 1869 Boudin and his art came to be identified with the Normandy coast.5 After 1870 Boudin increasingly turned away from beach resort subjects to focus on port and harbor views and fisherfolk scenes. In 1881 Boudin entered into a business relationship with the important Parisian art dealer Durand-Ruel, who provided him with a regular income for the rights to his entire production. When Durand-Ruel mounted a one-person exhibition of Boudin's works in 1883, the artist enjoyed financial and critical triumph. Boudin sold his first picture to the French state in 1886 (A Squall, Mus\u00e9e de Morlaix) and his second two years later (The Russian Corvette in the Eure Reservoir, Mus\u00e9e d'Agen). In 1892 he was decorated with the Legion of Honor. Extremely productive until the end of his life, Boudin left more than four thousand paintings and seven thousand works on paper, some of which he or his family bequeathed to the French nation and art museums of Le Havre and Honfleur. The reputation that Boudin quietly established is nowhere better evidenced than in the fact that the retro-spective exhibition of his work (January 1898) was held at the \u00c9cole des Beaux-Arts in Paris, where Boudin never set foot and which had fought, and failed, to privilege history painting over landscape and genre. <br>1. By 1883 art critic Gustave Geffroy had already pronounced that Boudin \"is, together with Corot and Jongkind, one of the immediate precursors of Impressionism. He shows us that impenetrable black does not exist and that air is transparent.\" Cited in trans. in Hamilton 1992, 42. <br>2. See John House, \"Boudin's Modernity,\" in Hamilton 1992, 15-23. <br>3. Courbet first visited Le Havre in 1841, the year he moved to Paris from Ornans. He returned at the time of the 1858 Salon du Havre, to which he contributed, and again in 1859. He is reported to have bought some of Boudin's paintings. In 1865 the two painters socialized together and painted side by side at Trouville. <br>4. The artist exhibited no pastels in the Salon, but Baudelaire might have seen them in the artist's studio or elsewhere. 5. Jules Castagnary, Salon de 1869, cited in trans. in Hamilton 1992, 59.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1917-02-14T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "c. 1865\u20131867", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:03.405000"}, {"id": 130600, "accession_number": "1953.322", "share_license_status": "CC0", "tombstone": "Portrait of Louis-Philippe, Duke of Orl\u00e9ans, later King of the French, 1804. Richard Cosway (British, 1742\u20131821). Watercolor on ivory in a gold locket frame; framed: 7.5 x 6.6 cm (2 15/16 x 2 5/8 in.); unframed: 6.3 x 5.4 cm (2 1/2 x 2 1/8 in.). The Cleveland Museum of Art, The Edward B. Greene Collection, 1953.322", "current_location": null, "title": "Portrait of Louis-Philippe, Duke of Orl\u00e9ans, later King of the French", "creation_date": "1804", "creation_date_earliest": 1804, "creation_date_latest": 1804, "artists_tags": ["male"], "culture": ["England, early 19th Century"], "technique": "watercolor on ivory in a gold locket frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 7.5 x 6.6 cm (2 15/16 x 2 5/8 in.); Unframed: 6.3 x 5.4 cm (2 1/2 x 2 1/8 in.)", "dimensions": {"framed": {"height": 0.075, "width": 0.066}, "unframed": {"height": 0.063, "width": 0.054}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed on backing:  Rdus Cosway / R.A. et F.S.A. / Primarius Pictor / Serenissimi Walliae / Principie / Pinxit / 1804.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Prince Henri d'Orl\u00e9ans, Comte de Paris (1908-1999).", "citations": [], "footnotes": null, "date": "Before 19??", "sortorder": 1}, {"description": "(H. E. Backer, London, England)", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH. gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "By 1953-1953", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1953-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Without DNA analysis it is impossible to know to whom the hair belonged, though the most likely candidate is Louis-Philippe himself.", "description": "Louis-Philippe (1773\u20131850, king of the French 1830\u201348) was the son of Louis-Philippe Joseph, duc d\u2019Orl\u00e9ans, who was known as Philippe-Egalit\u00e9 during the French Revolution. The Orl\u00e9ans family was a branch of the House of Bourbon. This work was painted while Louis-Philippe was in exile and living in England from 1800 until 1815, when Napoleon abdicated. He finally succeeded Charles X as king of France in 1830. During the February Revolution of 1848, Louis-Philippe was again forced into exile in England where he died two years later. <br>Richard Cosway had painted Louis-Philippe (as well as his siblings and father) when the family was in England immediately following the outbreak of revolution in 1789. Louis-Philippe would have been thirty-one years old when this work was executed. He wears the Order of the Holy Spirit, a chivalric order of the French monarchy, which can be distinguished by its white dove surrounded by green flames at the center of a Maltese cross, with fleur-de-lis between the arms of the cross.<br>Instead of the brilliant turquoise and white cloud background traditionally associated with Cosway, this miniature has the more restrained, gray, hatched background that characterizes the artist\u2019s later works. The surface of the work is much marred by an irreversible crystallization of the paint layer that further emphasizes the gray tones throughout. The form of the unmarked case is typically English, but the motif is French, which may indicate a French goldsmith imitating the English style. The motif resembles a swan composed of foliate scrolls. A lock of plaited brown hair is also enclosed under glass within the locket, facing the miniature.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912529"], "internet_archive": ["https://archive.org/details/clevelandart-1953.322-portrait-of-louis-ph"]}, "citations": [{"citation": "Walker, R. J. B.<em> The Eighteenth and Early Nineteenth Century Miniatures in the Collection of Her Majesty the Queen. </em>Cambridge: Cambridge University Press, 1992.", "page_number": "p. 96, cat. 191", "url": ""}, {"citation": "Cleveland Museum of Art, and Alan Chong.<em> European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 282", "url": ""}, {"citation": "Lloyd, Stephen, and Richard Cosway. <em>Richard Cosway.</em> London: Unicorn Press, 2005.", "page_number": "p. 86", "url": ""}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives</em>. 2013.", "page_number": "Mentioned: p. 86", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl.<em> British Portrait Miniatures: The Cleveland Museum of Art. </em>2013.", "page_number": "Cat. no. 68, pp. 258-262", "url": ""}], "url": "https://clevelandart.org/art/1953.322", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.322/1953.322_web.jpg", "width": "1191", "height": "893", "filesize": "136939", "filename": "1953.322_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.322/1953.322_print.jpg", "width": "3400", "height": "2550", "filesize": "968980", "filename": "1953.322_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.322/1953.322_full.tif", "width": "8000", "height": "6000", "filesize": "144022064", "filename": "1953.322_full.tif"}}, "alternate_images": [{"date_created": "2004-05-24T12:35:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt0_web.jpg", "width": "1148", "height": "893", "filesize": "691593"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt0_print.jpg", "width": "3400", "height": "2644", "filesize": "5137535"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt0_full.tif", "width": "4886", "height": "3799", "filesize": "55706936"}}, {"date_created": "2008-01-02T18:56:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt1_web.jpg", "width": "1217", "height": "893", "filesize": "786779"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt1_print.jpg", "width": "3400", "height": "2494", "filesize": "5751544"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt1_full.tif", "width": "5148", "height": "3776", "filesize": "58348528"}}, {"date_created": "2013-02-13T20:05:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt2_web.jpg", "width": "761", "height": "893", "filesize": "128906"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt2_print.jpg", "width": "2898", "height": "3400", "filesize": "1721786"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt2_full.tif", "width": "6000", "height": "7039", "filesize": "126724252"}}, {"date_created": "2008-10-07T16:05:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt3_web.jpg", "width": "748", "height": "893", "filesize": "514293"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt3_print.jpg", "width": "2849", "height": "3400", "filesize": "6479205"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt3_full.tif", "width": "3959", "height": "4724", "filesize": "56140544"}}, {"date_created": "2013-02-13T20:16:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt4_web.jpg", "width": "670", "height": "893", "filesize": "134430"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt4_print.jpg", "width": "2550", "height": "3400", "filesize": "1477554"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt4_full.tif", "width": "6000", "height": "8000", "filesize": "144022064"}}, {"date_created": "2013-02-13T20:29:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt5_web.jpg", "width": "1191", "height": "893", "filesize": "188159"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt5_print.jpg", "width": "3400", "height": "2550", "filesize": "1459285"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt5_full.tif", "width": "8000", "height": "6000", "filesize": "144022064"}}, {"date_created": "2013-02-13T20:36:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt6_web.jpg", "width": "670", "height": "893", "filesize": "139000"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt6_print.jpg", "width": "2550", "height": "3400", "filesize": "1891097"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.322/1953.322_alt6_full.tif", "width": "6000", "height": "8000", "filesize": "144022064"}}], "creditline": "The Edward B. Greene Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130600, "creators": [{"id": 3700, "description": "Richard Cosway (British, 1742\u20131821)", "extent": null, "qualifier": null, "role": "artist", "biography": "Richard Cosway was Arguably the most fashionable miniature painter in London during the art form\u2019s golden age in <br>late-eighteenth-century Britain. Also an accomplished painter in oils, Cosway was equally well known for his flamboyant character and the stunning art collection that secured his reputation as an arbiter of taste and model of connoisseurship. His elegant portraits in miniature were coveted by sitters who sought glamour even if it was at the expense of truthfulness. Cosway and his wife, Maria (ne\u00e9 Hadfield), maintained an elite circle of friends who helped define what <br>was au courant for the age and who consisted primarily of cultural luminaries and young members of high society revolving around George Augustus Frederick, the prince of Wales himself. His steady patronage from 1780 until 1808 fixed Cosway\u2019s popularity within fashionable society. From 1785 Cosway\u2019s miniatures were signed on the back: \u201cPrimarius Pictor Serenissimi Walliae Principis\u201d (Principal Painter to His Royal Highness the Prince of Wales), a pompous Latin designation that garnered the artist both fame and ridicule. Cosway was a successful artist-celebrity in his own time, and, in spite of being criticized periodically for being too superficially pretty, his miniatures have always been among the most desired by collectors. The Cleveland Museum of Art owns five miniatures by Cosway, painted between 1785 and 1805, that are representative of the artist\u2019s stylistic range during the height of his career.", "name_in_original_language": null, "birth_year": "1742", "death_year": "1821", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1953-07-17T00:00:00", "sortable_date": 1804, "date_added_to_oa": null, "date_text": "1804", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Louis Philippe"], "is_highlight": false, "updated_at": "2026-03-27 00:01:39.624000"}, {"id": 161005, "accession_number": "1999.253", "share_license_status": "CC0", "tombstone": "Belt (Hizam), 1800s. Africa, North Africa, Morocco, Fes, Moroccan weaver. Silk, dye, metal; overall: 396.8 x 38 cm (156 1/4 x 14 15/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.253", "current_location": null, "title": "Belt (Hizam)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, North Africa, Morocco, Fes, Moroccan weaver"], "technique": "Silk, dye, metal", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 396.8 x 38 cm (156 1/4 x 14 15/16 in.)", "dimensions": {"overall": {"height": 3.968, "width": 0.38}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 381119, "title": "Islamic art rotation", "description": "<i>Islamic art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 16, 2015-December 19, 2016).", "opening_date": "2015-12-16T05:00:00"}, {"id": 669620, "title": "Arts of the Maghreb: North African Textiles and Jewelry", "description": "<i>Arts of the Maghreb: North African Textiles and Jewelry</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3, 2024-October 12, 2025).", "opening_date": "2024-11-03T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Women sometimes added starch to stiffen these belts.", "description": "Elaborate wedding sashes woven in Fez, Morocco, are distinctive for their multiple colors, designs, and uses. Folded lengthwise, they are wrapped around the waist so that the colors and designs coordinate with the attire worn during and after a wedding. Typically, the colors vary on each half although the designs are the same. Luxury textiles with elaborate patterns were woven on large looms called drawlooms that automatically repeated designs. The weaver operated the structure, inserting horizontal wefts, while the drawboy activated the programmed pattern. However, this wedding sash has ten programmed designs, which required considerable expertise.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79983165"], "internet_archive": ["https://archive.org/details/clevelandart-1999.253-bridal-wedding-sash", "https://archive.org/details/clevelandart-1999.253-belt-hizam"]}, "citations": [{"citation": "Gebremedhen, Helina. \u201cArts of the Maghreb: North African Textiles and Jewelry \u2013 Curatorial Reflections.\u201d <em>Journal 18</em>, Issue #19 (Spring 2025).", "page_number": "", "url": "https://www.journal18.org/19-africa/arts-of-the-maghreb-north-african-textiles-and-jewelry-curatorial-reflections/"}, {"citation": "Paydar, Niloo Imami, and Ivo Grammet. <em>The Fabric of Moroccan Life</em>. Indianapolis, Ind: Indianapolis Museum of Art, 2002.", "page_number": "p. 110-117", "url": ""}, {"citation": "Alaoui, Rachida. <em>Florile\u0300ge de la broderie marocaine</em>. [Milan]: Skira, 2011.", "page_number": "p. 35-37", "url": ""}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland; New Haven: Cleveland Museum of Art; Yale University Press, 2015.", "page_number": "Reproduced: P. 40-41, fig. 1.24; Mentioned: P. 40", "url": null}, {"citation": "Windmuller-Luna, Kristen. \"Textile stories from North Africa.\" <em>HALI </em>224 (Summer 2025): 54-61.", "page_number": "Mentioned: p. 58; Reproduced: p. 60-61, fig. 11", "url": ""}], "url": "https://clevelandart.org/art/1999.253", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.253/1999.253_web.jpg", "width": "900", "height": "114", "filesize": "74242", "filename": "1999.253_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.253/1999.253_print.jpg", "width": "3400", "height": "430", "filesize": "644581", "filename": "1999.253_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.253/1999.253_full.tif", "width": "40183", "height": "5086", "filesize": "613144616", "filename": "1999.253_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt0_web.jpg", "width": "1263", "height": "291", "filesize": "393736"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt0_print.jpg", "width": "2048", "height": "472", "filesize": "1083079"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt0_full.tif", "width": "2048", "height": "472", "filesize": "2901092"}}, {"date_created": "2014-09-02T13:07:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt1_web.jpg", "width": "900", "height": "516", "filesize": "142072"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt1_print.jpg", "width": "3400", "height": "1949", "filesize": "1621998"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt1_full.tif", "width": "8000", "height": "4585", "filesize": "110071392"}}, {"date_created": "2014-09-02T13:10:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt2_web.jpg", "width": "900", "height": "531", "filesize": "283879"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt2_print.jpg", "width": "3400", "height": "2005", "filesize": "3770557"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt2_full.tif", "width": "8000", "height": "4718", "filesize": "113265300"}}, {"date_created": "2014-09-02T13:13:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt3_web.jpg", "width": "900", "height": "505", "filesize": "306257"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt3_print.jpg", "width": "3400", "height": "1909", "filesize": "4030796"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt3_full.tif", "width": "8000", "height": "4491", "filesize": "107817448"}}, {"date_created": "2014-09-02T13:14:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt4_web.jpg", "width": "900", "height": "501", "filesize": "318688"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt4_print.jpg", "width": "3400", "height": "1893", "filesize": "3633150"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt4_full.tif", "width": "8000", "height": "4454", "filesize": "106931428"}}, {"date_created": "2014-09-02T13:17:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt5_web.jpg", "width": "900", "height": "549", "filesize": "292483"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt5_print.jpg", "width": "3400", "height": "2074", "filesize": "3758238"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt5_full.tif", "width": "8000", "height": "4881", "filesize": "117177756"}}, {"date_created": "2014-09-02T13:19:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt6_web.jpg", "width": "900", "height": "531", "filesize": "122154"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt6_print.jpg", "width": "3400", "height": "2005", "filesize": "1327324"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.253/1999.253_alt6_full.tif", "width": "7826", "height": "4615", "filesize": "108381220"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161005, "creators": [], "legal_status": "accessioned", "accession_date": "1999-12-06T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:09.687000"}, {"id": 166868, "accession_number": "2009.116", "share_license_status": "CC0", "tombstone": "Portrait of Jean Ajalbert, c. 1893. Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906). Charcoal with white chalk; sheet: 27.4 x 23.7 cm (10 13/16 x 9 5/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2009.116", "current_location": null, "title": "Portrait of Jean Ajalbert", "creation_date": "c. 1893", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "charcoal with white chalk", "support_materials": [{"description": "blue laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 27.4 x 23.7 cm (10 13/16 x 9 5/16 in.)", "dimensions": {"sheet": {"height": 0.274, "width": 0.237}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed in brown ink, lower right:  \"Eug\u00e8ne Carri\u00e8re\" (estate stamp)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Collection of Drawings lent by Mr. and Mrs. Anson C. Goodyear</em>. The Buffalo Fine Arts Academy, Buffalo, New York (September 29-October 21, 1923).", "opening_date": "1923-09-29T00:00:00"}, {"description": "<em>Non-Dissenters: Fifth Exhibition Marking Our Tenth Anniversary</em>. Shepherd Gallery, New York (November 1-December 31, 1976).", "opening_date": "1976-11-01T00:00:00"}]}, "provenance": [{"description": "(Manzi, Joyant & Cie, Paris, Carri\u00e8re Atelier sale, Feb. 2-3, 1920, no. 168)", "citations": [], "footnotes": [], "date": "1920", "sortorder": 1}, {"description": "Anson Conger Goodyear [1877-1964], Buffalo, New York", "citations": [], "footnotes": [], "date": "By 1923-1928", "sortorder": 2}, {"description": "(Anderson Galleries, New York, Goodyear collection sale, Feb. 16, 1928, no. 14)", "citations": [], "footnotes": [], "date": "1928", "sortorder": 3}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": null, "date": "?-1976", "sortorder": 4}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1976-2009", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2009-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One of Eug\u00e8ne Carri\u00e8re's portraits of Jean Ajalbert was translated to lithography and included as a frontispiece to his novel <em>Sao Van Di </em>(1905).", "description": "This drawing is one of several portraits that Eug\u00e8ne Carri\u00e8re created of the naturalist writer and art critic Jean Ajalbert. Both were part of the same Symbolist artistic and literary circles in Paris during the late 19th century. Portraiture was a favorite genre for Carri\u00e8re, who often portrayed his friends and colleagues. Here, Ajalbert looks forward directly, seemingly in contrast with his otherwise hazy visage and surroundings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997695"], "internet_archive": ["https://archive.org/details/clevelandart-2009.116-portrait-of-jean-aja"]}, "citations": [{"citation": "Galerie Manzi, Joyant &amp; Cie, Paris. <em>Catalogue des Tableaux, Dessins, Lithographies provenant de l'atelier d'Euge\u0300ne Carrie\u0300re</em>. February 2-3, 1920. Lot 168.", "page_number": "Mentioned and Reproduced: no. 168", "url": null}, {"citation": "<em>A Collection of Drawings Lent by Mr. and Mrs. Anson C. Goodyear</em>. Buffalo, NY: The Buffalo Fine Art Academy, 1923.", "page_number": "Mentioned: p. 3, no. 15", "url": null}, {"citation": "Buffalo Fine Arts Academy, \"Collection of Drawings Lent to the Albright Art Gallery By Mr. and Mrs. Anson C. Goodyear,\" <em>Academy Notes</em>, vol. XVIII, no. 2 (July-December, 1923): 58-61.", "page_number": "Mentioned: p. 61; Reproduced: p. 58", "url": null}, {"citation": "Anderson Galleries, New York. <em>Modern Art: Drawings, Lithographs, Etchings &amp; Woodcuts from the Collection of A.C. Goodyear Buffalo, N.Y.</em>. February 16, 1928. Lot 14.", "page_number": "Mentioned: no. 14", "url": null}, {"citation": "Shepherd Gallery. <em>Non-Dissenters: One Hundred and Seventy French Nineteenth Century Drawings, Pastels and Watercolors. </em>Exh. Cat. New York: Shepherd Gallery, 1976.", "page_number": "Mentioned and Reproduced: no. 36", "url": null}], "catalogue_raisonne": "Lugt 434 & Lugt 434a", "url": "https://clevelandart.org/art/2009.116", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.116/2009.116_web.jpg", "width": "599", "height": "893", "filesize": "466270", "filename": "2009.116_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.116/2009.116_print.jpg", "width": "2281", "height": "3400", "filesize": "7062092", "filename": "2009.116_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.116/2009.116_full.tif", "width": "2820", "height": "4204", "filesize": "35599164", "filename": "2009.116_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166868, "creators": [{"id": 1739, "description": "Eug\u00e8ne Carri\u00e8re (French, 1849\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Carri\u00e8re grew up in Strasbourg, the sixth of seven children in a working-class family. He attended the city's academy in 1862 and two years later worked as a commercial lithographer. In 1869 Carri\u00e8re moved to Paris, where he discovered the art of the Old Masters, Rubens in particular, which influenced his decision to become an artist. He entered the \u00c9cole des Beaux-Arts and studied under one of the foremost academic painters, Alexandre Cabanel (1823-1889). His training was suspended, however, with the outbreak of the Franco-Prussian War (1870-71). Shortly after enlisting, he was captured by the Germans and taken to Dresden where he was held prisoner for one year. At the end of the war he returned to Paris to resume his studies under Cabanel, and to support himself he worked for a lithographer friend, Jules Ch\u00e9ret (1836-1932). Carri\u00e8re's painting career took off slowly, and in the Salons of 1876, 1877, and 1878 his paintings received little recognition. In 1878 he married Sophie Desmonceaux (with whom he would have seven children), and the couple spent six months in London where he discovered the works of Turner (q.v.). Back in Paris, he spent the next decade working odd jobs, most often in printshops in order to sustain his family. Through his brother, a ceramist, Carri\u00e8re began working in 1880 for the S\u00e8vres porcelain factory and there met sculptor Auguste Rodin (1840-1917). This friendly and steady associ-ation inspired each artist's work. In 1879 Carri\u00e8re had painted his first maternit\u00e9 entitled Jeune m\u00e8re (Mus\u00e9e Calvet, Avignon), a subject to which he would return throughout his career. His success as a painter began at the Salon of 1884 when his entry received an honorable mention. His good fortune continued with awards at the Salons of 1885 and 1887. Two years later, a medal at the Universal Exposition and the Legion of Honor indicated how well his work was received by critics, artists, and writers. From 1890 through 1897, Carri\u00e8re lived his most fruitful years as an artist, began making lithographs, and frequently traveled abroad. He was connected with most of the important critics and avant-garde artists of the time, such as Bonnard (q.v.), Gauguin (q.v.), Vuillard (q.v.), Maurice Denis (1870-1943), and Paul S\u00e9rusier (1864-1927). He was also admired by the symbolists for the dreamlike quality of his paintings. In 1890 he associated himself with Meissonier (q.v.), Rodin, F\u00e9lix Bracquemond (1833-1914), and Puvis de Chavannes (q.v.), who founded the Soci\u00e9t\u00e9 Nationale des Beaux-Arts in opposition to the official system of the Salon des Artistes Fran\u00e7ais. In 1903, in an effort to oppose restrictive rules of the Soci\u00e9t\u00e9 Nationale, Carri\u00e8re established a new salon, the Salon d'Automne, and was named its president.", "name_in_original_language": null, "birth_year": "1849", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-06-08T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:17.567000"}, {"id": 168746, "accession_number": "2010.450", "share_license_status": "CC0", "tombstone": "Mask (hemba), late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo, Suku-style carver. Wood, reed, paint, and metal; overall: 50 x 25 x 27.2 cm (19 11/16 x 9 13/16 x 10 11/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.450", "current_location": null, "title": "Mask (hemba)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Suku-style carver"], "technique": "Wood, reed, paint, and metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 50 x 25 x 27.2 cm (19 11/16 x 9 13/16 x 10 11/16 in.)", "dimensions": {"overall": {"height": 0.5, "width": 0.25, "depth": 0.272}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, Belgium (March 25 \u2013 June 5, 1988)", "opening_date": "1988-06-05T00:00:00"}]}, "provenance": [{"description": "C. Pr\u00e9vost [?-1994], before 1965-1968, sold to Marcel Dumoulin", "citations": [], "footnotes": null, "date": "?-1968", "sortorder": 1}, {"description": "Marcel Dumoulin, Brussels, Belgium, 1965-1968, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": [], "date": "?-1968", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, Belgium, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1968-2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Suku helmet masks are often used in initiation ceremonies for young men in the society.", "description": "Suku helmet masks are often used in initiation ceremonies for young men in the society. 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XXXI", "url": null}, {"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 121.", "page_number": "Reproduced: p. 121, fig. 7", "url": null}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 05, September/October 2013", "page_number": "Mentioned & reproduced: p. 3", "url": "https://archive.org/details/CMAMM2013-05/page/n1"}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 19, 24, 29, 44, 120.", "page_number": "Reproduced: pp. 63, 120; mentioned: p. 113-114, cat. 23", "url": null}, {"citation": "\"In Case You Missed It: Fragments of the Invisible.\" The International Review of African American Art 25, no. 1 (2014): 10-11.", "page_number": "Reproduced: p. 10.", "url": null}], "url": "https://clevelandart.org/art/2010.450", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.450/2010.450_web.jpg", "width": "620", "height": "893", "filesize": "273877", "filename": "2010.450_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.450/2010.450_print.jpg", "width": "2360", "height": "3400", "filesize": "4757511", "filename": "2010.450_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.450/2010.450_full.tif", "width": "3996", "height": "5755", "filesize": "69028560", "filename": "2010.450_full.tif"}}, "alternate_images": [{"date_created": "2011-05-11T13:02:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt0_web.jpg", "width": "662", "height": "893", "filesize": "272060"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt0_print.jpg", "width": "2519", "height": "3400", "filesize": "5082972"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt0_full.tif", "width": "4064", "height": "5484", "filesize": "66894500"}}, {"date_created": "2011-05-11T13:28:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt1_web.jpg", "width": "650", "height": "893", "filesize": "252160"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt1_print.jpg", "width": "2473", "height": "3400", "filesize": "4792258"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt1_full.tif", "width": "3930", "height": "5402", "filesize": "63721816"}}, {"date_created": "2011-05-11T14:05:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt2_web.jpg", "width": "744", "height": "893", "filesize": "308916"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt2_print.jpg", "width": "2831", "height": "3400", "filesize": "5627677"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt2_full.tif", "width": "4001", "height": "4804", "filesize": "57691760"}}, {"date_created": "2011-05-11T14:08:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt3_web.jpg", "width": "697", "height": "893", "filesize": "300836"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt3_print.jpg", "width": "2654", "height": "3400", "filesize": "5430454"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt3_full.tif", "width": "3715", "height": "4758", "filesize": "53059004"}}, {"date_created": "2011-05-11T14:12:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt4_web.jpg", "width": "676", "height": "893", "filesize": "269706"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt4_print.jpg", "width": "2573", "height": "3400", "filesize": "5061442"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt4_full.tif", "width": "3282", "height": "4336", "filesize": "42724228"}}, {"date_created": "2011-05-10T15:28:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt5_web.jpg", "width": "613", "height": "893", "filesize": "247355"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt5_print.jpg", "width": "2333", "height": "3400", "filesize": "4713386"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.450/2010.450_alt5_full.tif", "width": "3788", "height": "5519", "filesize": "62751756"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. 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The Cleveland Museum of Art, Sundry Purchase Fund, 2011.4", "current_location": null, "title": "The Temple of Vesta and the Falls at Tivoli", "creation_date": "1859", "creation_date_earliest": 1859, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with gouache and graphite underdrawing", "support_materials": [{"description": "wove paper laid down on board", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 75.1 x 57.8 cm (29 9/16 x 22 3/4 in.)", "dimensions": {"sheet": {"height": 0.751, "width": 0.578}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated, at lower left, in dark brown wash: William Callow / 1859", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "inscribed on backing board (in a modern hand): No. 3 / Temple of Vesta / Tivoli", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. 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The view was taken from a low vantage point, foregrounding closely observed, moss-covered rocks amid the frothy cascade. Jewel-like, the Temple of Vesta surmounts the imposing cliff, gleaming white against a crisp, blue sky. The majesty of the view is underscored by the presence of nearly imperceptible figures in the far distance hanging linens to dry along the temple wall.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80077057"], "internet_archive": ["https://archive.org/details/clevelandart-2011.4-the-temple-of-vesta"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Cundall, H.M., ed. <em>William Callow, R.W.S., F.R.G.S.: An Autobiography</em>. London: Adam and Charles Black, 1908.", "page_number": "Mentioned: p. 154", "url": "https://archive.org/details/autobiography00calluoft/page/154/mode/2up"}, {"citation": "Reynolds, Jan. <em>William Callow, R.W.S.</em> London: B.T. Batsford, 1980.", "page_number": "Mentioned: p. 213", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Referenced: pp.104-7, 144, no. 35; Reproduced: p. 105-7", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. 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Edgar Degas (French, 1834\u20131917). Drypoint, aquatint; image and plate: 12.7 x 12.7 cm (5 x 5 in.); sheet: 21.5 x 29.5 cm (8 7/16 x 11 5/8 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2025.198", "current_location": null, "title": "Leaving the Bath", "creation_date": "1879\u201380", "creation_date_earliest": 1879, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France"], "technique": "drypoint, aquatint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "measurements": "Image and Plate: 12.7 x 12.7 cm (5 x 5 in.); Sheet: 21.5 x 29.5 cm (8 7/16 x 11 5/8 in.)", "dimensions": {"image and plate": {"height": 0.127, "width": 0.127}, "sheet": {"height": 0.215, "width": 0.295}}, "state_of_the_work": "III/XXII", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Degas &amp; Pissarro: alchimie d'une rencontre, </em>Cabinet cantonal des estampes, Vevey, France; Mus\u00e9e du Qu\u00e9bec, Canada; The Israel Museum, Jerusalem, Israel (August 1998\u2013October 1999).", "opening_date": "1998-08-01T04:00:00Z"}, {"description": "<em>Degas, Images of Women, </em>The Tate Modern, Liverpool, England (September 22\u2013December 31, 1989).", "opening_date": "1989-09-22T04:00:00Z"}]}, "provenance": [{"description": "Estate of Edgar Degas (Lugt 657)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "his posthumous sale, Paris (experts Delteil, Bernheim-Jeune, Durand-Ruel, Vollard), 22 November 1918, lot 96.", "citations": [], "footnotes": null, "date": "1918", "sortorder": 2}, {"description": "Galerie Kornfeld, Berne, Switzerland, 17 June 1987, lot 33", "citations": [], "footnotes": null, "date": "1987", "sortorder": 3}, {"description": "Collection of Samuel Josefowitz", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "(Christie's, London, sold to The Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "September 25, 2025", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 1, 2025\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Edgar Degas created this print by drawing on a copper plate, not with a traditional etching needle, but with a copper rod\u2014a component of early electric lamps. This nontraditional tool produced an effect that Degas appreciated, and he experimented further after bringing the plate home by working on it with materials ranging from an emery pencil to a stone.", "description": "In <em>Leaving the Bath</em>, a woman is seen from behind as she awkwardly grips a tub while cautiously stepping out of it. Nearby, a maid is mostly obscured by a cloth meant to dry and warm her. Their sketchlike surroundings communicate intimacy and privacy and, in what would become a characteristic aspect of his bather imagery, Edgar Degas places the viewer in a voyeuristic perspective, with the two women unaware of our presence. The artist began to explore etching in the 1850s, registering in the print department of Paris\u2019s Biblioth\u00e8que Nationale so that he could closely study the works of past masters such as Rembrandt van Rijn. Degas saw prints as having an important part to play in the Impressionists\u2019 group exhibitions and displayed them alongside paintings there.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Galerie Manzi-Joyant (Paris, France). Eaux-Fortes, Vernis-Mous, Aqua-Tintes Par Edgar Degas et Provenant de Son Atelier., 1918.", "page_number": "Mentioned: p. 19, no. 96.", "url": ""}, {"citation": "Galerie Kornfeld. Kunstwerke Des 19. Bis 21. Jahrhunderts, Teil II. Bern: Galerie Kornfeld, 2019.", "page_number": "Mentioned and reproduced: no. 33.", "url": ""}, {"citation": "Degas, Edgar, Richard Kendall, Anthea Callen, Dillian Gordon, and Tate Gallery Liverpool. Degas, Images of Women. Millbank, London: Tate Gallery Publications, 1989.", "page_number": "Mentioned and reproduced: p. 60, no. 36.", "url": ""}, {"citation": "Minder, Nicole, Edgar Degas, Camille Pissarro, Richard R. Brettell, Eric Gillis, and Mus\u00e9e Jenisch Cabinet cantonal des estampes. Degas &amp; Pissarro : Alchimie d\u2019Une Rencontre. Vevey (Suisse): Cabinet cantonal des estampes, Mus\u00e9e Jenisch, 1998.", "page_number": "Mentioned and reproduced: p. 80, no. 54.", "url": ""}, {"citation": "Minder, Nicole, Edgar Degas, Camille Pissarro, Richard R. Brettell, Eric Gillis, and Mus\u00e9e Jenisch Cabinet cantonal des estampes. Degas &amp; Pissarro : Alchimie d\u2019Une Rencontre. Vevey (Suisse): Cabinet cantonal des estampes, Mus\u00e9e Jenisch, 1998.", "page_number": "Mentioned: p. 79, no. 54; Reproduced: p. 80.", "url": ""}], "catalogue_raisonne": "Delteil 39; Adhemar & Cachin 49; Reed and Shapiro 42", "url": "https://clevelandart.org/art/2025.198", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2025.198/2025.198_web.jpg", "width": "898", "height": "900", "filesize": "345968", "filename": "2025.198_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2025.198/2025.198_print.jpg", "width": "3392", "height": "3400", "filesize": "4624731", "filename": "2025.198_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2025.198/2025.198_full.tif", "width": "8620", "height": "8641", "filesize": "223489716", "filename": "2025.198_full.tif"}}, "alternate_images": [{"date_created": "2026-03-25T14:14:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.198/2025.198_alt0_web.jpg", "width": "900", "height": "667", "filesize": "127212"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.198/2025.198_alt0_print.jpg", "width": "3400", "height": "2519", "filesize": "2535016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.198/2025.198_alt0_full.tif", "width": "11023", "height": "8166", "filesize": "270068916"}}, {"date_created": "2026-03-25T14:13:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.198/2025.198_alt1_web.jpg", "width": "900", "height": "667", "filesize": "163286"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.198/2025.198_alt1_print.jpg", "width": "3400", "height": "2519", "filesize": "2772497"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2025.198/2025.198_alt1_full.tif", "width": "11023", "height": "8166", "filesize": "270070256"}}], "creditline": "Alma Kroeger Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 701493, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2025-12-08T05:00:00Z", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879\u201380", "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": "2026-04-01 19:07:12.249000"}, {"id": 97877, "accession_number": "1917.482", "share_license_status": "CC0", "tombstone": "Presentation Bowl, 1880\u201390. Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone. Devil's claw, sumac, yucca root, orange-shafted flicker (woodpecker) quills; coiled (2 rod and bundle of deer grass or basket grass); diameter: 21.5 x 48 cm (8 7/16 x 18 7/8 in.). The Cleveland Museum of Art, Presented by William Albert Price in memory of Mrs. William Albert Price, 1917.482", "current_location": null, "title": "Presentation Bowl", "creation_date": "1880\u201390", "creation_date_earliest": 1880, "creation_date_latest": 1890, "artists_tags": [], "culture": ["Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone"], "technique": "devil's claw, sumac, yucca root, orange-shafted flicker (woodpecker) quills; coiled (2 rod and bundle of deer grass or basket grass)", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Basketry", "measurements": "Diameter: 21.5 x 48 cm (8 7/16 x 18 7/8 in.)", "dimensions": {"diameter": {"height": 0.215, "width": 0.48}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348319, "title": "Gallery 231 - Native North American Basket Rotation", "description": "<i>Gallery 231 - Native North American Basket Rotation</i>. The Cleveland Museum of Art (organizer) (August 3, 2015-August 15, 2016).", "opening_date": "2015-08-03T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": [{"description": "<em>The Basket Makers</em>, The Cleveland Museum of Art, Cleveland, Oh, (November 26, 1985-March 23, 1986)", "opening_date": "1985-11-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The two small, pink crosses on this basket may be a maker\u2019s mark.", "description": "This basket was made for the Euro-American collectors\u2019 market in the early 1900s but it is modeled on basketry bowls from which the Timbisha (Panamint) Shoshone once served food. When used indigenously, the main view would have been of the interior. The two small, pink crosses, made of flicker (woodpecker) quills, may be a maker\u2019s mark. Made-for-sale baskets testify to Indigenous women\u2019s truly creative, resilient responses to forces that endangered their livelihoods and existence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482689"], "internet_archive": ["https://archive.org/details/clevelandart-1917.482-presentation-bowl"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 65", "url": "http://www.jstor.org/stable/25136092"}, {"citation": "Bergh, Susan E., \"Unburied Treasure\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 10, December 2005", "page_number": "Mentioned & reproduced: 6", "url": "https://archive.org/details/CMAMM2005-10/page/6"}], "url": "https://clevelandart.org/art/1917.482", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.482/1917.482_web.jpg", "width": "900", "height": "601", "filesize": "132503", "filename": "1917.482_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.482/1917.482_print.jpg", "width": "3400", "height": "2272", "filesize": "1443625", "filename": "1917.482_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.482/1917.482_full.tif", "width": "7323", "height": "4894", "filesize": "107544304", "filename": "1917.482_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt0_web.jpg", "width": "1263", "height": "827", "filesize": "625553"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt0_print.jpg", "width": "3400", "height": "2225", "filesize": "4170081"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt0_full.tif", "width": "4663", "height": "3052", "filesize": "42719140"}}, {"date_created": "2005-09-21T16:01:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt1_web.jpg", "width": "917", "height": "893", "filesize": "632309"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt1_print.jpg", "width": "3400", "height": "3310", "filesize": "7156073"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt1_full.tif", "width": "3426", "height": "3335", "filesize": "34309424"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt2_web.jpg", "width": "936", "height": "893", "filesize": "606636"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt2_print.jpg", "width": "3400", "height": "3243", "filesize": "7642030"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt2_full.tif", "width": "4105", "height": "3916", "filesize": "48255544"}}, {"date_created": "2005-09-21T16:15:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt3_web.jpg", "width": "1263", "height": "830", "filesize": "878660"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt3_print.jpg", "width": "3400", "height": "2235", "filesize": "5022794"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt3_full.tif", "width": "5130", "height": "3372", "filesize": "51927508"}}, {"date_created": "2015-03-31T10:51:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt4_web.jpg", "width": "900", "height": "626", "filesize": "142422"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt4_print.jpg", "width": "3400", "height": "2363", "filesize": "1563951"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt4_full.tif", "width": "6895", "height": "4792", "filesize": "99150632"}}, {"date_created": "2015-03-31T08:27:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt5_web.jpg", "width": "900", "height": "805", "filesize": "258623"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt5_print.jpg", "width": "3400", "height": "3041", "filesize": "3172700"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt5_full.tif", "width": "5866", "height": "5246", "filesize": "92348940"}}, {"date_created": "2015-03-31T09:24:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt6_web.jpg", "width": "900", "height": "813", "filesize": "244390"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt6_print.jpg", "width": "3400", "height": "3072", "filesize": "3071448"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.482/1917.482_alt6_full.tif", "width": "6596", "height": "5959", "filesize": "117947000"}}], "creditline": "Presented by William Albert Price in memory of Mrs. William Albert Price", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97877, "creators": [], "legal_status": "accessioned", "accession_date": "1917-03-28T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880\u201390", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Coiled Bowl Basket"], "is_highlight": false, "updated_at": "2026-03-27 00:03:42.842000"}, {"id": 98646, "accession_number": "1918.346", "share_license_status": "CC0", "tombstone": "Sitar, c. 1850. Eastern India, Bengal or Bangladesh. Gourd and wood with pigment, ivory, and bone; copper alloy: frets; iron alloy: strings (with one modern copper replacement); overall: 95.2 x 15.3 cm (37 1/2 x 6 in.). The Cleveland Museum of Art, The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr., 1918.346", "current_location": null, "title": "Sitar", "creation_date": "c. 1850", "creation_date_earliest": 1800, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Eastern India, Bengal or Bangladesh"], "technique": "Gourd and wood with pigment, ivory, and bone; copper alloy: frets; iron alloy: strings (with one modern copper replacement)", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Musical Instrument", "measurements": "Overall: 95.2 x 15.3 cm (37 1/2 x 6 in.)", "dimensions": {"overall": {"height": 0.952, "width": 0.153}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 355338, "title": "Exhibition of the Month: Music in Art", "description": "<i>Exhibition of the Month: Music in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 2, 1945-February 4, 1946).", "opening_date": "1945-10-02T05:00:00"}, {"id": 203111, "title": "Art and Stories from Mughal India", "description": "<i>Art and Stories from Mughal India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 31-October 23, 2016).", "opening_date": "2016-07-31T04:00:00"}, {"id": 536104, "title": "Raja Deen Dayal: The King of Indian Photographers", "description": "<i>Raja Deen Dayal: The King of Indian Photographers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23, 2023-February 4, 2024).", "opening_date": "2023-04-23T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855\u20131926], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Many paintings of Indian court life depict female musicians holding and playing this kind of lightweight stringed instrument.", "description": "The stringed instrument known as the sitar usually provided the central sound for the musical performances that were a constant feature of court life in India. The sitar could then be accompanied by percussion, voice, and other supporting instruments. In Raja Deen Dayal\u2019s photograph <em>Maharaja of Rewa in Prayer </em>(<a href=\"http://www.clevelandart.org/art/2016.266.21\">2016.266.21</a>), a musician strums a sitar in order to please the deities on the royal altar. The improvised compositions are played in a mode, or key, that correlates to the time of day and season of the year.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79485139"], "internet_archive": ["https://archive.org/details/clevelandart-1918.346-vina", "https://archive.org/details/clevelandart-1918.346-sitar"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 8/9 (1918): 82-85.", "page_number": "Mentioned: p. 82", "url": "http://www.jstor.org/stable/25136230"}, {"citation": "D. S. M. \"Exhibition of Musical Instruments.\" <em>The Bulletin of the Cleveland Museum of Art</em> 8, no. 9 (1921): 134-43.", "page_number": "Mentioned: pp. 134-137", "url": "http://www.jstor.org/stable/25136517"}], "url": "https://clevelandart.org/art/1918.346", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.346/1918.346_web.jpg", "width": "678", "height": "900", "filesize": "124469", "filename": "1918.346_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.346/1918.346_print.jpg", "width": "2562", "height": "3400", "filesize": "1076172", "filename": "1918.346_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.346/1918.346_full.tif", "width": "6000", "height": "7964", "filesize": "143407832", "filename": "1918.346_full.tif"}}, "alternate_images": [{"date_created": "2016-01-14T13:54:26", "annotation": "", "web": {"url": 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King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98646, "creators": [], "legal_status": "accessioned", "accession_date": "1918-06-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c. 1850", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Vina"], "is_highlight": false, "updated_at": "2026-03-27 00:02:07.253000"}, {"id": 117715, "accession_number": "1938.333", "share_license_status": "CC0", "tombstone": "The Old Road to the Sea, c. 1893. William Merritt Chase (American, 1849\u20131916). Oil on canvas; framed: 134.3 x 159.7 x 10.8 cm (52 7/8 x 62 7/8 x 4 1/4 in.); unframed: 101.5 x 127 cm (39 15/16 x 50 in.); former: 118.5 x 144 x 5.5 cm (46 5/8 x 56 11/16 x 2 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. Henry White Cannon, 1938.333", "current_location": null, "title": "The Old Road to the Sea", "creation_date": "c. 1893", "creation_date_earliest": 1888, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 134.3 x 159.7 x 10.8 cm (52 7/8 x 62 7/8 x 4 1/4 in.); Unframed: 101.5 x 127 cm (39 15/16 x 50 in.); Former: 118.5 x 144 x 5.5 cm (46 5/8 x 56 11/16 x 2 3/16 in.)", "dimensions": {"framed": {"height": 1.343, "width": 1.597, "depth": 0.108}, "unframed": {"height": 1.015, "width": 1.27}, "former": {"height": 1.185, "width": 1.44, "depth": 0.055}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower left:  WM M. Chase [WM in monogram]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 184052, "title": "Cleveland Collects American Art of the Gilded Age", "description": "<i>Cleveland Collects American Art of the Gilded Age</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 23-May 18, 2003).", "opening_date": "2003-02-23T00:00:00"}], "legacy": [{"description": "Southampton, N.Y., Parrish Art Museum, William Merritt Chase 1849-1916: A Retrospective Exhibition (1957), no. 52.", "opening_date": "1957-01-01T00:00:00"}]}, "provenance": [{"description": "Mr. W. H. Fuller, purchase 1896; Henry White Cannon, New York.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chase loved big dogs, variously owning a greyhound, a borzoi, and an Irish wolfhound.", "description": "One of the most influential of the American Impressionists, William Merritt Chase established his own summer school at Shinnecock, on the eastern tip of Long Island, New York. Attracted to the low-lying dunes and beaches, Chase and his students were among the first American artists to pursue open-air painting. With its varied brushwork and warm colors, this painting is among the finest works Chase produced at Shinnecock. The panoramic scene glows with the light of a summer day. The Chase school at Shinnecock, active from 1891-1902, was instrumental in expanding the influence of Impressionism in the United States.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514184"], "internet_archive": ["https://archive.org/details/clevelandart-1938.333-the-old-road-to-the"]}, "citations": [{"citation": "Francis, Henry S. \u201c\u2018Shinnecock Hills\u2019 by William M. Chase.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 26, no. 2 (February 1939): 19\u201320.", "page_number": "Mentioned: p. 19-20", "url": "http://www.jstor.org/stable/25137988"}, {"citation": "Francis, Henry S. \u201cPortraits by Whistler and Chase.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 52, no. 1 (January 1965): 19\u201323.", "page_number": "Mentioned and reproduced: p. 22", "url": "http://www.jstor.org/stable/25152029"}], "url": "https://clevelandart.org/art/1938.333", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1938.333/1938.333_web.jpg", "width": "900", "height": "719", "filesize": "228709", "filename": "1938.333_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1938.333/1938.333_print.jpg", "width": "3400", "height": "2717", "filesize": "3503503", "filename": "1938.333_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1938.333/1938.333_full.tif", "width": "14172", "height": "11327", "filesize": "481607520", "filename": "1938.333_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.333/1938.333_alt0_web.jpg", "width": "1116", "height": "893", "filesize": "662957"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.333/1938.333_alt0_print.jpg", "width": "3400", "height": "2721", "filesize": "5286996"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.333/1938.333_alt0_full.tif", "width": "4743", "height": "3796", "filesize": "54039424"}}, {"date_created": "2008-06-23T15:08:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.333/1938.333_alt1_web.jpg", "width": "1060", "height": "893", "filesize": "775843"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.333/1938.333_alt1_print.jpg", "width": "3400", "height": "2863", "filesize": "7240866"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1938.333/1938.333_alt1_full.tif", "width": "3915", "height": "3297", "filesize": "38767040"}}], "creditline": "Gift of Mrs. Henry White Cannon", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117715, "creators": [{"id": 3071, "description": "William Merritt Chase (American, 1849\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1849", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-07-12T00:00:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "c. 1893", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Shinnecock Hills"], "is_highlight": false, "updated_at": "2026-03-27 00:09:10.996000"}, {"id": 119703, "accession_number": "1940.540", "share_license_status": "CC0", "tombstone": "Banks of the Seine, not dated. France, 19th century. Oil on fabric; unframed: 32.3 x 55.3 cm (12 11/16 x 21 3/4 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.540", "current_location": null, "title": "Banks of the Seine", "creation_date": "not dated", "creation_date_earliest": 1860, "creation_date_latest": 1900, "artists_tags": [], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 32.3 x 55.3 cm (12 11/16 x 21 3/4 in.)", "dimensions": {"unframed": {"height": 0.323, "width": 0.553}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: E. Boudin [originally done in brown paint; has been abraded and reinforced in black]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 312176, "title": "19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans", "description": "<i>19th and 20th Century French Art and Leonard C. Hanna, Jr. Loans</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 22-September 1, 1943).", "opening_date": "1943-06-22T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Seine River, especially the mid-Seine valley where Claude Monet lived, is known for being a source of inspiration and subject matter for Impressionist and Post-Impressionist artists.", "description": "Although this scene was once thought to have been painted by Eug\u00e9ne Boudin (1824\u20131898), its creator has yet to be identified.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60514389"], "internet_archive": ["https://archive.org/details/clevelandart-1940.540-banks-of-the-seine"]}, "citations": [{"citation": "Francis, Henry. \"The Bequest of James Parmelee.\"<em> The Bulletin of the Cleveland Museum of Art </em>28, no. 2 (February 1941): 15-27.", "page_number": "Mentioned: p. 17", "url": "https://www.jstor.org/stable/25140904"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 650-651, Vol. II, no. 231", "url": ""}], "url": "https://clevelandart.org/art/1940.540", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_web.jpg", "width": "1263", "height": "729", "filesize": "223262", "filename": "1940.540_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_print.jpg", "width": "3400", "height": "1962", "filesize": "1744037", "filename": "1940.540_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.540/1940.540_full.tif", "width": "7628", "height": "4402", "filesize": "100759396", "filename": "1940.540_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.540/1940.540_alt0_web.jpg", "width": "1263", "height": "723", "filesize": "779334"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.540/1940.540_alt0_print.jpg", "width": "2048", "height": "1172", "filesize": "2114772"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.540/1940.540_alt0_full.tif", "width": "2048", "height": "1172", "filesize": "7203292"}}, {"date_created": "2013-08-01T15:57:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.540/1940.540_alt1_web.jpg", "width": "1263", "height": "738", "filesize": "226551"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.540/1940.540_alt1_print.jpg", "width": "3400", "height": "1988", "filesize": "1595798"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.540/1940.540_alt1_full.tif", "width": "7870", "height": "4602", "filesize": "108677040"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119703, "creators": [], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "not dated", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:48.016000"}, {"id": 119729, "accession_number": "1940.564", "share_license_status": "CC0", "tombstone": "Bray Church Yard, 1807. John Varley (British, 1778\u20131842). Watercolor and graphite; sheet: 24.9 x 36.9 cm (9 13/16 x 14 1/2 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.564", "current_location": null, "title": "Bray Church Yard", "creation_date": "1807", "creation_date_earliest": 1807, "creation_date_latest": 1807, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor and graphite", "support_materials": [{"description": "thick, moderately textured beige wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 24.9 x 36.9 cm (9 13/16 x 14 1/2 in.)", "dimensions": {"sheet": {"height": 0.249, "width": 0.369}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in graphite, on verso, at lower left: BrayChurch Yard - 1807", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(sale, Victor G. Fischer Company Collection, Anderson Galleries, New York, February 19, 1912, no. 655)", "citations": [], "footnotes": ["<div><!--block-->Misattributed to J.M.W. Turner in this sale.</div>"], "date": "1912", "sortorder": 2}, {"description": "James Parmelee [1855-1931], Washington, DC, by descent to Alice Maury Parmelee, Washington, DC", "citations": [], "footnotes": null, "date": "probably 1912-1931", "sortorder": 3}, {"description": "Alice Maury Parmelee [1862-1940], Washington, DC, bequeathed to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1931-1940", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1940-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although rare, John Varley's early watercolors are considered his most inspired work.", "description": "The inscription on the reverse of this drawing, \"Bray Church Yard-1807,\" likely refers to St. Michael\u2019s, the parish church in the village of Bray on the banks of the Thames in the county of Berkshire. The banks of the lower Thames Valley provided the subject matter for many of John Varley\u2019s early watercolors. His pursuit of the picturesque led the artist to turn his back on London and its connotations of commerce and industry, focusing instead on the rural aspects of the scene.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80014914"], "internet_archive": ["https://archive.org/details/clevelandart-1940.564-bray-church-yard"]}, "citations": [{"citation": "Francis, Henry S. \"The Bequest of James Parmelee: Department of Paintings.\" <em>The Bulletin of the Cleveland Museum of Art </em>28, no. 2 (1941): 15-31.", "page_number": "Mentioned: p. 17 (as J.M.W. Turner)", "url": "https://www.jstor.org/stable/25140904"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 58-9 149, no. 18; Reproduced: p. 59", "url": null}], "url": "https://clevelandart.org/art/1940.564", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.564/1940.564_web.jpg", "width": "1263", "height": "854", "filesize": "803657", "filename": "1940.564_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.564/1940.564_print.jpg", "width": "3400", "height": "2299", "filesize": "5956522", "filename": "1940.564_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.564/1940.564_full.tif", "width": "6536", "height": "4420", "filesize": "86700264", "filename": "1940.564_full.tif"}}, "alternate_images": [{"date_created": "2010-07-16T14:19:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt0_web.jpg", "width": "1263", "height": "850", "filesize": "775766"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt0_print.jpg", "width": "3400", "height": "2287", "filesize": "5798215"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt0_full.tif", "width": "6464", "height": "4348", "filesize": "84344296"}}, {"date_created": "2010-07-16T14:23:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt1_web.jpg", "width": "1263", "height": "858", "filesize": "639759"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt1_print.jpg", "width": "3400", "height": "2309", "filesize": "5151753"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt1_full.tif", "width": "6459", "height": "4388", "filesize": "85052380"}}, {"date_created": "2010-07-16T14:31:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt2_web.jpg", "width": "1193", "height": "893", "filesize": "702561"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt2_print.jpg", "width": "3400", "height": "2545", "filesize": "5814725"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1940.564/1940.564_alt2_full.tif", "width": "6668", "height": "4992", "filesize": "99887288"}}], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119729, "creators": [{"id": 51904, "description": "John Varley (British, 1778\u20131842)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1778", "death_year": "1842", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1807, "date_added_to_oa": null, "date_text": "1807", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Houses"], "is_highlight": false, "updated_at": "2026-03-27 00:02:11.903000"}, {"id": 120897, "accession_number": "1941.606", "share_license_status": "CC0", "tombstone": "Study for \"The Peep-O\u2019-Day Boys\u2019 Cabin, in the West of Ireland\" (\"The Sleeping Whiteboy\"), 1835. David Wilkie (British, 1785\u20131841). Watercolor, point of brush, and gouache with graphite and brown ink; sheet: 23.4 x 21.9 cm (9 3/16 x 8 5/8 in.). The Cleveland Museum of Art, Gift of Robert Hays Gries, 1941.606", "current_location": null, "title": "Study for \"The Peep-O\u2019-Day Boys\u2019 Cabin, in the West of Ireland\" (\"The Sleeping Whiteboy\")", "creation_date": "1835", "creation_date_earliest": 1835, "creation_date_latest": 1835, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor, point of brush, and gouache with graphite and brown ink", "support_materials": [{"description": "beige wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 23.4 x 21.9 cm (9 3/16 x 8 5/8 in.)", "dimensions": {"sheet": {"height": 0.234, "width": 0.219}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in brown ink, at lower right: DWilkie Novb 12th 1835", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 304414, "title": "Idea to Image: Preparatory Studies from the Renaissance to Impressionism", "description": "<i>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</i>. The Cleveland Museum of Art (organizer) (February 19-March 23, 1980).", "opening_date": "1980-02-19T05:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. Daniel A. Huebsch, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "Robert Hays Gries, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1941", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1941-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The painting to which this drawing relates was purchased by the prominent collector Robert Vernon and exhibited at the Royal Academy in 1836.", "description": "One of the greatest draftsmen of the British school, Sir David Wilkie painted slowly but drew prolifically, making studies upon which he relied to spur his imagination and compose his paintings. In this study for a painting exhibited at the Royal Academy in 1836, the artist worked out the details of a domestic interior. Here he depicted the corner of a cabin in Ireland where wool was processed: a pair of carders used to disentangle textile fibers and a spinning wheel rest upon a rough-hewn bench, and a swath of hand-dyed red cloth is flung over a ladder rung.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016569"], "internet_archive": ["https://archive.org/details/clevelandart-1941.606-study-for-the-peep-o"]}, "citations": [{"citation": "Johnson, Mark M. <em>Idea to Image: Preparatory Studies from the Renaissance to Impressionism</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 1980.", "page_number": "Mentioned and reproduced: p. 39, no. 30", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 78-79, 149, no. 25; Reproduced: p. 79", "url": null}], "url": "https://clevelandart.org/art/1941.606", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.606/1941.606_web.jpg", "width": "837", "height": "893", "filesize": "577668", "filename": "1941.606_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.606/1941.606_print.jpg", "width": "3186", "height": "3400", "filesize": "9573331", "filename": "1941.606_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.606/1941.606_full.tif", "width": "4786", "height": "5107", "filesize": "73356144", "filename": "1941.606_full.tif"}}, "alternate_images": [], "creditline": "Gift of Robert Hays Gries", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120897, "creators": [{"id": 1453, "description": "David Wilkie (British, 1785\u20131841)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1785", "death_year": "1841", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-12-29T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Still Life with Spinning Wheel, Ladder, etc."], "is_highlight": false, "updated_at": "2026-03-27 00:02:52.841000"}, {"id": 124875, "accession_number": "1946.354", "share_license_status": "CC0", "tombstone": "Diana, modeled 1899. Augustus Saint-Gaudens (American, born Ireland, 1848\u20131907). Bronze; overall: 99.7 x 42.2 cm (39 1/4 x 16 5/8 in.); base: 33 x 33 cm (13 x 13 in.). The Cleveland Museum of Art, In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer, 1946.354", "current_location": null, "title": "Diana", "creation_date": "modeled 1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 99.7 x 42.2 cm (39 1/4 x 16 5/8 in.); Base: 33 x 33 cm (13 x 13 in.)", "dimensions": {"overall": {"height": 0.997, "width": 0.422}, "base": {"height": 0.33, "width": 0.33}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated on base: AUGUSTUS SAINT GAUDENS, MDCCCXCIX; inscribed on triangular base: DIANA OF THE TOWER", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 442826, "title": "The American Renaissance 1876 - 1917", "description": "<i>The American Renaissance 1876 - 1917</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (October 13-December 30, 1979); National Collection of Fine Arts, Washington, DC (February 22-April 20, 1980); The Fine Arts Museums of San Francisco, San Francisco, CA (May 31-August 10, 1980); Denver Art Museum, Denver, CO (September 24-November 30, 1980).", "opening_date": "1979-10-13T04:00:00"}, {"id": 309866, "title": "Sculpture in Public Places", "description": "<i>Sculpture in Public Places</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 9-September 15, 1985).", "opening_date": "1985-05-09T04:00:00"}, {"id": 309906, "title": "The American Way in Sculpture 1890-1930", "description": "<i>The American Way in Sculpture 1890-1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 12-October 19, 1986).", "opening_date": "1986-08-12T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The face of Diana was inspired by Davida Johnson Clark, the artist's longtime model, muse, and lover.", "description": "Depicting the Roman goddess of the hunt, <em>Diana</em> is a small version of the massive weathervane Augustus Saint-Gaudens designed for the second iteration of Madison Square Garden in New York, a building that was demolished in 1925. Although controversial for its nudity, the weathervane dominated the city's skyline and became a prominent landmark. Due to its popularity, Saint-Gaudens marketed tabletop versions of the sculpture, which were sold through high-end retailers such as Tiffany and Co.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79902954"], "internet_archive": ["https://archive.org/details/clevelandart-1946.354-diana"]}, "citations": [{"citation": "Solender, Katherine. The American Way in Sculpture, 1890-1930. Cleveland, OH: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "cat. #2, p. 13, repr.", "url": null}, {"citation": "Milliken, William. \"Sculpture.\" <em>The Bulletin of the Cleveland Museum of Art </em>34, no. 2 (February 1947): 25-26.", "page_number": "Mentioned: p. 25", "url": "https://www.jstor.org/stable/25141340"}], "url": "https://clevelandart.org/art/1946.354", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.354/1946.354_web.jpg", "width": "586", "height": "900", "filesize": "82408", "filename": "1946.354_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.354/1946.354_print.jpg", "width": "2215", "height": "3400", "filesize": "776946", "filename": "1946.354_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1946.354/1946.354_full.tif", "width": "5163", "height": "7926", "filesize": "122793064", "filename": "1946.354_full.tif"}}, "alternate_images": [{"date_created": "2015-06-05T11:14:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt0_web.jpg", "width": "554", "height": "900", "filesize": "79257"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt0_print.jpg", "width": "2094", "height": "3400", "filesize": "770043"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt0_full.tif", "width": "4927", "height": "8000", "filesize": "118275292"}}, {"date_created": "2015-06-05T11:37:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt1_web.jpg", "width": "566", "height": "900", "filesize": "75412"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt1_print.jpg", "width": "2138", "height": "3400", "filesize": "725767"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt1_full.tif", "width": "5031", "height": "8000", "filesize": "120771036"}}, {"date_created": "2015-06-05T13:46:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt2_web.jpg", "width": "522", "height": "900", "filesize": "74405"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt2_print.jpg", "width": "1973", "height": "3400", "filesize": "758555"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt2_full.tif", "width": "4538", "height": "7822", "filesize": "106515584"}}, {"date_created": "2015-06-05T14:20:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt3_web.jpg", "width": "599", "height": "900", "filesize": "79482"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt3_print.jpg", "width": "2262", "height": "3400", "filesize": "706674"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt3_full.tif", "width": "5204", "height": "7822", "filesize": "122144124"}}, {"date_created": "2015-06-05T15:23:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt4_web.jpg", "width": "524", "height": "900", "filesize": "77797"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt4_print.jpg", "width": "1978", "height": "3400", "filesize": "777126"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt4_full.tif", "width": "4505", "height": "7743", "filesize": "104673760"}}, {"date_created": "2015-06-05T15:35:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt5_web.jpg", "width": "900", "height": "650", "filesize": "235248"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt5_print.jpg", "width": "3400", "height": "2454", "filesize": "2584980"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1946.354/1946.354_alt5_full.tif", "width": "5267", "height": "3801", "filesize": "60089600"}}], "creditline": "In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124875, "creators": [{"id": 19356, "description": "Augustus Saint-Gaudens (American, born Ireland, 1848\u20131907)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1848", "death_year": "1907", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-11-25T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "modeled 1899", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:29.666000"}, {"id": 149398, "accession_number": "1978.53", "share_license_status": "CC0", "tombstone": "Female Nude, Seated, Three Quarter View from Front, 1859. William Mulready (British, 1786\u20131863). Black and red crayon; sheet: 49.2 x 34.1 cm (19 3/8 x 13 7/16 in.). The Cleveland Museum of Art, L. E. Holden Fund, 1978.53", "current_location": null, "title": "Female Nude, Seated, Three Quarter View from Front", "creation_date": "1859", "creation_date_earliest": 1859, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "black and red crayon", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 49.2 x 34.1 cm (19 3/8 x 13 7/16 in.)", "dimensions": {"sheet": {"height": 0.492, "width": 0.341}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in red chalk (rubbed), at lower right: RA [?/?] 1859 / WM", "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": 193792, "title": "Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900", "description": "<i>Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-May 23, 1999).", "opening_date": "1999-03-14T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Christopher Wood, London)", "citations": [], "footnotes": [], "date": "?-?", "sortorder": 1}, {"description": "(Shepherd Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1978", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1978-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1863, William Mulready testified before the Royal Commission Enquiry into the Royal Academy in support of the life class as central to academic education.", "description": "For William Mulready, drawing was a lifelong preoccupation. This sheet was drawn from a model in the Royal Academy\u2019s life school when the artist was 73. He was one of the academy\u2019s most devoted teachers, positioning the model for his students and then drawing alongside them. Closely observed and meticulously crafted, the work attests to Mulready\u2019s consummate skill as a draftsman.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79930593"], "internet_archive": ["https://archive.org/details/clevelandart-1978.53-female-nude-seated-t"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1978.\" <em>The Bulletin of the Cleveland Museum of Art</em> 66, no. 1 (1979): 3-47.", "page_number": "Mentioned and reproduced: p. 22, no. 96", "url": "www.jstor.org/stable/25159613"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 108-11, 147, no. 36a; Reproduced: p. 109", "url": null}], "url": "https://clevelandart.org/art/1978.53", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.53/1978.53_web.jpg", "width": "619", "height": "893", "filesize": "49219", "filename": "1978.53_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.53/1978.53_print.jpg", "width": "2357", "height": "3400", "filesize": "928096", "filename": "1978.53_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.53/1978.53_full.tif", "width": "4462", "height": "6434", "filesize": "86151320", "filename": "1978.53_full.tif"}}, "alternate_images": [{"date_created": "2010-07-16T20:06:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.53/1978.53_alt0_web.jpg", "width": "609", "height": "893", "filesize": "307024"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.53/1978.53_alt0_print.jpg", "width": "2319", "height": "3400", "filesize": "5561277"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.53/1978.53_alt0_full.tif", "width": "4221", "height": "6187", "filesize": "78372192"}}], "creditline": "L. E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149398, "creators": [{"id": 1268, "description": "William Mulready (British, 1786\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1786", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1978-08-10T00:00:00", "sortable_date": 1859, "date_added_to_oa": null, "date_text": "1859", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Study of a Seated Female Nude"], "is_highlight": false, "updated_at": "2026-03-27 00:09:47.314000"}, {"id": 150038, "accession_number": "1980.251", "share_license_status": "CC0", "tombstone": "Ch\u00e2teauvieux-sur-Suran, 1848. Antoine-Claude Ponthus-Cinier (French, 1812\u20131885). Oil on paper mounted on fabric; unframed: 53.3 x 75.1 cm (21 x 29 9/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.251", "current_location": null, "title": "Ch\u00e2teauvieux-sur-Suran", "creation_date": "1848", "creation_date_earliest": 1848, "creation_date_latest": 1848, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on paper mounted on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 53.3 x 75.1 cm (21 x 29 9/16 in.)", "dimensions": {"unframed": {"height": 0.533, "width": 0.751}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: [?] Aligny [false] / [mostly covered signature a little further to the right:] Ponthvs cinier \r\nDistinguishing marks on reverse: handwritten on stretcher: C'Aligny Vue d'Italie; handwritten label: Aligny / Paysage dans le Midi de la France / 1; French customs stamp\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "Montpellier, La Salle des Concerts. Livret explicatif des ouvrages de peinture, sculpture, dessin et lithographie (1849), no. 27, Cinier (Ponthus) Vue du Ch\u00e2teau vieux, sur les bords du Suran (Ain.).", "opening_date": null}]}, "provenance": [{"description": "London sale, Sotheby's, 20 July 1977 (lot 142, repr.), as Th\u00e9odore Caruelle d'Aligny, An Italian Landscape.", "citations": [], "footnotes": [], "date": "-1977", "sortorder": 1}, {"description": "(Shepherd Gallery, New York, NY, sold to Noah L. Butkin)", "citations": [], "footnotes": [], "date": "1977", "sortorder": 2}, {"description": "Noah L. Butkin [1918-1980], Shaker Heights, OH by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1977-1980", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The son of a merchant, Ponthus-Cinier was one of the principle artists of the School of Lyon and painted neoclassical views of the countryside around Lyon and the Alpine region near the Swiss border.", "description": "This view of a ruined building on a rocky cliff in Ch\u00e2teauvieux above the Suran river in the French Alps is constructed in the manner of a classical or ideal landscape. Forms recede at a measured pace along a sinuous, curving path that passes through carefully defined planes of fore, middle, and background. The warm, glowing light and imaginary figures pursuing their daily tasks contribute to the mood of timeless, pastoral bliss.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474546"], "internet_archive": ["https://archive.org/details/clevelandart-1980.251-chateauvieux-sur-sur"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219. Published as: Attributed to Theodore Caruelle d'Aligny", "page_number": "Mentioned: p. 211, no. 20", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 497-499, Vol. II, no. 173", "url": ""}], "url": "https://clevelandart.org/art/1980.251", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.251/1980.251_web.jpg", "width": "1248", "height": "893", "filesize": "875591", "filename": "1980.251_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.251/1980.251_print.jpg", "width": "2048", "height": "1466", "filesize": "2443595", "filename": "1980.251_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.251/1980.251_full.tif", "width": "2048", "height": "1466", "filesize": "9010220", "filename": "1980.251_full.tif"}}, "alternate_images": [{"date_created": "2013-11-12T13:51:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.251/1980.251_alt0_web.jpg", "width": "900", "height": "632", "filesize": "175292"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.251/1980.251_alt0_print.jpg", "width": "3400", "height": "2389", "filesize": "2530884"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.251/1980.251_alt0_full.tif", "width": "7563", "height": "5314", "filesize": "120592580"}}, {"date_created": "2013-11-12T13:57:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.251/1980.251_alt1_web.jpg", "width": "900", "height": "652", "filesize": "170350"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.251/1980.251_alt1_print.jpg", "width": "3400", "height": "2463", "filesize": "2419167"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.251/1980.251_alt1_full.tif", "width": "7768", "height": "5628", "filesize": "131178172"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150038, "creators": [{"id": 35273, "description": "Antoine-Claude Ponthus-Cinier (French, 1812\u20131885)", "extent": null, "qualifier": null, "role": "artist", "biography": "Until 1980 the only known facts about Ponthus-Cinier were to be found in Audin and Vial's Dictionnaire des artistes et ouvriers d'art du lyonnais (1918-19). Two exhibitions of the work of nineteenth-century Lyonese landscape painters in the early 1980s prompted more thorough research into the life of this artist.1 Although he was born in Lyons, Ponthus-Cinier seems to have studied at the \u00c9cole des Beaux-Arts in Paris, enrolled in the studio of Delaroche (q.v.).2 In 1841 he received the second Prix de Rome for historical landscape painting and left for Italy for two years. Returning to France in 1844, he settled in Lyons but spent his entire life roaming France in search of sites of natural beauty that would remind him of Italy. He left numerous views of Alpine landscapes, and of Savoie, the Dauphin\u00e9, Ard\u00e8che, the Massif Central, and the Pyrenees. He had a special preference, however, for the regions close to Lyons-the Dombes, the Bugey, and the Ain, as well as the town of Cr\u00e9mieu and its surroundings, which Appian (q.v.) and Ravier (q.v.) would later depict. Ponthus-Cinier exhibited in Lyons from 1838 until his death and in Paris from 1841 to 1867. He also participated in various provincial Salons in cities like Strasbourg, Grenoble, Marseilles, Montpellier, and Toulouse. Ponthus-Cinier was especially fond of depicting landscapes characterized by the combination of rocky slopes, which structured the site, and vegetation, which animated it. Frequently a body of water, reflecting the light, provided a poetic note to these somewhat arid views made up of earth and stone. The artist's work was usually well received by critics, although some reproached him for the monotony of his compositions and choice of color.", "name_in_original_language": null, "birth_year": "1812", "death_year": "1885", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1848, "date_added_to_oa": null, "date_text": "1848", "collapse_artists": false, "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": "2026-03-27 00:06:02.328000"}, {"id": 153393, "accession_number": "1986.78", "share_license_status": "CC0", "tombstone": "Study for Mehmet Ali Pasha, c. 1844. John Frederick Lewis (British, 1805\u20131876). Watercolor, gouache, black chalk, and graphite; sheet: 36.2 x 24.6 cm (14 1/4 x 9 11/16 in.); secondary support: 44.3 x 33 cm (17 7/16 x 13 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1986.78", "current_location": null, "title": "Study for Mehmet Ali Pasha", "creation_date": "c. 1844", "creation_date_earliest": 1839, "creation_date_latest": 1849, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor, gouache, black chalk, and graphite", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 36.2 x 24.6 cm (14 1/4 x 9 11/16 in.); Secondary Support: 44.3 x 33 cm (17 7/16 x 13 in.)", "dimensions": {"sheet": {"height": 0.362, "width": 0.246}, "secondary support": {"height": 0.443, "width": 0.33}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(sale, Bill Thomson, London, May/June 1986, no. 37)", "citations": [], "footnotes": null, "date": "1986", "sortorder": null}, {"description": "(Henry Strachey, London, sold to the Cleveland Museum of Art, Cleveland OH)", "citations": [], "footnotes": null, "date": "1986", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland OH", "citations": [], "footnotes": null, "date": "1986-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lord Elphinstone, governor of Madras, described this drawing in an 1845 letter as \"the best, and in fact, the only good likeness [of Mehmet Ali Pasha] I have seen, and I saw it within a quarter of an hour of leaving the original.\"", "description": "This drawing was a study for a larger watercolor (now at the Victoria and Albert Museum) of Mehmet Ali Pasha, considered by many as the \"Father of Modern Egypt.\" While European travel to the Middle East burgeoned during the mid 19th century, John Frederick Lewis was more intrepid than most, living and painting in Cairo for a decade. Upon his return to England in 1851, he astonished London audiences with more than 600 watercolors that conjured an exotic world of sumptuous colors and textures articulated in painstaking detail.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939308"], "internet_archive": ["https://archive.org/details/clevelandart-1986.78-study-for-mehmet-ali"]}, "citations": [{"citation": "Turner, Evan H. \"The Year in Review for 1986.\" <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (1987): 38-79.", "page_number": "Mentioned: p. 72, no. 159", "url": "www.jstor.org/stable/25159974"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 86-87, 146, no. 28; Reproduced: p. 87", "url": null}], "url": "https://clevelandart.org/art/1986.78", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.78/1986.78_web.jpg", "width": "610", "height": "893", "filesize": "56697", "filename": "1986.78_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.78/1986.78_print.jpg", "width": "2322", "height": "3400", "filesize": "991767", "filename": "1986.78_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.78/1986.78_full.tif", "width": "3561", "height": "5213", "filesize": "55716360", "filename": "1986.78_full.tif"}}, "alternate_images": [{"date_created": "2007-08-20T18:23:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.78/1986.78_alt0_web.jpg", "width": "610", "height": "893", "filesize": "325568"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.78/1986.78_alt0_print.jpg", "width": "2322", "height": "3400", "filesize": "4995744"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.78/1986.78_alt0_full.tif", "width": "3514", "height": "5145", "filesize": "54268796"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153393, "creators": [{"id": 1322, "description": "John Frederick Lewis (British, 1805\u20131876)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1805", "death_year": "1876", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-11-19T00:00:00", "sortable_date": 1839, "date_added_to_oa": null, "date_text": "c. 1844", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:36.872000"}, {"id": 154205, "accession_number": "1988.248", "share_license_status": "CC0", "tombstone": "Footed Tray (\uc9c0\uc2b9\uc0ac\uac01\ubc18 (\u7d19\u7e69\u56db\u89d2\u76e4)), 1900s. Korea. Lacquer over twisted and coiled paper; overall: 34.2 x 9 x 9 cm (13 7/16 x 3 9/16 x 3 9/16 in.). The Cleveland Museum of Art, Gift of Bernice Sapirstein Davis in memory of Jennie Sapirstein, 1988.248", "current_location": null, "title": "Footed Tray", "title_in_original_language": "\uc9c0\uc2b9\uc0ac\uac01\ubc18 (\u7d19\u7e69\u56db\u89d2\u76e4)", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1988, "artists_tags": [], "culture": ["Korea"], "technique": "lacquer over twisted and coiled paper", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Lacquer", "measurements": "Overall: 34.2 x 9 x 9 cm (13 7/16 x 3 9/16 x 3 9/16 in.)", "dimensions": {"overall": {"height": 0.342, "width": 0.09, "depth": 0.09, "length": 0.329}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310246, "title": "The Year in Review for 1988", "description": "<i>The Year in Review for 1988</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-May 14, 1989).", "opening_date": "1989-03-01T05:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 120)</em>. The Cleveland Museum of Art, Cleveland, OH (July 22-October 26, 2003).", "opening_date": "2003-07-22T00:00:00"}]}, "provenance": [{"description": "Mrs. David [Bernice Sapirstein] Davis, Lyndhurst, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1988", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1988-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The artist first cords and twines paper before constructing a desired shape.", "description": "In Korea, paper has been widely used since the 19th century for constructing stationery and storage boxes, as well as for paraphernalia for the scholar's studio. This tray's modest appearance belies both the laborious process involved in its construction and its status in Korea as an object for the scholar's desk.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79940897"], "internet_archive": ["https://archive.org/details/clevelandart-1988.248-footed-tray"]}, "citations": [{"citation": "Lee, Amy. <em>Jiseung: A Journey into the Korean Art of Weaving Paper.\u201d Kyoto Journal </em>(2013).", "page_number": null, "url": "Jiseung: A Journey into the Korean Art of Weaving Paper,\u201d vol. 77"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 236, no. 131", "url": ""}], "url": "https://clevelandart.org/art/1988.248", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1988.248/1988.248_web.jpg", "width": "1263", "height": "794", "filesize": "112156", "filename": "1988.248_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1988.248/1988.248_print.jpg", "width": "3400", "height": "2138", "filesize": "897710", "filename": "1988.248_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1988.248/1988.248_full.tif", "width": "4648", "height": "2923", "filesize": "40787232", "filename": "1988.248_full.tif"}}, "alternate_images": [{"date_created": "2012-04-18T18:54:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.248/1988.248_alt0_web.jpg", "width": "1008", "height": "893", "filesize": "214566"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.248/1988.248_alt0_print.jpg", "width": "3400", "height": "3011", "filesize": "1972720"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.248/1988.248_alt0_full.tif", "width": "4983", "height": "4413", "filesize": "65996672"}}, {"date_created": "2012-04-18T19:00:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.248/1988.248_alt1_web.jpg", "width": "1045", "height": "893", "filesize": "206006"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.248/1988.248_alt1_print.jpg", "width": "3400", "height": "2906", "filesize": "2039308"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1988.248/1988.248_alt1_full.tif", "width": "5085", "height": "4347", "filesize": "66339832"}}], "creditline": "Gift of Bernice Sapirstein Davis in memory of Jennie Sapirstein", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154205, "creators": [], "legal_status": "accessioned", "accession_date": "1989-02-24T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:52.804000"}, {"id": 159002, "accession_number": "1995.211", "share_license_status": "CC0", "tombstone": "Man's Bwami Prestige Cap (sawamazembe), early to mid-1900s. Africa, Central Africa, Democratic Republic of Congo, Lega-style maker. Plant fiber, seashells, seeds, pods, buttons, and probably cotton; overall: 35.8 x 26.7 x 19.2 cm (14 1/8 x 10 1/2 x 7 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1995.211", "current_location": null, "title": "Man's Bwami Prestige Cap (sawamazembe)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1975, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Lega-style maker"], "technique": "Plant fiber, seashells, seeds, pods, buttons, and probably cotton", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 35.8 x 26.7 x 19.2 cm (14 1/8 x 10 1/2 x 7 9/16 in.)", "dimensions": {"overall": {"height": 0.358, "width": 0.267, "depth": 0.192}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 223257, "title": "Standing on Ceremony: Traditional African Arms from the Donna and Robert Jackson Collection and the Cleveland Museum of Art", "description": "<i>Standing on Ceremony: Traditional African Arms from the Donna and Robert Jackson Collection and the Cleveland Museum of Art</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (April 24, 2004-March 15, 2005).", "opening_date": "2004-04-24T00:00:00"}, {"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": [{"description": "Western Reserve Historical Society (4/24/2004 - 11/27/2004): 'Standing on Ceremony: Traditional African Arms from the Donna and Robert Jackson Collection and the Cleveland Museum of Art\"", "opening_date": "2004-04-24T00:00:00"}]}, "provenance": [{"description": "Jacques Hautelet, La Jolla, CA", "citations": [], "footnotes": null, "date": "until 1995", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH by purchase", "citations": [], "footnotes": null, "date": "1995 to present", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This prestige cap combines local organic materials and imported machine-made materials like buttons.", "description": "Among the Lega people of the eastern Democratric Republic of Congo, headgear was an important indicator of social position. Certain caps, headbands, and headdresses were the exclusive prerogative of the Bwami men's association. This headdress, called <em>sawamazembe</em>, was worn only by high-ranking members of this group. The hat's wig-like form represents a woman's coiffure, illustrating the blurring of gender distinctions among high-ranking Bwami members. The shell ornaments on the front suggest the moon, while buttons and a seed pod provide additional embellishment.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79977955"], "internet_archive": ["https://archive.org/details/clevelandart-1995.211-man-s-bwami-prestige"]}, "citations": [{"citation": "Petridis, Constantine. \"Good and Beautiful.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>46, no. 7 (September 2006): 7-11.", "page_number": "Mentioned and reproduced: p. 9", "url": "https://archive.org/details/CMAMM2006-07/page/6/mode/2up"}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1995.211", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1995.211/1995.211_web.jpg", "width": "586", "height": "893", "filesize": "346648", "filename": "1995.211_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1995.211/1995.211_print.jpg", "width": "2346", "height": "3400", "filesize": "4268446", "filename": "1995.211_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1995.211/1995.211_full.tif", "width": "3450", "height": "5000", "filesize": "51772712", "filename": "1995.211_full.tif"}}, "alternate_images": [{"date_created": "2009-10-30T13:32:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt0_web.jpg", "width": "585", "height": "893", "filesize": "355510"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt0_print.jpg", "width": "2226", "height": "3400", "filesize": "4625469"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt0_full.tif", "width": "3708", "height": "5664", "filesize": "63036612"}}, {"date_created": "2009-10-30T13:33:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt1_web.jpg", "width": "600", "height": "893", "filesize": "349920"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt1_print.jpg", "width": "2286", "height": "3400", "filesize": "4464016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt1_full.tif", "width": "3755", "height": "5586", "filesize": "62956664"}}, {"date_created": "2009-10-30T13:33:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt2_web.jpg", "width": "624", "height": "893", "filesize": "375372"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt2_print.jpg", "width": "2375", "height": "3400", "filesize": "4728405"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1995.211/1995.211_alt2_full.tif", "width": "3810", "height": "5454", "filesize": "62369964"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159002, "creators": [], "legal_status": "accessioned", "accession_date": "1995-12-04T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early to mid-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Bwami Society Headdress", "Hat (Sawamazembe)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:57.968000"}, {"id": 163169, "accession_number": "2004.105", "share_license_status": "CC0", "tombstone": "Wooded Landscape at L'Hermitage, Pontoise, 1879. Camille Pissarro (French, 1830\u20131903). Softground, aquatint, and drypoint; platemark: 21.9 x 26.9 cm (8 5/8 x 10 9/16 in.); overall: 26.9 x 35.6 cm (10 9/16 x 14 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 2004.105", "current_location": null, "title": "Wooded Landscape at L'Hermitage, Pontoise", "creation_date": "1879", "creation_date_earliest": 1879, "creation_date_latest": 1879, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 19th century"], "technique": "softground, aquatint, and drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "measurements": "Platemark: 21.9 x 26.9 cm (8 5/8 x 10 9/16 in.); Overall: 26.9 x 35.6 cm (10 9/16 x 14 in.)", "dimensions": {"overall": {"height": 0.269, "width": 0.356}, "platemark": {"height": 0.219, "width": 0.269}}, "state_of_the_work": "V/V", "edition_of_the_work": "50", "copyright": null, "inscriptions": [{"inscription": "lower right, in graphite: C. Pissarro", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008).", "opening_date": "2006-05-27T00:00:00"}, {"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": [{"description": "CMA (organizer).  Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2007-04-07T00:00:00"}]}, "provenance": [{"description": "Richard Cole, New York; To his widow, by descent, 1969; [Margo Pollins Schab, Inc., 1000 Park Avenue, New York, NY 10028]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pissarro made this print for the journal <em>Le Jour et la nuit </em>that he planned with Edgar Degas, but was never realized.", "description": "Camille Pissarro depicted this view of Pontoise, the Parisian suburb where he lived at the time, using a range of etching techniques. He evoked the effects of natural light amid the shadowy forest by combining grainy aquatint with softground\u2014a process that creates loose, painterly lines and tone. Although primarily known as painters, many of the Impressionists took up printmaking, developing new techniques to translate the effects of natural light. Pissarro, especially, experimented with etching, working extensively with the technique alongside Edgar Degas around the time this print was made.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988799"], "internet_archive": ["https://archive.org/details/clevelandart-2004.105-wooded-landscape-at"]}, "citations": [{"citation": "Glaubinger, Jane, \"Generous Donors: The Print Club of Cleveland continues to enrich the collection.\". <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>47, no. 07 (September 2007): 5-7.", "page_number": "Reproduced: P. 6; Mentioned P. 6, 7", "url": "https://archive.org/details/CMAMM2007-07/page/6"}, {"citation": "Salsbury, Britany. \"A Lasting Impression: To mark the Print Club of Cleveland's centennial, a new exhibition highlights some of the group's major donations.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 2 (March/April 2019): 34-35.", "page_number": "Reproduced and Mentioned: P. 35", "url": "https://archive.org/details/CMAMM2019-02/page/n17/mode/2up"}], "catalogue_raisonne": "Delteil 16, state V/V; Shapiro VI/VI", "url": "https://clevelandart.org/art/2004.105", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2004.105/2004.105_web.jpg", "width": "1174", "height": "893", "filesize": "809483", "filename": "2004.105_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2004.105/2004.105_print.jpg", "width": "3400", "height": "2587", "filesize": "6378220", "filename": "2004.105_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2004.105/2004.105_full.tif", "width": "5023", "height": "3822", "filesize": "57626928", "filename": "2004.105_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.105/2004.105_alt0_web.jpg", "width": "1074", "height": "893", "filesize": "819333"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.105/2004.105_alt0_print.jpg", "width": "3400", "height": "2828", "filesize": "7412636"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.105/2004.105_alt0_full.tif", "width": "4925", "height": "4096", "filesize": "60557472"}}, {"date_created": "2006-03-09T18:33:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.105/2004.105_alt1_web.jpg", "width": "1042", "height": "893", "filesize": "783084"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.105/2004.105_alt1_print.jpg", "width": "3400", "height": "2913", "filesize": "7220905"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2004.105/2004.105_alt1_full.tif", "width": "4214", "height": "3610", "filesize": "45673108"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163169, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2004-12-06T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:32.067000"}, {"id": 166545, "accession_number": "2008.31.a", "share_license_status": "CC0", "tombstone": "Nursemaids\u2019 Promenade, Frieze of Carriages , 1895. Pierre Bonnard (French, 1867\u20131947), Molines, Galeries Lafayette. Color lithograph; sheet: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.); image: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.). The Cleveland Museum of Art, Gift of Nancy and Joseph P. Keithley by exchange, 2008.31.a", "current_location": null, "title": "Nursemaids\u2019 Promenade, Frieze of Carriages ", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [{"description": "thin wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.); Image: 137.4 x 47.3 cm (54 1/8 x 18 5/8 in.)", "dimensions": {"sheet": {"height": 1.374, "width": 0.473}, "image": {"height": 1.374, "width": 0.473}}, "state_of_the_work": null, "edition_of_the_work": "110", "copyright": null, "inscriptions": [{"inscription": "The third panel signed with the artist's monogram in the stone", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "Edmond-Honor\u00e9 Sagot, Paris (1857-1917) (not stamped, Lugt 2253-54); Maurice Le Garrec, Paris (Sagot\u2019s son-in-law,  Lugt 1766a); by descent; [C. G. Boerner, New York]; Nancy F. and Joseph P. Keithley, Shaker Heights, OH", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although this screen was issued in an edition of 110, only about 20 copies survive today.", "description": "This charming scene of a nanny and her three charges extends across four panels meant to be mounted as a folding screen. Pierre Bonnard emulated the solidly colored flat forms of Japanese color woodcut prints, which he collected. He featured the screen in his first solo exhibition at Paris's prestigious Galeries Durand-Ruel in 1896.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996937"], "internet_archive": ["https://archive.org/details/clevelandart-2008.31.a-nursemaids-promenade"]}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 224-225; Reproduced: P. 240, no. 153", "url": ""}, {"citation": "Basch, Sophie. <em>Le Japonisme, Un Art Franc\u0327ais</em>. \u0152uvres En Socie\u0301te\u0301s. Dijon: Les Presses du re\u0301el, 2022.", "page_number": "Mentioned and reproduced: P. 453-454, fig. 227", "url": ""}], "catalogue_raisonne": "Bouvet 55", "url": "https://clevelandart.org/art/2008.31.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.31.a/2008.31.a_web.jpg", "width": "326", "height": "893", "filesize": "32036", "filename": "2008.31.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.31.a/2008.31.a_print.jpg", "width": "1170", "height": "3400", "filesize": "2170022", "filename": "2008.31.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.31.a/2008.31.a_full.tif", "width": "2168", "height": "6302", "filesize": "41023228", "filename": "2008.31.a_full.tif"}}, "alternate_images": [], "creditline": "Gift of Nancy and Joseph P. Keithley by exchange", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166545, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68654, "description": "Molines, Galeries Lafayette", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.31", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:52.274000"}, {"id": 166546, "accession_number": "2008.31.b", "share_license_status": "CC0", "tombstone": "Nursemaids\u2019 Promenade, Frieze of Carriages, 1895. Pierre Bonnard (French, 1867\u20131947). Color lithograph; sheet: 136.9 x 47.7 cm (53 7/8 x 18 3/4 in.); image: 136.9 x 47.7 cm (53 7/8 x 18 3/4 in.). The Cleveland Museum of Art, Gift of Nancy and Joseph P. 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Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.31", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:45.843000"}, {"id": 168726, "accession_number": "2010.432", "share_license_status": "CC0", "tombstone": "Male figure (nkisi nkondi), late 1800s-early 1900s. Democratic Republic of Congo or Cabinda (Angola), Kongo artist and nganga (priest). Wood, metalized glass, iron, organic material, ivory or plastic, and natural fiber; overall: 46 x 25.7 x 19.2 cm (18 1/8 x 10 1/8 x 7 9/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.432", "current_location": null, "title": "Male figure (nkisi nkondi)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Democratic Republic of Congo or Cabinda (Angola), Kongo artist and nganga (priest)"], "technique": "Wood, metalized glass, iron, organic material, ivory or plastic, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 46 x 25.7 x 19.2 cm (18 1/8 x 10 1/8 x 7 9/16 in.)", "dimensions": {"overall": {"height": 0.46, "width": 0.257, "depth": 0.192}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}, {"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"}, {"id": 453007, "title": "Julie Mehretu: Portals", "description": "<i>Julie Mehretu: Portals</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 13, 2022).", "opening_date": "2022-07-16T04:00:00"}], "legacy": []}, "provenance": [{"description": "Jean Willy Mestach [1926-2014], Brussels, Belgium, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": [], "date": "?\u20131962", "sortorder": 1}, {"description": "Ren\u00e9 [1901\u20131998] and Odette Delenne [1925\u20132012], Brussels, Belgium, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1962\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A mix of locally made and imported metal nails, blades, and screws cover this figure.", "description": "This <em>nkisi nkondi</em> (power figure) lacks most of the materials that transformed it into a vessel for a spirit. Carved by sculptors, <em>minkisi </em>hosted spirits after <em>banganga</em> (priests) placed substances inside to empower them. The mirrored eyes, resin cap, and stomach chamber once contained empowering materials. After the nkisi had served its purpose the <em>nganga</em> removed the materials, stripping it of its spiritual power; the remaining sculpture was discarded. Sometimes, Kongo people removed materials as acts of anti-colonial resistance, disempowering minkisi before Europeans seized them. While we don\u2019t know why it was disempowered, this sculpture is no longer spiritually active.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075059"], "internet_archive": ["https://archive.org/details/clevelandart-2010.432-male-figure-nkisi-nk"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 23, 51, 96.", "page_number": "Mentioned: pp. 23, 46-47, 113; reproduced: pp. 51, 96, cat. 12", "url": null}, {"citation": "Smith, Fred T., Judith Perani, Joseph L. Underwood, and Martha J. Ehrlich. The Visual Arts of Africa : Gender, Power, and Life Cycle Rituals. Second edition. New York: Oxford University Press, 2022.", "page_number": "Mentioned and reproduced: p. 252, no. 9.2", "url": ""}], "url": "https://clevelandart.org/art/2010.432", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.432/2010.432_web.jpg", "width": "688", "height": "893", "filesize": "322251", "filename": "2010.432_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.432/2010.432_print.jpg", "width": "2619", "height": "3400", "filesize": "5437415", "filename": "2010.432_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.432/2010.432_full.tif", "width": "3595", "height": "4667", "filesize": "50363576", "filename": "2010.432_full.tif"}}, "alternate_images": [{"date_created": "2011-06-02T14:55:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt0_web.jpg", "width": "678", "height": "893", "filesize": "311066"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt0_print.jpg", "width": "2582", "height": "3400", "filesize": "5357885"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt0_full.tif", "width": "3628", "height": "4776", "filesize": "52014088"}}, {"date_created": "2011-06-02T15:11:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt1_web.jpg", "width": "695", "height": "893", "filesize": "316340"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt1_print.jpg", "width": "2646", "height": "3400", "filesize": "5447575"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt1_full.tif", "width": "3711", "height": "4767", "filesize": "53101284"}}, {"date_created": "2011-06-02T15:20:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt2_web.jpg", "width": "708", "height": "893", "filesize": "314456"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt2_print.jpg", "width": "2694", "height": "3400", "filesize": "5512370"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt2_full.tif", "width": "3653", "height": "4610", "filesize": "50554696"}}, {"date_created": "2011-06-02T15:29:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt3_web.jpg", "width": "679", "height": "893", "filesize": "301604"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt3_print.jpg", "width": "2584", "height": "3400", "filesize": "5239299"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt3_full.tif", "width": "3608", "height": "4746", "filesize": "51405368"}}, {"date_created": "2011-06-02T15:37:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt4_web.jpg", "width": "695", "height": "893", "filesize": "324441"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt4_print.jpg", "width": "2645", "height": "3400", "filesize": "5499908"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.432/2010.432_alt4_full.tif", "width": "3641", "height": "4679", "filesize": "51140992"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168726, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Male Figure"], "is_highlight": false, "updated_at": "2026-03-27 00:05:52.688000"}, {"id": 142659, "accession_number": "1966.382", "share_license_status": "CC0", "tombstone": "The Cliffs at Beg-ar-Fry, Saint-Jean-du-Doigt, 1895. Maxime Maufra (French, 1861\u20131918). Oil on fabric; framed: 66.5 x 80 x 4.5 cm (26 3/16 x 31 1/2 x 1 3/4 in.); unframed: 60 x 73.3 cm (23 5/8 x 28 7/8 in.). The Cleveland Museum of Art, Gift of Ellen Wade Chinn, Elizabeth Wade Sedgwick and J. H. Wade III in memory of their mother Irene Love Wade, 1966.382", "current_location": "222 Impressionism & Post-Impressionism", "title": "The Cliffs at Beg-ar-Fry, Saint-Jean-du-Doigt", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "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: 66.5 x 80 x 4.5 cm (26 3/16 x 31 1/2 x 1 3/4 in.); Unframed: 60 x 73.3 cm (23 5/8 x 28 7/8 in.)", "dimensions": {"framed": {"height": 0.665, "width": 0.8, "depth": 0.045}, "unframed": {"height": 0.6, "width": 0.733}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: Maufra 95 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}], "legacy": [{"description": "New York, Durand-Ruel. Exposition of Maxime Maufra (1896), no. 10, Les falaises de Bec au Fry [sic], St. Jean-du-Doigt.", "opening_date": null}]}, "provenance": [{"description": "Deposited by Maufra on 25 February 1895 at Durand-Ruel, Paris (depot 8630).", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "Bought from the artist by Durand-Ruel, Paris (stock number 3451) on 23 November 1895.", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Sold to Durand-Ruel, New York (stock number 1455), 14 December 1895.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "Bought by Jeptha Homer Wade, Cleveland, 1 November 1900 . By descent. Given to the CMA in 1966.", "citations": [], "footnotes": [], "date": null, "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Maxime Maufra was initially an amateur artist, but in 1883 he gave up a career in business to devote himself entirely to painting. He traveled throughout Normandy and Britany painting sea- and landscapes. During a visit to Pont-Aven in northwestern France in 1890 he met Paul Gauguin and a group of young artists who were inspired by Gauguin\u2019s approaches to color and composition in his art. In particular, Maufra began to translate forms into flat planes of bold color arranged in decorative patterns as seen in this seascape of the Breton coast. Perhaps the most striking aspect of this painting is the way the artist framed the composition at the left with the view of a steep cliff.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469697"], "internet_archive": ["https://archive.org/details/clevelandart-1966.382-the-cliffs-at-beg-ar"]}, "citations": [{"citation": "\u201cAnnual Report for 1966.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 6 (June 1967): 159\u2013197.", "page_number": "Mentioned: p. 170", "url": "http://www.jstor.org/stable/25152162"}, {"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Mentioned: p. 343, no. 58", "url": "http://www.jstor.org/stable/25152183"}, {"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. 181", "url": "https://archive.org/details/CMAHandbook1969/page/n205"}, {"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. 225", "url": "https://archive.org/details/CMAHandbook1978/page/n245"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 423-424, Vol. II, no. 146", "url": ""}], "url": "https://clevelandart.org/art/1966.382", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.382/1966.382_web.jpg", "width": "1099", "height": "893", "filesize": "274526", "filename": "1966.382_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.382/1966.382_print.jpg", "width": "3400", "height": "2762", "filesize": "3022841", "filename": "1966.382_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.382/1966.382_full.tif", "width": "6723", "height": "5463", "filesize": "110205128", "filename": "1966.382_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.382/1966.382_alt0_web.jpg", "width": "1099", "height": "893", "filesize": "934997"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.382/1966.382_alt0_print.jpg", "width": "1890", "height": "1536", "filesize": "2876740"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.382/1966.382_alt0_full.tif", "width": "1890", "height": "1536", "filesize": "8712372"}}, {"date_created": "2013-05-21T18:12:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.382/1966.382_alt1_web.jpg", "width": "1089", "height": "893", "filesize": "187880"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.382/1966.382_alt1_print.jpg", "width": "3400", "height": "2788", "filesize": "2631585"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.382/1966.382_alt1_full.tif", "width": "6986", "height": "5730", "filesize": "120111156"}}], "creditline": "Gift of Ellen Wade Chinn, Elizabeth Wade Sedgwick and J. H. Wade III in memory of their mother Irene Love Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Nancy F. and Joseph P. Keithley Gallery", "athena_id": 142659, "creators": [{"id": 1810, "description": "Maxime Maufra (French, 1861\u20131918)", "extent": null, "qualifier": null, "role": "artist", "biography": "Maxime Maufra, taught by local artists, began painting in his hometown of Nantes. It was not until 1883, after having returned from Great Britain, where he had discovered the Old Masters and the English painters Thomas Gainsborough (1727-1788), Constable (q.v.), and Turner (q.v.), that Maufra gave up a business career and began to devote himself entirely to painting. Three years later he exhibited two landscapes at the 1886 Paris Salon to critical acclaim. He then traveled throughout Normandy and Brittany painting seascapes and landscapes and settled in Paris in 1892, returning every year to Brittany. It was during a visit in Pont-Aven in 1890 that he met Gauguin (q.v.) and Paul S\u00e9rusier (1864-1927). The work of these artists overshadowed the influence he had undergone from such painters as Pissarro (q.v.) and Sisley (q.v.). By 1890 he was greatly affected by synthetism, the style invented by \u00c9mile Bernard (1868-1941) and developed by Gauguin, that translates forms into flat colored planes arranged in a decorative pattern. This style is most apparent in Maufra's prints and drawings. In 1894 Le Barc de Bouteville held an exhibition of Maufra's work, and the dealer Durand-Ruel supported his artistic career until the end.", "name_in_original_language": null, "birth_year": "1861", "death_year": "1918", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Slopes of the Bay, Beg-ar-Fry"], "is_highlight": false, "updated_at": "2026-03-27 00:02:07.228000"}, {"id": 150023, "accession_number": "1980.238.1", "share_license_status": "CC0", "tombstone": "Arion on a Sea Horse, 1855. William Adolphe Bouguereau (French, 1825\u20131905). Oil on fabric; framed: 87.3 x 127 x 5.4 cm (34 3/8 x 50 x 2 1/8 in.); unframed: 71.3 x 111.8 cm (28 1/16 x 44 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.238.1", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Arion on a Sea Horse", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.3 x 127 x 5.4 cm (34 3/8 x 50 x 2 1/8 in.); Unframed: 71.3 x 111.8 cm (28 1/16 x 44 in.)", "dimensions": {"framed": {"height": 0.873, "width": 1.27, "depth": 0.054}, "unframed": {"height": 0.713, "width": 1.118}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: wb [in monogram] / 1855\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Paris, Palais des Champs-\u00c9lys\u00e9es. Salon (1857), no. 327, Arion sur un cheval marin, no. 328, Bacchante sur une panth\u00e8re.", "opening_date": null}, {"description": "New York Cultural Center. William Adolphe Bouguereau (1974-75), 20.", "opening_date": "1974-01-01T00:00:00"}]}, "provenance": [{"description": "Commissioned by Anatole Bartholoni, Paris. Paris sale, Drouot, 27 April 1933 (lot 32), Arion chevauchant un monstre marin (lot 33), Bacchante sur une panth\u00e8re (repr.), Shepherd Gallery, New York, 1972. Christopher Gibbs Ltd., London, 1973. London sale, Sotheby's, 30 November 1977 (lot 208), Arion sur un dauphin; Bacchante sur une panth\u00e8re (repr.), \u00a36500. Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1980.238"], "did_you_know": null, "description": "These paintings are from a series of eight works that Anatole Bartholoni commissioned the 29-year-old Bouguereau to create for his Paris home, decorated in the fashionable Pompeian-revival style. The paintings emulate ancient Roman designs. Crisp, cut-out forms are set against a gold background painted in imitation of mosaic. Arion was an ancient Greek poet who escaped death by riding away on the back of a sea creature who had been attracted by the poet's song. In the companion picture, a bacchante\u2014a female worshipper of the wine god Bacchus\u2014rides a panther, the god's symbolic animal. These works were shown at the 1857 Paris Salon exhibition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474457"], "internet_archive": []}, "citations": [{"citation": "Jullian, Philippe. \"The Symbolists.\" <em>Architectural Digest </em>31 (January/February 1975): 58-63.", "page_number": "Reproduced: P. 59", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: P. 182, 211, no. 28", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Wissman, Fronia E. <em>Bouguereau</em>. San Francisco: Pomegranate Artbooks, 1996.", "page_number": "Mentioned and reproduced: P. 22-24, pl. 4", "url": ""}, {"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: P. 76-79, cat. no. 29", "url": ""}, {"citation": "Bartoli, Damien, and Frederick C. Ross. <em>William Bouguereau.</em> Woodbridge Suffolk: Antique Collectors' Club in cooperation with the Art Renewal Center, 2010.", "page_number": "Mentioned and reproduced: Vol. II, p. 41, no. 1855/03A", "url": ""}], "url": "https://clevelandart.org/art/1980.238.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.238.1/1980.238.1_web.jpg", "width": "1263", "height": "811", "filesize": "596228", "filename": "1980.238.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.238.1/1980.238.1_print.jpg", "width": "3400", "height": "2183", "filesize": "4162325", "filename": "1980.238.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.238.1/1980.238.1_full.tif", "width": "6310", "height": "4051", "filesize": "76717760", "filename": "1980.238.1_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 150023, "creators": [{"id": 1571, "description": "William Adolphe Bouguereau (French, 1825\u20131905)", "extent": null, "qualifier": null, "role": "artist", "biography": "William Adolphe Bouguereau started drawing at an early age but did not take lessons until 1834, his first year in college in Pons, where his instructor was Louis Sage, who had been a pupil of Ingres (q.v.). In 1841 Bouguereau's father, a wine merchant, moved the family to Bordeaux. The following year he was allowed to attend the \u00c9cole Municipale de Dessin et de Peinture, where he studied under Jean-Paul Alaux. Bouguereau became a bookkeeper for another wine merchant in order to meet the cost of the school. By 1844 he had won the first prize for figure painting, which further encouraged him to pursue his art career. He lived with his uncle in Mortagne from 1845 until 1846, painted portraits of the local landowners, and saved enough money to move to Paris. In 1846 he entered the \u00c9cole des Beaux-Arts and studied under Fran\u00e7ois-\u00c9douard Picot (1786-1868). After several attempts, he finally won the Premier Grand Prix de Rome in 1850. He lived at the Villa Medici in Rome and studied Raphael, Andrea del Sarto, Giotto's Paduan frescos, and those at San Francesco in Assisi. The impact of these works appeared in Bouguereau's oeuvre in the form of classical poses, restraint, and a high degree of finish. After his return to France, Bouguereau exhibited regularly at the Salon, concentrating on classical, genre, and religious themes. In 1858 he was commissioned to decorate his first public building-the Chapel of St. Louis in St. Clotilde Church in Paris. Other public commissions followed, including the chapels of St. Pierre-Paul and St. Jean-Baptiste at St. Augustin Church in Paris, the cupola decorations in the cathedral in La Rochelle, and the ceiling of the Grand Theater of Bordeaux. Bouguereau remained in France during the Franco-Prussian War (1870-71), fighting in the National Guard. Afterward he taught at the Acad\u00e9mie Julian in Paris. In 1876 he fulfilled a lifelong goal, being elected to the Acad\u00e9mie des Beaux-Arts de l'Institut de France. He received the Legion of Honor in 1878 and was a professor at the \u00c9cole des Beaux-Arts in Paris in 1888. Bouguereau's support of the academy and his interest in classicism caused a fall in his popularity at the end of his life. Nevertheless, he died a successful, wealthy artist.", "name_in_original_language": null, "birth_year": "1825", "death_year": "1905", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1980.238", "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:34.151000"}, {"id": 111656, "accession_number": "1930.190", "share_license_status": "CC0", "tombstone": "Poem by Kakinomoto no Hitomaro, from One Hundred Poems by One Hundred Poets Explained by an Old Nurse (\u767e\u4eba\u4e00\u9996\u3000\u3046\u306f\u304b\u3091\u3068\u304d\u3000\u67ff\u672c\u4eba\u9ebb\u5442), 1835\u201336. Katsushika Hokusai (Japanese, 1760\u20131849). Color woodblock print; 25.8 x 37.8 cm (10 3/16 x 14 7/8 in.). The Cleveland Museum of Art, Bequest of Edward L. Whittemore, 1930.190", "current_location": "235A Japanese", "title": "Poem by Kakinomoto no Hitomaro, from One Hundred Poems by One Hundred Poets Explained by an Old Nurse", "title_in_original_language": "\u767e\u4eba\u4e00\u9996\u3000\u3046\u306f\u304b\u3091\u3068\u304d\u3000\u67ff\u672c\u4eba\u9ebb\u5442", "creation_date": "1835\u201336", "creation_date_earliest": 1835, "creation_date_latest": 1836, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "25.8 x 37.8 cm (10 3/16 x 14 7/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.258, "width": 0.378}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Zen Hokusai \u524d\u5317\u658e.\nArtist's Seal: Manji \u534d.\nPublisher: Nishimuraya Yohachi (Eijudo \u6c38\u5bff\u5802).\nCensorship Seal: kiwame \u6975.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "Poem: \u3042\u3057\u3072\u304d\u306e\u3000\u5c71\u9ce5\u306e\u3092\u306e\u3000\u3057\u3060\u308a\u3092\u306e\u3000\u306a\u304c\u306a\u304c\u3057\u3088\u3092\u3000\u3072\u3068\u308a\u304b\u3082\u5bdd\u3093 \nAshibiki no/ yamadori no o no/ shidari o no/ naganagashi yo o/ hitori ka mo nemu", "inscription_translation": "Poem by Kakinomoto no Hitomaro (c. 660\u2013739): \n\nMust I sleep alone/ \nthrough the long autumn nights,/ \nlong like the dragging tail/ \nof the mountain pheasant/ \nseparated from his dove?\n\n\u2014Translation by Joshua Mostow", "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 357023, "title": "Japanese Prints from the Museum Collection", "description": "<i>Japanese Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 5-October 28, 1934).", "opening_date": "1934-09-05T04:00:00"}, {"id": 316637, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (October 30, 2018-January 6, 2019).", "opening_date": "2018-10-30T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Yamanaka & Co., New York, NY, sold to Edward L. Whittemore)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Edward L. Whittemore [1862\u20131930], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131930", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1930\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2144.1928"], "did_you_know": null, "description": "Katsushika Hokusai designed this print series from the perspective of a confused nurse attempting to illustrate classical poetry but missing the subtle allusions. This interpretation creates what would have been considered a comical disconnect between poem and image. The poem, by Kakinomoto no Hitomaro (about 660\u2013739), reads as follows:<br> <br>Must I sleep alone <br>through the long autumn nights, <br>long like the dragging tail <br>of the mountain pheasant <br>separated from his dove? <br><br>\u2014translation by Joshua Mostow<br> <br>Hitomaro wrote of an emotionally tiring night. The nurse thought instead of the physically exhausting work of fishermen dragging a net upstream. Smoke billows across the scene, directing our attention to a figure, perhaps the nurse, in the distant house.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80004037"], "internet_archive": ["https://archive.org/details/clevelandart-1930.190-poem-by-kakinomoto-n"]}, "citations": [{"citation": "Howard Conley Hollis. \"The Edward Loder Whittemore Collection of Japanese Prints.\" <em>The Bulletin of the Cleveland Museum of Art</em> 17, no. 4 (1930): 64-66.", "page_number": "64-66", "url": null}, {"citation": "Morse, Peter, Hokusai Katsushika, and Clay MacCauley. Hokusai, One Hundred Poets. New York: G. Braziller, 1989.", "page_number": "30-31", "url": null}], "url": "https://clevelandart.org/art/1930.190", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1930.190/1930.190_web.jpg", "width": "900", "height": "617", "filesize": "318182", "filename": "1930.190_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1930.190/1930.190_print.jpg", "width": "3400", "height": "2332", "filesize": "3921985", "filename": "1930.190_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1930.190/1930.190_full.tif", "width": "11831", "height": "8114", "filesize": "288023740", "filename": "1930.190_full.tif"}}, "alternate_images": [{"date_created": "2014-07-02T09:40:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.190/1930.190_alt0_web.jpg", "width": "900", "height": "617", "filesize": "251682"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.190/1930.190_alt0_print.jpg", "width": "3400", "height": "2330", "filesize": "3107980"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1930.190/1930.190_alt0_full.tif", "width": "7392", "height": "5066", "filesize": "112375640"}}], "creditline": "Bequest of Edward L. Whittemore", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111656, "creators": [{"id": 23328, "description": "Katsushika Hokusai (Japanese, 1760\u20131849)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u845b\u98fe \u5317\u658e", "birth_year": "1760", "death_year": "1849", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1930-05-19T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "1835\u201336", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Net Fishing at Night (from the series The 100 Poems Explained by an Old Nurse)", "Poem by Kakinomoto no Hitomaro, from the series One Hundred Poems by One Hundred Poets Explained by an Old Nurse"], "is_highlight": false, "updated_at": "2026-03-26 23:59:10.554000"}, {"id": 160858, "accession_number": "1999.15", "share_license_status": "CC0", "tombstone": "Portraits of Cho Hyun-myeong and Cho Jae-ho (\uc870\ud604\uba85\u00b7\uc870\uc7ac\ud638 \ucd08\uc0c1 [\u8d99\u986f\u547d\u00b7\u8d99\u8f09\u6d69\u8096\u50cf]), early 1800s. Korea, Joseon dynasty (1392\u20131910). Pair of album paintings; ink and color on silk; image: 35.6 x 27.3 cm (14 x 10 3/4 in.); mounted: 44.4 x 33.2 cm (17 1/2 x 13 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.15", "current_location": null, "title": "Portraits of Cho Hyun-myeong and Cho Jae-ho", "title_in_original_language": "\uc870\ud604\uba85\u00b7\uc870\uc7ac\ud638 \ucd08\uc0c1 [\u8d99\u986f\u547d\u00b7\u8d99\u8f09\u6d69\u8096\u50cf]", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1840, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Pair of album paintings; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Image: 35.6 x 27.3 cm (14 x 10 3/4 in.); Mounted: 44.4 x 33.2 cm (17 1/2 x 13 1/16 in.)", "dimensions": {"image": {"height": 0.356, "width": 0.273}, "mounted": {"height": 0.444, "width": 0.332}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art (June 12, 2013-January 28, 2014).", "opening_date": "2013-06-12T00:00:00"}]}, "provenance": [{"description": "(M. Richard Fish [1941\u20132018], Massachusetts sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131999", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1999\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These two men belonged to the Pungyang Cho Clan, one of the most important political power houses in 18th-century Korea.", "description": "These two portraits are of members of the Cho family, which originated from the area of Pungyang. Cho Jae-ho (1702-1762) on the left is the cousin of Cho Hyun-myeong on the right. Both were High State Councilors, called yeong-uijeong, and the Cho family ordered these two portraits as a family honor. Korean portraits were copied for sharing at each family Confucian ritual; similar portraits are still in the collection of the Cho family in Korea.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477712"], "internet_archive": ["https://archive.org/details/clevelandart-1999.15-portraits-of-cho-hyu"]}, "citations": [{"citation": "<em>Korea portraits from the collection of the National Museum </em>[\ud55c\uad6d\uc758\ucd08\uc0c1\ud654 : \uad6d\ub9bd\uc911\uc559\ubc15\ubb3c\uad00\uc18c\uc7a5\uc870\uc120\uc2dc\ub300\ucd08\uc0c1\ud654\ud2b9\ubcc4\uc804]. Seoul: National Museum of Korea, 1979.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Portrait Paintings in Korea </em>[\ud55c\uad6d\ucd08\uc0c1\ud654 \uc5f0\uad6c]. Seoul: Youlhwadang, 1983.", "page_number": null, "url": null}, {"citation": "Yi Tae-ho. \"Portrait of Joseon Period [\uc870\uc120\uc2dc\ub300\uc758 \ucd08\uc0c1\ud654].\" <em>Misulsa Yeongu: Journal of Art History</em>, vol. 12 (December, 1998): 207\u2013224.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE00195368"}, {"citation": "Kang, Kwan-sik and Tae-ho Yi. \"Image of Figure, Image of Mind: The Portrait of Gentleman in Joseon Period [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\uc758 \u5716\u50cf\uacfc \u5fc3\u50cf: \uc870\uc120 \uc911\ud6c4\uae30 \uc120\ube44 \ucd08\uc0c1\ud654\uc758 \u4fee\u5df1\u7684 \uc758\ubbf8\ub97c \ud1b5\ud574\uc11c \ubcf8 \u518d\u73fe\u7684 \u5716\u50cf\uc758 \u5be6\u5b58\u7684 \uc758\ubbf8\uc640 \uae30\ub2a5\uc5d0 \ub300\ud55c \uc131\ucc30].\" <em>Art History</em>, vol. 15 (August 2001): 7\u201355.", "page_number": null, "url": "http://www.dbpia.co.kr/Journal/ArticleDetail/NODE00758188"}, {"citation": "Kang, Kwan-sik. \"The Hair and Eye Ritual Assumption and Modelistio Theme for Portraits of the Joseon Dynasty [\ud138\uacfc \ub208: \uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\uc758 \u796d\u5100\u7684 \u547d\u984c\uc640 \u9020\u5f62\u7684 \u8ab2\u984c].\" <em>Korean Journal of Art History</em> (December 2005): 95\u2013129.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00999447"}, {"citation": "<em>Portraits of the Joseon Period</em> [\uc870\uc120 \uc2dc\ub300 \ucd08\uc0c1\ud654]. Seoul: National Museum of Korea, 2007.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Great Korean Portraits.</em> Seoul: Dolbegae Publishers, 2010.", "page_number": null, "url": null}, {"citation": "Kang, Kwan-sik. \"Five Codes for the Reading Portraits of Joseon [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\ub97c \uc77d\ub294 \ub2e4\uc12f \uac00\uc9c0 \ucf54\ub4dc].\" <em>Misulsahakbo: Reviews on the Art History</em>, no. 38 (June 2012): 135\u2013183.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE01889721"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Yi, Yon-suk. \"Formation of DaeChongChung of Poongyang Cho Family and Publication of Family Genealogy during the 18th and 19th Centuries [18\u223c19\uc138\uae30 \ud48d\uc591\uc870\uc528\uc758 \ub300\uc885\uc911 \ud615\uc131\uacfc \uc871\ubcf4\uac04\ud589].\" <em>Journal of Korean Classics,</em> vol. 43 (June, 2014): 335\u2013370.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE02437306"}], "url": "https://clevelandart.org/art/1999.15", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.15/1999.15_web.jpg", "width": "900", "height": "575", "filesize": "249895", "filename": "1999.15_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.15/1999.15_print.jpg", "width": "3400", "height": "2174", "filesize": "3346503", "filename": "1999.15_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.15/1999.15_full.tif", "width": "9442", "height": "6037", "filesize": "171030184", "filename": "1999.15_full.tif"}}, "alternate_images": [{"date_created": "2012-05-08T19:39:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.15/1999.15_alt0_web.jpg", "width": "693", "height": "900", "filesize": "197758"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.15/1999.15_alt0_print.jpg", "width": "2617", "height": "3400", "filesize": "3005594"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1999.15/1999.15_alt0_full.tif", "width": "4646", "height": "6037", "filesize": "84169660"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160858, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Cho Chae-ho, Duke of Pung won (born im-o)", "Double Portrait; Cho Chae-ho, Duke of Pung won (born im-o) and Cho Hyun-myong, Duke of Pung won (born simmi)"], "is_highlight": false, "updated_at": "2026-04-08 11:09:03.327000"}, {"id": 160860, "accession_number": "1999.15.2", "share_license_status": "CC0", "tombstone": "Cho Jae-ho from Punhyang Cho Family (\uc870\uc7ac\ud638 \ucd08\uc0c1 [\u8d99\u8f09\u6d69\u8096\u50cf]), 1800s. Korea, Joseon dynasty (1392\u20131910). Album painting, ink and color on silk; image: 35.6 x 27.3 cm (14 x 10 3/4 in.); mounted: 44.4 x 33.2 cm (17 1/2 x 13 1/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1999.15.2", "current_location": null, "title": "Cho Jae-ho from Punhyang Cho Family", "title_in_original_language": "\uc870\uc7ac\ud638 \ucd08\uc0c1 [\u8d99\u8f09\u6d69\u8096\u50cf]", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "album painting, ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Image: 35.6 x 27.3 cm (14 x 10 3/4 in.); Mounted: 44.4 x 33.2 cm (17 1/2 x 13 1/16 in.)", "dimensions": {"image": {"height": 0.356, "width": 0.273}, "mounted": {"height": 0.444, "width": 0.332}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 238)</em>. The Cleveland Museum of Art (June 12, 2013-January 28, 2014).", "opening_date": "2013-06-12T00:00:00"}]}, "provenance": [{"description": "(M. Richard Fish [1941\u20132018], Massachusetts sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131999", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1999\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "These two men belonged to the Pungyang Cho Clan, one of the most important political power houses in 18th-century Korea.", "description": "These two portraits are of members of the Cho family, which originated from the area of Pungyang. Cho Jae-ho (1702-1762) on the left is the cousin of Cho Hyun-myeong on the right. Both were High State Councilors, called yeong-uijeong, and the Cho family ordered these two portraits as a family honor. Korean portraits were copied for sharing at each family Confucian ritual; similar portraits are still in the collection of the Cho family in Korea.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477720"], "internet_archive": ["https://archive.org/details/clevelandart-1999.15.2-cho-jae-ho-from-punh"]}, "citations": [{"citation": "<em>Korea portraits from the collection of the National Museum </em>[\ud55c\uad6d\uc758\ucd08\uc0c1\ud654 : \uad6d\ub9bd\uc911\uc559\ubc15\ubb3c\uad00\uc18c\uc7a5\uc870\uc120\uc2dc\ub300\ucd08\uc0c1\ud654\ud2b9\ubcc4\uc804]. Seoul: National Museum of Korea, 1979.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Portrait Paintings in Korea </em>[\ud55c\uad6d\ucd08\uc0c1\ud654 \uc5f0\uad6c]. Seoul: Youlhwadang, 1983.", "page_number": null, "url": null}, {"citation": "Yi Tae-ho. \"Portrait of Joseon Period [\uc870\uc120\uc2dc\ub300\uc758 \ucd08\uc0c1\ud654].\" <em>Misulsa Yeongu: Journal of Art History</em>, vol. 12 (December, 1998): 207\u2013224.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE00195368"}, {"citation": "Kang, Kwan-sik and Tae-ho Yi. \"Image of Figure, Image of Mind: The Portrait of Gentleman in Joseon Period [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\uc758 \u5716\u50cf\uacfc \u5fc3\u50cf: \uc870\uc120 \uc911\ud6c4\uae30 \uc120\ube44 \ucd08\uc0c1\ud654\uc758 \u4fee\u5df1\u7684 \uc758\ubbf8\ub97c \ud1b5\ud574\uc11c \ubcf8 \u518d\u73fe\u7684 \u5716\u50cf\uc758 \u5be6\u5b58\u7684 \uc758\ubbf8\uc640 \uae30\ub2a5\uc5d0 \ub300\ud55c \uc131\ucc30].\" <em>Art History</em>, vol. 15 (August 2001): 7\u201355.", "page_number": null, "url": "http://www.dbpia.co.kr/Journal/ArticleDetail/NODE00758188"}, {"citation": "Kang, Kwan-sik. \"The Hair and Eye Ritual Assumption and Modelistio Theme for Portraits of the Joseon Dynasty [\ud138\uacfc \ub208: \uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\uc758 \u796d\u5100\u7684 \u547d\u984c\uc640 \u9020\u5f62\u7684 \u8ab2\u984c].\" <em>Korean Journal of Art History</em> (December 2005): 95\u2013129.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE00999447"}, {"citation": "<em>Portraits of the Joseon Period</em> [\uc870\uc120 \uc2dc\ub300 \ucd08\uc0c1\ud654]. Seoul: National Museum of Korea, 2007.", "page_number": null, "url": null}, {"citation": "Cho, Sun-mie. <em>Great Korean Portraits.</em> Seoul: Dolbegae Publishers, 2010.", "page_number": null, "url": null}, {"citation": "Kang, Kwan-sik. \"Five Codes for the Reading Portraits of Joseon [\uc870\uc120\uc2dc\ub300 \ucd08\uc0c1\ud654\ub97c \uc77d\ub294 \ub2e4\uc12f \uac00\uc9c0 \ucf54\ub4dc].\" <em>Misulsahakbo: Reviews on the Art History</em>, no. 38 (June 2012): 135\u2013183.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE01889721"}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Yi, Yon-suk. \"Formation of DaeChongChung of Poongyang Cho Family and Publication of Family Genealogy during the 18th and 19th Centuries [18\u223c19\uc138\uae30 \ud48d\uc591\uc870\uc528\uc758 \ub300\uc885\uc911 \ud615\uc131\uacfc \uc871\ubcf4\uac04\ud589].\" <em>Journal of Korean Classics,</em> vol. 43 (June, 2014): 335\u2013370.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/NODE02437306"}], "url": "https://clevelandart.org/art/1999.15.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1999.15.2/1999.15.2_web.jpg", "width": "690", "height": "893", "filesize": "118553", "filename": "1999.15.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1999.15.2/1999.15.2_print.jpg", "width": "2629", "height": "3400", "filesize": "2187359", "filename": "1999.15.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1999.15.2/1999.15.2_full.tif", "width": "4709", "height": "6088", "filesize": "86028416", "filename": "1999.15.2_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160860, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1999.15", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Cho Hyun-myong, Duke of Pung won (born simmi)", "Double Portrait; Cho Chae-ho, Duke of Pung won (born im-o) and Cho Hyun-myong, Duke of Pung won (born simmi)"], "is_highlight": false, "updated_at": "2026-04-08 11:09:03.346000"}, {"id": 167560, "accession_number": "2009.3", "share_license_status": "CC0", "tombstone": "The Golden Hour, 1865. Samuel Palmer (British, 1805\u20131881). Watercolor and gouache with graphite and scraping; sheet: 25.6 x 35.4 cm (10 1/16 x 13 15/16 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 2009.3", "current_location": null, "title": "The Golden Hour", "creation_date": "1865", "creation_date_earliest": 1865, "creation_date_latest": 1865, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor and gouache with graphite and scraping", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 25.6 x 35.4 cm (10 1/16 x 13 15/16 in.)", "dimensions": {"sheet": {"height": 0.256, "width": 0.354}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, in brown watercolor, at lower left: S. Palmer; inscribed, in graphite, on verso: Never let drawinsg on London Board be thinned by removing paper from the back. / This drawing would be unchanged after 3 centuries if the frame were in / a folding [\"folding\" crossed out] case with a door -- unnecessary exposure to light avoided. See Missals in B. Museum / SP", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "George Gurney", "citations": [], "footnotes": [], "date": "by 1879-after 1882", "sortorder": 1}, {"description": "(sale, Christie's, London, March 17, 1883, no. 182)", "citations": [], "footnotes": ["<div><!--block-->As&nbsp;<em>The Glorious Sunset</em>.</div>"], "date": null, "sortorder": 2}, {"description": "Private Collection, England", "citations": [], "footnotes": [], "date": "1962", "sortorder": 3}, {"description": "(sale, Sotheby's, London, November 14, 1962, no. 41)", "citations": [], "footnotes": ["<div><!--block-->As&nbsp;<em>The Church by the Mill</em>.</div>"], "date": null, "sortorder": 4}, {"description": "The Fine Art Society, London", "citations": [], "footnotes": null, "date": "1962-1963", "sortorder": 5}, {"description": "Dr. Mark Fitch", "citations": [], "footnotes": [], "date": "1963-1987", "sortorder": 6}, {"description": "(Leger Galleries, Ltd., London)", "citations": [], "footnotes": null, "date": "after 1987-before 2009", "sortorder": 7}, {"description": "Private Collection, England", "citations": [], "footnotes": [], "date": "?-2009", "sortorder": 8}, {"description": "(Lowell Libson, London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "2009", "sortorder": 9}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2009-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Around the time this watercolor was made, Samuel Palmer began to focus primarily on naturalistic landscapes that he hoped would be commercially successful in order to contend with the practical responsibilities of married life and family.", "description": "Samuel Palmer developed a personal and emotionally charged style of landscape painting that celebrated nature as the product of divine creation. This watercolor of a spectacularly colorful sunset over the hills of Surrey was painted by Palmer toward the end of his life. An autumn sky heavy with rows of cumulus clouds shimmers in a pattern of pink and amethyst, as slivers of golden light emanate from the setting sun. The idyllic landscape is an elegy not only to a passing day, but to the brevity of life itself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79999562"], "internet_archive": ["https://archive.org/details/clevelandart-2009.3-the-golden-hour"]}, "citations": [{"citation": "Wilton, Andrew. <em>The Fitch Collection</em>. Exh. Cat. London: Leger Galleries, 1988.", "page_number": "Mentioned and reproduced: no. 54", "url": null}, {"citation": "Palmer, Alfred Herbert. <em>Samuel Palmer: A Memoir.</em> London: Fine Art Society, 1882", "page_number": "Mentioned: pp. i, 35, no. 83; Reproduced: facing p. 34", "url": "https://hdl.handle.net/2027/hvd.fl46gn"}, {"citation": "Palmer, Alfred Herbert. <em>The Life and Letters of Samuel Palmer, Painter and Etcher</em>. London: Eric &amp; Joan Stevens, 1972.", "page_number": "Mentioned: p. 414", "url": null}, {"citation": "Sellars, James. <em>Samuel Palmer</em>. London: Academy Editions, 1974.", "page_number": "Reproduced: p. 133", "url": null}, {"citation": "Lister, Raymond. <em>Catalogue Raisonn\u00e9 of the Works of Samuel Palmer</em>. Cambridge: Cambridge University Press, 1988.", "page_number": "Mentioned: p. 203, no. 646", "url": null}, {"citation": "<em>Samuel Palmer: An Exhibition of Palmer's Works with a Leger Provenance to Celebrate a Century of Art Dealing</em>. Exh. Cat. London: Leger Galleries, 1992.", "page_number": "Mentioned and reproduced: no. 29", "url": null}, {"citation": "<em>Treasures from the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2012.", "page_number": "Mentioned: p. 254; Reproduced: p. 255", "url": null}, {"citation": "\"Recent Acquisitions (2005-11) at the Cleveland Museum of Art.\" <em>Burlington Magazine</em> 1312, no. 154 (July 2012): 525-32.", "page_number": "Reproduced: p. 530", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: 114-15, 147, no. 38; Reproduced: p. 10 (detail), 115", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 163", "url": ""}], "catalogue_raisonne": "Lister 646", "url": "https://clevelandart.org/art/2009.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.3/2009.3_web.jpg", "width": "1237", "height": "893", "filesize": "1021740", "filename": "2009.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.3/2009.3_print.jpg", "width": "3400", "height": "2454", "filesize": "8459889", "filename": "2009.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.3/2009.3_full.tif", "width": "6249", "height": "4512", "filesize": "84703956", "filename": "2009.3_full.tif"}}, "alternate_images": [], "creditline": "The Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 167560, "creators": [{"id": 1468, "description": "Samuel Palmer (British, 1805\u20131881)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1805", "death_year": "1881", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:50.149000"}, {"id": 171606, "accession_number": "2014.388", "share_license_status": "CC0", "tombstone": "Royal Round Tent Made for Muhammad Shah, 1834\u201348. Iran, Rasht, Qajar period (1779-1925). Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring; overall: 360 x 400 x 400.1 cm (141 3/4 x 157 1/2 x 157 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2014.388", "current_location": null, "title": "Royal Round Tent Made for Muhammad Shah", "creation_date": "1834\u201348", "creation_date_earliest": 1834, "creation_date_latest": 1848, "artists_tags": [], "culture": ["Iran, Rasht, Qajar period (1779-1925)"], "technique": "Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 360 x 400 x 400.1 cm (141 3/4 x 157 1/2 x 157 1/2 in.)", "dimensions": {"overall": {"height": 3.6, "width": 4.0, "depth": 4.001}, "panel": {"height": 1.65}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscriptions:  The central design unit of panel 2014.388.2 and 2014.388.4 has two embroidered inscriptions.\n1.\tUpper inscription (center of the top blossom):\n\"Muhammad shah sultan-e ghazi.\"", "inscription_translation": "Muhammad Shah, Warrior Sultan.", "inscription_remark": "This inscription indicates that the tent was made for Muhammad Shah, who reigned from 1834-1848.", "sortorder": null}, {"inscription": "2.\tLower inscription (on the base of the vase):\n \"Kamtarin bandeh-ye dargah fath'ali.\"", "inscription_translation": "The lowliest slave of the court, Fath 'Ali.", "inscription_remark": "The \"lowliest slave\" refers to the master artisan of the tent who is identified in the traditional humble manner. It indicates that the artisan had worked in the workshop of Fath 'Ali Shah (r. 1797-1837), Muhammad Shah's father.", "sortorder": null}], "exhibitions": {"current": [{"id": 202564, "title": "Muhammad Shah's Royal Persian Tent", "description": "<i>Muhammad Shah's Royal Persian Tent</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13, 2015-August 23, 2016).", "opening_date": "2015-07-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mehdi Mahboubian [1921-2005], Oxfordshire, UK", "citations": [], "footnotes": null, "date": "by early 1980s-1991?", "sortorder": 1}, {"description": "(Sotheby's, London, sale 24 April 1991, lot 12)", "citations": [], "footnotes": ["<div><!--block-->One lot for two Qajar tents, the round Cleveland tent and a somewhat earlier rectangular tent.</div>"], "date": "April 24, 1991", "sortorder": 2}, {"description": "Private Collection, consigned to Francesca Galloway, Ltd.", "citations": [], "footnotes": [], "date": "after 1991", "sortorder": 3}, {"description": "(Francesca Galloway, Ltd., London, UK, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-2014", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Rasht</em> work is named after the city on the Caspian Sea in present-day Iran, which was a major silk trade center with numerous textile workshops.", "description": "Royal tents were potent symbols of authority, wealth, and power throughout the greater Middle East. Rulers owned thousands of tents. They were used for shelter, shade, and innumerable functions in tent compounds that were essential for imperial ceremonies, travel, and military campaigns. Distinguished by size with elaborately decorated interior walls and ceilings, tents could be as large as castles. Opulent tents were also presented as imperial gifts. <br><br>Tents are only known through documents before 1600. For example, in Baghdad in 809, Caliph Harun al-Rashid owned 4,000 ceremonial tents and 150,000 camping tents that were stored in the imperial Abbasid treasury. An astonishing variety and quantity of tents were housed in the royal Fatimid tent storeroom in Cairo in 1068\u201369, including \"military tents, fortress tents, and castle tents, manufactured of . . . gold-brocaded stuff embroidered with designs of elephants, wild beasts, horses, peacocks, birds.\" <br><br>Since 1600, Ottoman Turkish tents with elaborate floral decoration have been preserved in Istanbul in the Topkapi Palace Museum and Military Museum, and in European collections as war booty, primarily from the Ottoman Turks' attempt to conquer Vienna in 1683. These tents are not done in the Rasht technique, but rather are appliqu\u00e9.<br><br>In contrast, royal tents from Iran are extremely rare. This spectacular ceremonial tent is embroidered with the name of its owner, Muhammad Shah, who ruled Iran from 1834 to 1848 during the Qajar dynasty. The radiant jewellike interior features exuberant flora, blossoming vines, and robust birds made with colored wool embellished with silk-thread embroidery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082250"], "internet_archive": ["https://archive.org/details/clevelandart-2014.388-royal-round-tent-mad"]}, "citations": [{"citation": "\"The Shahs' Tents\" with articles by Toby Falk \"Royalty in the Field,\" Jennifer Wearden \"Rasht Textiles,\" and Ian Bennet \"A Qajar Masterpiece.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 59 (October 1991), pp.118-123.", "page_number": "Mentioned and Reproduced: pp. 118-123", "url": null}, {"citation": "Sotheby's London. <em>European and Oriental Rugs, Carpets and Textiles</em>. 24 April 1991 sale.", "page_number": "Mentioned and Reproduced: lot 12, pp. 12-13", "url": null}, {"citation": "Baker, Patricia L. Islamic Textiles. 1995.", "page_number": "p. 138-39", "url": null}, {"citation": "Atasoy, Nurhan. Otag\u0306-\u0131 Hu\u0308mayun: Ottoman imperial tent complex. I\u0307stanbul: Aygaz, 2000.", "page_number": null, "url": null}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland; New Haven: Cleveland Museum of Art; Yale University Press, 2015.", "page_number": "Reproduced: P. 8, 392-393, fig. 9.55; Mentioned: P. 226, 391, 392, 395", "url": null}, {"citation": "\"The Shah's Tent.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 185 (Autumn 2015): 94-95.", "page_number": "Reproduced: figs. 1-4, pp. 94-95", "url": null}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016.", "page_number": "Mentioned and reproduced: P. 70-71", "url": ""}, {"citation": "Mackie, Louise. \u201cAcquisitions 2015.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 20-21.", "page_number": "Reproduced: p. 20-21; Mentioned: p. 21", "url": "https://archive.org/details/CMAMM2016-02"}, {"citation": "\u201cTalks, Classes, and Experiences: Pitching the Royal Tent.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 56, no. 2 (March/April 2016): 42-43.", "page_number": "Reproduced and Mentioned: p. 42", "url": "https://archive.org/details/CMAMM2016-02"}, {"citation": "Griswold, William M. \u201cRecent Acquisitions (2013-20) at the Cleveland Museum of Art.\u201d <em>Burlington Magazine </em>163, no. 1414 (January 2021): 93-104.", "page_number": "Mentioned and reproduced: P. 102-103, no. 21; mentioned: P. 93", "url": ""}], "url": "https://clevelandart.org/art/2014.388", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.388/2014.388_web.jpg", "width": "900", "height": "692", "filesize": "164307", "filename": "2014.388_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.388/2014.388_print.jpg", "width": "3400", "height": "2614", "filesize": "1927722", "filename": "2014.388_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.388/2014.388_full.tif", "width": "9449", "height": "7266", "filesize": "205995392", "filename": "2014.388_full.tif"}}, "alternate_images": [{"date_created": "2014-05-15T12:27:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388/2014.388_alt0_web.jpg", "width": "900", "height": "867", "filesize": "532014"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388/2014.388_alt0_print.jpg", "width": "3400", "height": "3274", "filesize": "6351215"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388/2014.388_alt0_full.tif", "width": "6144", "height": "5917", "filesize": "109098820"}}, {"date_created": "2014-05-15T12:27:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388/2014.388_alt1_web.jpg", "width": "900", "height": "602", "filesize": "348673"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388/2014.388_alt1_print.jpg", "width": "3400", "height": "2276", "filesize": "4082773"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388/2014.388_alt1_full.tif", "width": "6144", "height": "4113", "filesize": "75841004"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171606, "creators": [], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834\u201348", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": "<strong>Customized storage for a very large tent<br></strong>In addition to thinking about condition issues and treating textiles before they are placed on display in the galleries, the textile conservator must also think about their storage because textiles are sensitive to light and spend much of their lives in storage. When the tent was deinstalled in 2015, we vacuumed it front and back before storing it. The wall panels were rolled on separate padded archival tubes, covered in undyed cotton muslin before being placed in storage.<br><br>Storage of the tent roof was a particular challenge. The CMA cabinetmakers constructed a sealed wood box measuring 79 x 310 x 157 cm (31 x 122 x 62 in.) to store both the tent roof and the mount armature used to erect the tent. That armature is packed at the bottom of the box. A tray that contains the tent roof fits on top of the mount armature hardware; the boss at the apex of the tent roof is supported at one end of the box. Specialized lift equipment is needed to move the box; needless to say, it is heavy as well as large.", "has_conservation_images": true, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Royal Round Tent made for Muhammad Shah (cover record)", "Royal Tent Made for Muhammad Shah (ruled 1834-48)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:48.640000"}, {"id": 96519, "accession_number": "1916.280", "share_license_status": "CC0", "tombstone": "Pendants, 1800s. India, Delhi. Gilt silver with diamonds, emeralds, rubies, pearls, and enamel. The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.280", "current_location": null, "title": "Pendants", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1916, "artists_tags": [], "culture": ["India, Delhi"], "technique": "Gilt silver with diamonds, emeralds, rubies, pearls, and enamel", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Jewelry", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 708076, "title": "East Indian Art", "description": "<i>East Indian Art</i>. The Detroit Institute of Arts, Detroit, MI (organizer) (February 10-March 29, 1942).", "opening_date": "1942-02-10T04:00:00"}, {"id": 355438, "title": "Exhibition of the Month: Jewelry of India", "description": "<i>Exhibition of the Month: Jewelry of India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 1-June 2, 1947).", "opening_date": "1947-04-01T05:00:00"}, {"id": 355686, "title": "Exhibition of the Month: Indian Miniatures", "description": "<i>Exhibition of the Month: Indian Miniatures</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 28, 1952).", "opening_date": "1952-07-15T04:00:00"}, {"id": 536104, "title": "Raja Deen Dayal: The King of Indian Photographers", "description": "<i>Raja Deen Dayal: The King of Indian Photographers</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23, 2023-February 4, 2024).", "opening_date": "2023-04-23T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. Jeptha Homer Wade II [1857\u20131926] and Mrs. Ellen Garretson Wade [1859\u20131917], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The fish are crystal on one side and emerald on the other.", "description": "Worn either as earrings or pendants from a crown, these double-sided, symmetrical jeweled assemblages each feature a fish as the central ornament. The pair of fish is one of a set of eight auspicious symbols known in Indian art for more than two millennia. As creatures of the waters that are essential for life, they betoken fertility and abundance\u2014attributes of an ideal ruler.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79479526"], "internet_archive": ["https://archive.org/details/clevelandart-1916.280-pendants"]}, "citations": [], "url": "https://clevelandart.org/art/1916.280", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.280/1916.280_web.jpg", "width": "900", "height": "674", "filesize": "272745", "filename": "1916.280_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.280/1916.280_print.jpg", "width": "3400", "height": "2547", "filesize": "2251268", "filename": "1916.280_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.280/1916.280_full.tif", "width": "10595", "height": "7936", "filesize": "252273408", "filename": "1916.280_full.tif"}}, "alternate_images": [{"date_created": "2020-11-04T17:46:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.280/1916.280_alt0_web.jpg", "width": "900", "height": "631", "filesize": "261039"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.280/1916.280_alt0_print.jpg", "width": "3400", "height": "2382", "filesize": "2058254"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.280/1916.280_alt0_full.tif", "width": "10882", "height": "7624", "filesize": "248920412"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 96519, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:32.786000"}, {"id": 121092, "accession_number": "1941.82", "share_license_status": "Copyrighted", "tombstone": "Mimi as a Brunette, 1889. Mary Cassatt (American, 1844\u20131926). Drypoint. The Cleveland Museum of Art, Bequest of Charles T. Brooks, 1941.82", "current_location": null, "title": "Mimi as a Brunette", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["female"], "culture": ["America"], "technique": "drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "dimensions": {}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": []}, "provenance": [{"description": "Charles T. Brooks, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1941", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1941-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sitter for this print, Mary (Mimi) Johnston, was able to spend extended periods of time in Paris while her husband, Princeton professor William Milligan Sloane, researched and wrote an exhaustive study of Napoleon Bonaparte.", "description": "In 1888, Mary Cassatt began to experiment with drypoint, a printmaking technique in which an artist draws directly into a copper plate with a needle. This print belongs to a series that she created at this time, each characterized by a sketchiness akin to drawing. It depicts Mary (Mimi) Johnston, Cassatt's second cousin who traveled frequently to Europe and spent long periods of time in Paris. The artist focused most closely on her sitter's face and unfocused gaze, which suggests a sense of introspection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016727"], "internet_archive": []}, "citations": [], "catalogue_raisonne": "Breeskin 116", "url": "https://clevelandart.org/art/1941.82", "images": {}, "alternate_images": [], "creditline": "Bequest of Charles T. Brooks", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121092, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-06-10T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:25.539000"}, {"id": 126085, "accession_number": "1948.303", "share_license_status": "CC0", "tombstone": "Dr. Gachet, 1890. Vincent van Gogh (Dutch, 1853\u20131890). Etching and drypoint, enhanced with black ink on laid paper; 18.1 x 15.2 cm (7 1/8 x 6 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1948.303", "current_location": null, "title": "Dr. Gachet", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "Etching and drypoint, enhanced with black ink on laid paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "18.1 x 15.2 cm (7 1/8 x 6 in.)", "dimensions": {"No Extent Specified": {"height": 0.181, "width": 0.152}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302152, "title": "The Vocabulary of Prints", "description": "<i>The Vocabulary of Prints</i>. The Cleveland Museum of Art, Cleveland, OH (July 29-December 31, 1975).", "opening_date": "1975-07-29T04:00:00"}, {"id": 302561, "title": "The Milieu of Edvard Munch", "description": "<i>The Milieu of Edvard Munch</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 5-June 5, 1977).", "opening_date": "1977-05-05T04:00:00"}, {"id": 213656, "title": "Van Gogh Repetitions", "description": "<i>Van Gogh Repetitions</i>. The Cleveland Museum of Art, Cleveland, OH (March 2-May 26, 2014).", "opening_date": "2013-10-12T00:00:00"}, {"id": 448164, "title": "There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art", "description": "<i>There\u2019s Nothing like the Real Thing: Van Gogh at the Cleveland Museum of Art</i>. The Cleveland Museum of Art (organizer) (September 17-December 5, 2021).", "opening_date": "2021-09-17T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, NY)", "citations": [], "footnotes": null, "date": "?-1948", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "November 3, 1948", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Van Gogh\u2019s brother Theo wrote of this print, \u201cIt\u2019s a real painter\u2019s etching. No refinement in the procedure, but a drawing done on metal.\u201d", "description": "This portrait of Dr. Paul Gachet, made just two months before the artist\u2019s death, is the only etching that Vincent van Gogh created. Van Gogh placed himself under the care of Gachet in Auvers-sur-Oise, a small village on the northern outskirts of Paris, at the recommendation of fellow artist Camille Pissarro. The doctor was himself an amateur printmaker and gave Van Gogh a varnished copper plate, helping him print it on his own small hand press. For his first attempt, Van Gogh depicted Gachet seated in his garden smoking a pipe.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905302"], "internet_archive": ["https://archive.org/details/clevelandart-1948.303-dr-gachet"]}, "citations": [], "url": "https://clevelandart.org/art/1948.303", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1948.303/1948.303_web.jpg", "width": "697", "height": "893", "filesize": "467731", "filename": "1948.303_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1948.303/1948.303_print.jpg", "width": "2654", "height": "3400", "filesize": "6609803", "filename": "1948.303_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1948.303/1948.303_full.tif", "width": "4096", "height": "5248", "filesize": "64517660", "filename": "1948.303_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126085, "creators": [{"id": 1779, "description": "Vincent van Gogh (Dutch, 1853\u20131890)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a clergyman, Vincent van Gogh was sent to The Hague at the age of sixteen to become an apprentice at Goupil &amp; Co., an art dealer with whom his uncle was affiliated. In August 1872 van Gogh began his extensive correspondence with his younger brother Theo, who would join the Brussels branch of the firm the following year. Vincent was transferred to the London offices in 1873 and two years later to the Paris office, but he despised the art trade and was dismissed in 1876. He then taught briefly at a boarding school in Ramsgate and Isleworth, and, back in the Netherlands, worked in a bookshop in Dordrecht before moving to Amsterdam to study theology. In little more than a year he had left the university and entered missionary school, failing again. Still intent on entering the ministry, he moved to the Borinage in Belgium and became a lay evangelist to the miners. Van Gogh finally decided to become an artist in August 1880 and started copying works by Millet (q.v.), the painter of peasant life. With his brother's financial help, he briefly joined the Academy in Brussels. The following year he returned to The Hague, where he received some artistic training from his cousin by marriage, Anton Mauve (1838-1888). There van Gogh met Sien Hoornik, a pregnant prostitute with a five-year-old daughter, with whom he lived briefly. Unable to marry her because of his family's disapproval, he moved in November 1883 from The Hague to the province of Drenthe, a popular place for artists, where he painted and drew laborers and peasants. Feeling terribly lonely, he visited his parents in December 1884 in Nuenen, and it was there that he finally decided to become a painter of peasant life. Van Gogh completed The Potato Eaters (Van Gogh Museum, Amsterdam) in April 1885 and sent it to his brother in Paris. On 25 November he moved to Antwerp, where he reveled in the work of Rubens and first came to know Japanese prints. Van Gogh traveled to Paris in March 1886 and lived with Theo. Under the influence of the impressionists, and works by Monticelli (q.v.), his palette changed to more intense and vibrant colors. He began to associate with \u00c9mile Bernard (1868-1941), Henri de Toulouse-Lautrec (1864-1901), Degas (q.v.), Gauguin (q.v.), Pissarro (q.v.), and Seurat (q.v.) and started collecting some of their paintings as well as Japanese prints. He moved to Arles in February 1888. Apart from paintings, he also made some drawings because it was a cheaper medium. Theo encouraged him to submit to the Salon des Ind\u00e9pendants. In May Vincent rented a room in the Yellow House, even though he could hardly afford to do so, and continued to send his work to his brother. In June he became intrigued with the subject of the wheat harvest and painted The Sower (Kr\u00f6ller-M\u00fcller Museum, Otterlo). On 23 October 1888, Gauguin arrived in Arles, at a time when van Gogh was having trouble with his eyesight. Gauguin encouraged him to paint from memory, which resulted in Memory of the Garden in Etten (Hermitage, St. Petersburg). The artists, however, had many disagreements, and during a dramatic quarrel on 23 December van Gogh mutilated his ear. He was taken into a hospital in Arles, and Gauguin left for Paris. Van Gogh recovered rapidly and was dismissed on 7 January 1889. In February his neighbors objected to his presence in the Yellow House, and he had to return to the hospital. In April Theo married Johanna Gesina Bonger, who would eventually safeguard most of Vincent's oeuvre. Aware of his mental problems, at the end of April van Gogh checked himself into the asylum of Saint-Paul-de-Mausole in Saint-R\u00e9my, where he was treated by Dr. Peyron. His condition was stable, and he was allowed to work in a makeshift studio. He worked in the garden (Irises, J. Paul Getty Museum, Los Angeles) and painted the fields he could see from his window. Under supervision he painted in the countryside, rendering cypresses and olive trees. Starry Night (Museum of Modern Art, New York) also stems from this period. From July through September he suffered from a severe depression that prevented him from working. He resumed his work from October through December, painting well-known Proven\u00e7al works and adapting prints after Delacroix (q.v.), Millet, and Rembrandt (1606-1669). In January 1890 he exhibited five works with Les XX in Brussels, selling one of them. After a visit to Arles at the end of February, he became ill again but continued to work. He finally left the asylum, and visited Theo in Paris on his way to Auvers, where he arrived on 20 May. He became close friends with Dr. Gachet and rented a room at the inn of the Ravoux family. He painted the village, portraits, and the surrounding wheat fields. On 27 July 1890, during an episode of depression, van Gogh shot himself in the chest and died two days later.", "name_in_original_language": null, "birth_year": "1853", "death_year": "1890", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1948-11-03T00:00:00", "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": "2026-03-27 00:04:46.663000"}, {"id": 126722, "accession_number": "1949.152", "share_license_status": "CC0", "tombstone": "Blessed Lord Buddha, c. 1825\u201350. Sri Lanka. Gum tempera on paper, varnished; overall: 57.8 x 48.3 cm (22 3/4 x 19 in.). The Cleveland Museum of Art, Gift of Dr. Obeysekera Ukwattage, 1949.152", "current_location": null, "title": "Blessed Lord Buddha", "creation_date": "c. 1825\u201350", "creation_date_earliest": 1820, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Sri Lanka"], "technique": "gum tempera on paper, varnished", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Ceylonese Art", "type": "Painting", "measurements": "Overall: 57.8 x 48.3 cm (22 3/4 x 19 in.)", "dimensions": {"overall": {"height": 0.578, "width": 0.483}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 355686, "title": "Exhibition of the Month: Indian Miniatures", "description": "<i>Exhibition of the Month: Indian Miniatures</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 28, 1952).", "opening_date": "1952-07-15T04:00:00"}, {"id": 300437, "title": "Four Modes of Composition", "description": "<i>Four Modes of Composition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-October 27, 1954).", "opening_date": "1954-09-10T04:00:00"}, {"id": 300836, "title": "The Tree of Life", "description": "<i>The Tree of Life</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 7-March 8, 1955).", "opening_date": "1955-01-07T05:00:00"}, {"id": 449919, "title": "Text and Image in Southern Asia", "description": "<i>Text and Image in Southern Asia</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2022-March 5, 2023).", "opening_date": "2022-08-26T04:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. Obeysekera Ukwattage, Colombo, Ceylon [Sri Lanka], given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131949", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1949\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The yellow pigment contains chromium, which was not used in pigments until 1818.", "description": "The central figure of the Buddha, radiating light and the flame of enlightenment, is flanked by his four main disciples: Sariputra and the blue Moggallana on his left, and Ananda and Anuruddha on his right. Below him is the earth goddess holding a pot of water on her head. To her right are three guardians of Sri Lanka: Kataragama (or Skanda) with six heads and twelve arms; the blue Vibhishana, younger brother of Ravana; and, smaller in size, may be Pattina holding an anklet and neem leaf. On the opposite side are three deities: Sumana, the four-faced Brahma, and four-armed Shiva with trident. Arranged around two depictions of the bodhi tree under which the Buddha reached enlightenment, rows of other monks bear garlands in veneration. Each of the standing protector divinities around the periphery grasps a bow and arrow.<br><br>This painting evokes the appearance of 18th- to 19th-century murals in Sri Lankan Buddhist temple interiors, such as those at Dumbulla, with its rows of golden figures. It was probably part of a domestic shrine, along with small sculptures of the Buddha, palm-leaf manuscripts of Pali scriptures, incense, oil lamps, bells, and other offerings such as food, flowers, and water. The varnish that covers the painting may have been intended to shield it from the environment of an active place of worship.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515632"], "internet_archive": ["https://archive.org/details/clevelandart-1949.152-blessed-lord-buddha"]}, "citations": [], "url": "https://clevelandart.org/art/1949.152", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1949.152/1949.152_web.jpg", "width": "711", "height": "900", "filesize": "499656", "filename": "1949.152_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1949.152/1949.152_print.jpg", "width": "2687", "height": "3400", "filesize": "5652724", "filename": "1949.152_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1949.152/1949.152_full.tif", "width": "8838", "height": "11184", "filesize": "296566064", "filename": "1949.152_full.tif"}}, "alternate_images": [{"date_created": "2014-05-07T14:23:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.152/1949.152_alt0_web.jpg", "width": "727", "height": "900", "filesize": "337259"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.152/1949.152_alt0_print.jpg", "width": "2747", "height": "3400", "filesize": "4080692"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.152/1949.152_alt0_full.tif", "width": "5597", "height": "6927", "filesize": "116346376"}}, {"date_created": "2022-08-18T11:04:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.152/1949.152_alt1_web.jpg", "width": "711", "height": "900", "filesize": "297275"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.152/1949.152_alt1_print.jpg", "width": "2686", "height": "3400", "filesize": "3666869"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1949.152/1949.152_alt1_full.tif", "width": "8837", "height": "11184", "filesize": "296528412"}}], "creditline": "Gift of Dr. Obeysekera Ukwattage", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 126722, "creators": [], "legal_status": "accessioned", "accession_date": "1949-06-14T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "c. 1825\u201350", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:08.227000"}, {"id": 129376, "accession_number": "1952.213", "share_license_status": "CC0", "tombstone": "The Temple of Flora; or Garden of Nature. Picturesque Botanical Plates of the New Illustration of the Sexual System of Linnaeus: The American Cowslip, Plate 26, 1801. Thomas Warner (English, active 1790\u20131828), after Peter Charles Henderson (British, 1771\u20131829), published by Robert John Thornton (British, 1768\u20131837). Etching with printed and hand-applied color, aquatint, stipple, and engraving; image: 44.7 x 35.7 cm (17 5/8 x 14 1/16 in.); sheet: 55.3 x 46 cm (21 3/4 x 18 1/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland in memory of Mrs. Ralph King, 1952.213", "current_location": null, "title": "The American Cowslip, Plate 26", "series": "The Temple of Flora; or Garden of Nature. Picturesque Botanical Plates of the New Illustration of the Sexual System of Linnaeus", "creation_date": "1801", "creation_date_earliest": 1801, "creation_date_latest": 1801, "artists_tags": ["male"], "culture": ["England, late 18th-early 19th Century"], "technique": "Etching with printed and hand-applied color, aquatint, stipple, and engraving", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "measurements": "Image: 44.7 x 35.7 cm (17 5/8 x 14 1/16 in.); Sheet: 55.3 x 46 cm (21 3/4 x 18 1/8 in.)", "dimensions": {"image": {"height": 0.447, "width": 0.357}, "sheet": {"height": 0.553, "width": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301685, "title": "Flower and Fruit Prints and Drawings", "description": "<i>Flower and Fruit Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 25-October 10, 1960).", "opening_date": "1960-05-25T04:00:00"}, {"id": 309648, "title": "The Perennial Garden: 18th and 19th Century Botanical Prints", "description": "<i>The Perennial Garden: 18th and 19th Century Botanical Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 3-July 31, 1983).", "opening_date": "1983-05-03T04:00:00"}, {"id": 203083, "title": "The Flowering of the Botanical Print", "description": "<i>The Flowering of the Botanical Print</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-July 3, 2016).", "opening_date": "2016-03-26T00:00:00"}, {"id": 665048, "title": "Imagination in the Age of Reason", "description": "<i>Imagination in the Age of Reason</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 28, 2024-March 2, 2025).", "opening_date": "2024-09-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Kennedy & Co. Galleries, Inc., New York, NY, sold to The Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?\u20131952", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "June 23, 1952\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Each plant in <em>The Temple of Flora </em>was paired with a scientific description of its reproductive system and a poem.", "description": "Fueled by scientific and colonial expeditions that brought back plant specimens from across the globe, the science of botany blossomed in Enlightenment Europe. This print is from a sumptuously illustrated treatise known as <em>The Temple of Flora</em>. Commissioned and published by Dr. Robert John Thornton, a British medical botanist, the work illustrates the new plant classification system of Swedish scientist Carl Linnaeus. Yet while these prints realistically depict buds, flowers, and leaves, they show them in environments where they did not actually grow. Instead, Thornton had the artists situate specimens in imagined landscapes, often reminiscent of British colonial holdings, which he felt better suited the plants", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79910161"], "internet_archive": ["https://archive.org/details/clevelandart-1952.213-the-temple-of-flora", "https://archive.org/details/clevelandart-1952.213-the-american-cowslip"]}, "citations": [], "catalogue_raisonne": "Dunthorne 301, p. 250; Nissen 1955", "url": "https://clevelandart.org/art/1952.213", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.213/1952.213_web.jpg", "width": "682", "height": "900", "filesize": "209599", "filename": "1952.213_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.213/1952.213_print.jpg", "width": "2578", "height": "3400", "filesize": "2627576", "filename": "1952.213_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.213/1952.213_full.tif", "width": "4089", "height": "5392", "filesize": "66173852", "filename": "1952.213_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland in memory of Mrs. Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129376, "creators": [{"id": 674094, "description": "Thomas Warner (English, active 1790\u20131828)", "extent": "engraved by", "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 674090, "description": "Peter Charles Henderson (British, 1771\u20131829)", "extent": "designed by", "qualifier": "after", "role": "artist", "biography": "British painter, active 1799, died 1829", "name_in_original_language": null, "birth_year": "1771", "death_year": "1829", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 27182, "description": "Robert John Thornton (British, 1768\u20131837)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1768", "death_year": "1837", "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1952-06-23T00:00:00", "sortable_date": 1801, "date_added_to_oa": null, "date_text": "1801", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:55.879000"}, {"id": 153129, "accession_number": "1986.136", "share_license_status": "CC0", "tombstone": "Sculptress, 1897. Eug\u00e8ne Grasset (French, 1841\u20131917). Lithograph with watercolor added by hand; sheet: 64.5 x 49.5 cm (25 3/8 x 19 1/2 in.); image: 53.1 x 37 cm (20 7/8 x 14 9/16 in.). The Cleveland Museum of Art, Gift of Henry H. Hawley, 1986.136", "current_location": null, "title": "Sculptress", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph with watercolor added by hand", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 64.5 x 49.5 cm (25 3/8 x 19 1/2 in.); Image: 53.1 x 37 cm (20 7/8 x 14 9/16 in.)", "dimensions": {"sheet": {"height": 0.645, "width": 0.495}, "image": {"height": 0.531, "width": 0.37}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}, {"id": 311457, "title": "Symbolist Prints", "description": "<i>Symbolist Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1991-January 12, 1992).", "opening_date": "1991-11-05T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Eug\u00e8ne Grasset was himself a sculptor.", "description": "Grasset, greatly influenced by the art of Japan, Persia, and Egypt, created designs for stained glass windows, furniture, tapestries, and fabrics. This female allegory of Sculpture was meant for an 1898 exhibition poster. Only the black areas and lines were printed. Rather than using a separate stone to print each color, watercolor was applied with the aid of a stencil.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79938565"], "internet_archive": ["https://archive.org/details/clevelandart-1986.136-sculptress"]}, "citations": [], "catalogue_raisonne": "Arwas 23", "url": "https://clevelandart.org/art/1986.136", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.136/1986.136_web.jpg", "width": "634", "height": "900", "filesize": "228715", "filename": "1986.136_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.136/1986.136_print.jpg", "width": "2396", "height": "3400", "filesize": "2268122", "filename": "1986.136_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.136/1986.136_full.tif", "width": "4107", "height": "5829", "filesize": "71853276", "filename": "1986.136_full.tif"}}, "alternate_images": [], "creditline": "Gift of Henry H. Hawley", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153129, "creators": [{"id": 29705, "description": "Eug\u00e8ne Grasset (French, 1841\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1841", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1986-12-15T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:48.294000"}, {"id": 105480, "accession_number": "1923.602", "share_license_status": "CC0", "tombstone": "Midnight, 1891. Jean-Charles Cazin (French, 1841\u20131901). Oil on fabric; framed: 113 x 112.4 x 11.4 cm (44 1/2 x 44 1/4 x 4 1/2 in.); unframed: 88 x 89 cm (34 5/8 x 35 1/16 in.). The Cleveland Museum of Art, The Charles W. Harkness Gift, 1923.602", "current_location": null, "title": "Midnight", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "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: 113 x 112.4 x 11.4 cm (44 1/2 x 44 1/4 x 4 1/2 in.); Unframed: 88 x 89 cm (34 5/8 x 35 1/16 in.)", "dimensions": {"framed": {"height": 1.13, "width": 1.124, "depth": 0.114}, "unframed": {"height": 0.88, "width": 0.89}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: j. c. cazin. 91\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Paris, Champ de Mars. Salon (1891), no. 181, Minuit (repr.).", "opening_date": null}, {"description": "Chicago. World's Columbian Exposition (1893), rev. cat., no. 3034, Midnight Moonlight, Abbeville, France, lent by Charles T. Yerkes, Chicago.", "opening_date": null}]}, "provenance": [{"description": "Shipped with two other works by Cazin from Knoedler Paris to the branch in New York, 16 May 1891 (stock number 6834), as \"Night with Stars.\"", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Sold 12 November 1891 to R. K. McNeely, Philadelphia, as \"Night,\" (Cazin's Studio). (Sales book no. 6, p. 314).", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Charles T. Yerkes, Philadelphia and Chicago, by 1893.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "New York sale, Estate of Mary Adelaide Yerkes, American Art Association, 19-20 February 1912 (lot 142, repr.), as \"Moonlight at Midnight.\"", "citations": [], "footnotes": null, "date": null, "sortorder": 4}, {"description": "Edward S. Harkness, Cleveland, OH.", "citations": [], "footnotes": [], "date": null, "sortorder": 5}, {"description": "Donated to the Cleveland Museum of Art in 1923.", "citations": [], "footnotes": null, "date": null, "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Cazin preferred to paint in his studio using memory techniques learned in his artistic training which he later passed on to his own students.", "description": "This painting depicts Abbeville, a city in northern France famous for its canals and architecture. It lies near the seaport of Boulogne-sur-Mer, Cazin's hometown and where he spent the last decades of his life painting the countryside, beaches, and nearby towns. Cazin specialized in landscapes, often influenced by his knowledge of English and Dutch painters. The title, <em>Midnight</em>, and the image itself suggest silence and stillness\u2014Cazin's hallmarks\u2014but only rarely did he attain this almost surrealistic atmosphere. Cazin was educated in Paris at the famous Ecole Gratuite de Dessins (Free School of Drawing), an innovative and unorthodox institution teaching drawing from memory. He studied there with fellow artists Henri Fantin-Latour (1836\u20131904), Auguste Rodin (1840\u20131917), and Alphonse Legros (1837\u20131911). They all shared an interest in Symbolism\u2014the movement that sees symbols in reality and perceives reality through symbols.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503420"], "internet_archive": []}, "citations": [{"citation": "\"Bequest of Mrs. Charles W. Harkness.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 63.", "page_number": "Mentioned: p. 63", "url": "http://www.jstor.org/stable/25136090"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 30", "url": "https://archive.org/details/CMAHandbook_80839/page/n32"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 37", "url": "https://archive.org/details/CMAHandbook1928/page/n41"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 116-118, Vol. I, no. 44", "url": ""}], "url": "https://clevelandart.org/art/1923.602", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.602/1923.602_web.jpg", "width": "901", "height": "893", "filesize": "127270", "filename": "1923.602_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.602/1923.602_print.jpg", "width": "3400", "height": "3370", "filesize": "1839447", "filename": "1923.602_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.602/1923.602_full.tif", "width": "5682", "height": "5633", "filesize": "96041996", "filename": "1923.602_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.602/1923.602_alt0_web.jpg", "width": "906", "height": "893", "filesize": "638734"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.602/1923.602_alt0_print.jpg", "width": "1558", "height": "1536", "filesize": "1890812"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.602/1923.602_alt0_full.tif", "width": "1558", "height": "1536", "filesize": "7181908"}}, {"date_created": "2013-05-21T18:37:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.602/1923.602_alt1_web.jpg", "width": "904", "height": "893", "filesize": "122040"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.602/1923.602_alt1_print.jpg", "width": "3400", "height": "3360", "filesize": "2375667"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.602/1923.602_alt1_full.tif", "width": "6037", "height": "5967", "filesize": "108090420"}}], "creditline": "The Charles W. Harkness Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105480, "creators": [{"id": 1751, "description": "Jean-Charles Cazin (French, 1841\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jean Charles Cazin was educated in Boulogne-sur-Mer and England before completing his high-school degree in Lille. He had always shown artistic promise and by 1863 was living in Paris and submitting a landscape painting to the Salon des Refus\u00e9s. He enrolled at the \u00c9cole Gratuite de Dessin, where he studied drawing under Horace Lecoq de Boisbaudran (1802-1897), an innovative and unorthodox instructor who had developed his own teaching method based on drawing from memory. Many other young artists were attracted to his teaching style, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), and Auguste Rodin (1840-1917). Cazin's friendship with his mentor led to a teaching position at the \u00c9cole Sp\u00e9ciale d'Architecture in Paris, and he later became the director of the \u00c9cole de Dessin and curator of the museum in Tours. In 1871, after the devastation caused by the Franco-Prussian War (1870-71), Cazin and his wife, Marie Guillet, an artist who had studied under Bonheur (q.v.), left for England. During this period he turned to the decorative arts and created ceramics influenced by Japonism. Cazin's pottery served to support his family during this time of postwar economic depression; he would eventually hire his own staff to produce the ceramics that he would then decorate. After the traditional tour of Italy and a short stay in Antwerp, he returned to France in 1875 and settled near Boulogne-sur-Mer. There he painted landscapes and the beaches of this coastal town. Cazin received the L\u00e9gion d'Honneur in 1882, a gold medal at the Universal Exposition of 1889, and a Grand Prix in 1900.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-09-24T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:27.002000"}, {"id": 121269, "accession_number": "1942.1140", "share_license_status": "CC0", "tombstone": "Portrait of Sir Thomas Baring, 2nd Baronet, 1803. George Engleheart (British, 1752\u20131829). Watercolor on ivory in a gilt metal frame with plaited brown hair in glazed reserve on back; framed: 8.6 x 7 cm (3 3/8 x 2 3/4 in.); unframed: 8 x 6.3 cm (3 1/8 x 2 1/2 in.). The Cleveland Museum of Art, The Edward B. Greene Collection, 1942.1140", "current_location": null, "title": "Portrait of Sir Thomas Baring, 2nd Baronet", "creation_date": "1803", "creation_date_earliest": 1803, "creation_date_latest": 1803, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor on ivory in a gilt metal frame with plaited brown hair in glazed reserve on back", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 8.6 x 7 cm (3 3/8 x 2 3/4 in.); Unframed: 8 x 6.3 cm (3 1/8 x 2 1/2 in.)", "dimensions": {"framed": {"height": 0.086, "width": 0.07}, "unframed": {"height": 0.08, "width": 0.063}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed right:  E", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311503, "title": "Intimate Images: Portrait Miniatures from Europe and America", "description": "<i>Intimate Images: Portrait Miniatures from Europe and America</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-October 17, 1993).", "opening_date": "1993-03-26T04:00:00"}, {"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Leo Schidlof (1886-1966), Paris, France, sold to Edward B. Greene).", "citations": [], "footnotes": [], "date": "By 1928-1930", "sortorder": null}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1930-1942", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Engleheart also painted miniatures of Baring's wife and elder sons whose names are listed in the artists fee book; he was charging from 12 to 15 guineas for a miniature painting.", "description": "Though this portrait has had the title \u201cPortrait of a Man\u201d since 1942 when it entered the museum\u2019s collection, the <br>sitter was identified by previous owners, including Leo Schidlof and Edward Greene, as a member of the famous Baring banking family, of whom G. C. Williamson mentions several members in his biography of George Engleheart.<br>Thomas Baring (1772\u20131848) was not elevated to the baronetcy until 1810. Thomas was a member of Parliament, <br>partner in the firm Baring Brothers &amp; Co. from 1804, and chairman of the London and Southwestern Railroad from 1832 to 1833. Baring Brothers &amp; Co. brokered the $15 million Louisiana Purchase in 1802, which doubled the size of the United States and financially refueled Napoleon\u2019s war effort. <br>Thomas wears a dark blue coat with brass buttons, white waistcoat with a high white collar, bow, and frill down the front, all of which was standard attire for British gentlemen at the turn of the century. His hair is worn \u00e0 l\u2019antique (hair cut short and worn in curls, especially around the forehead), a style sported by men after the turn of the century that evokes the coiffures of statesmen of ancient Rome. The back of the frame contains plaited brown hair. There is a small area of pigment loss located at the lower right edge of the sitter\u2019s coat.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80017055"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1140-portrait-of-sir-thom"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>Portrait Miniatures </em>; <em>The Edward B. Greene Collection.</em> Cleveland, OH: The Cleveland Museum of Art, 1951.", "page_number": "Reproduced: p. 27, no. 13, pl. XVIII", "url": "https://archive.org/details/PortraitMiniatures/page/n65"}, {"citation": "Cleveland Museum of Art, and Alan Chong.<em> European &amp; American Painting in the Cleveland Museum of Art: A Summary Catalogue</em>. Cleveland, Ohio: Cleveland Museum of Art, 1993.", "page_number": "p. 286", "url": ""}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives. </em>2013.", "page_number": "Mentioned: p.85", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl.<em> British Portrait Miniatures: The Cleveland Museum of Art.</em> 2013.", "page_number": "Cat. no. 63, pp. 244-246", "url": ""}], "url": "https://clevelandart.org/art/1942.1140", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1140/1942.1140_web.jpg", "width": "670", "height": "893", "filesize": "79439", "filename": "1942.1140_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1140/1942.1140_print.jpg", "width": "2550", "height": "3400", "filesize": "990580", "filename": "1942.1140_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1140/1942.1140_full.tif", "width": "6000", "height": "8000", "filesize": "144022096", "filename": "1942.1140_full.tif"}}, "alternate_images": [{"date_created": "2008-01-02T17:29:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt0_web.jpg", "width": "641", "height": "893", "filesize": "372820"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt0_print.jpg", "width": "2442", "height": "3400", "filesize": "4488310"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt0_full.tif", "width": "3876", "height": "5397", "filesize": "62787896"}}, {"date_created": "2008-10-07T18:44:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt1_web.jpg", "width": "684", "height": "893", "filesize": "410675"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt1_print.jpg", "width": "2603", "height": "3400", "filesize": "4967679"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt1_full.tif", "width": "3395", "height": "4434", "filesize": "45189880"}}, {"date_created": "2013-02-08T18:44:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt2_web.jpg", "width": "670", "height": "893", "filesize": "93496"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "1100619"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1140/1942.1140_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144022068"}}], "creditline": "The Edward B. Greene Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121269, "creators": [{"id": 3709, "description": "George Engleheart (British, 1752\u20131829)", "extent": null, "qualifier": null, "role": "artist", "biography": "George Engleheart was born in Kew to a German plaster modeler. Among his teachers were George Barret (1728/32\u2013 <br>1784) and Joshua Reynolds (1723\u20131792), whose work Engleheart copied in miniature. One of Richard Cosway\u2019s (1742\u20131821) greatest rivals and stylistically the closest to his work, Engleheart worked primarily in London until retiring in 1813, after which date he painted few miniatures. Engleheart\u2019s miniatures have a more linear, labored manner than those of Cosway, whose painterly works were often left unfinished near the edges. Like Cosway, Engleheart often placed <br>his figures against a background of sky. But the firm draftsmanship (especially in the hair), heavy brows, and the use of grays and blacks for shadows are distinctive to Engleheart, who was celebrated for his ability to capture a sitter\u2019s likeness closely. Engleheart\u2019s productivity is documented by the fee book he kept between 1775 and 1813, which records an astounding total of 4,853 miniatures. He exhibited at the Royal Academy between 1773 and 1812, and was miniature painter to King George III from 1789. There are three fine Engleheart miniatures in the collection of the Cleveland Museum of Art, all portraits of gentlemen dating near the turn of the century.", "name_in_original_language": null, "birth_year": "1752", "death_year": "1829", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-31T00:00:00", "sortable_date": 1803, "date_added_to_oa": null, "date_text": "1803", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Portrait of a Man"], "is_highlight": false, "updated_at": "2026-03-27 00:06:55.195000"}, {"id": 130598, "accession_number": "1953.320", "share_license_status": "CC0", "tombstone": "Panel from a Head Covering (\u2018Ajar), probably 1800s or early 1900s. Africa, North Africa, Tunisia, probably Testour or Tunis, Tunisian weaver. Silk, metal, dye; overall: 117.2 x 53.4 cm (46 1/8 x 21 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1953.320", "current_location": null, "title": "Panel from a Head Covering (\u2018Ajar)", "creation_date": "probably 1800s or early 1900s", "creation_date_earliest": 1800, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, North Africa, Tunisia, probably Testour or Tunis, Tunisian weaver"], "technique": "Silk, metal, dye", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 117.2 x 53.4 cm (46 1/8 x 21 in.)", "dimensions": {"overall": {"height": 1.172, "width": 0.534}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 669620, "title": "Arts of the Maghreb: North African Textiles and Jewelry", "description": "<i>Arts of the Maghreb: North African Textiles and Jewelry</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3, 2024-October 12, 2025).", "opening_date": "2024-11-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Jose Vi\u00f1as, Barcelona, Spain, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "1953", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1953-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The <em>khamsah</em> (\u062e\u0645\u0633\u0629), an open five-fingered hand, is a protective motif. It is woven in red in multiple ways on this panel.", "description": "This panel was part of an urban Tunisian woman\u2019s head-covering (<em>\u2018ajar</em>). Two such panels flanked a face-obscuring black panel. Such luxurious garments of seclusion were once reserved for elites. The decorative panels draped down when worn, showing off the finely woven motifs and demonstrating the wearer\u2019s family wealth. Arranged in bands, motifs include stylized trees (or protective hands), flowers, eight-pointed stars, and geometric designs. The mirrored Kufic (squared Arabic script) lettering in teal is likely the name of the weaver or panel owner. Weavers with Muslim Andalusian (southern Spanish) heritage originally made these, drawing from Andalusian and Turkish motifs; later, workshops in Tunis produced them.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79912524"], "internet_archive": ["https://archive.org/details/clevelandart-1953.320-panel-from-a-head-co"]}, "citations": [{"citation": "Chakerian, Peter. \u201c'Maghreb' sews artistic traditions of Morocco, Algeria and Tunisia.\u201d <em>The Plain Dealer</em> (Friday, November 1, 2024): D1, D5.", "page_number": "", "url": ""}, {"citation": "Gebremedhen, Helina. \u201cArts of the Maghreb: North African Textiles and Jewelry \u2013 Curatorial Reflections.\u201d <em>Journal 18</em>, Issue #19 (Spring 2025).", "page_number": "", "url": "https://www.journal18.org/19-africa/arts-of-the-maghreb-north-african-textiles-and-jewelry-curatorial-reflections/"}, {"citation": "Gillow, John. <em>African Textiles: Colour and Creativity Across a Continent.</em> London: Thames &amp; Hudson, 2003.", "page_number": "p. 232", "url": null}, {"citation": "Windmuller-Luna, Kristen. \"Textile stories from North Africa.\" <em>HALI </em>224 (Summer 2025): 54-61.", "page_number": "Reproduced: p. 57, fig. 6", "url": ""}], "url": "https://clevelandart.org/art/1953.320", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1953.320/1953.320_web.jpg", "width": "467", "height": "900", "filesize": "292325", "filename": "1953.320_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1953.320/1953.320_print.jpg", "width": "1765", "height": "3400", "filesize": "2891239", "filename": "1953.320_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1953.320/1953.320_full.tif", "width": "6191", "height": "11924", "filesize": "221493832", "filename": "1953.320_full.tif"}}, "alternate_images": [{"date_created": "2010-08-10T15:16:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt0_web.jpg", "width": "451", "height": "900", "filesize": "302041"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt0_print.jpg", "width": "1702", "height": "3400", "filesize": "2690400"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt0_full.tif", "width": "3262", "height": "6517", "filesize": "63801416"}}, {"date_created": "2010-08-10T15:23:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt1_web.jpg", "width": "674", "height": "900", "filesize": "420147"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "5755232"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt1_full.tif", "width": "4992", "height": "6668", "filesize": "99888756"}}, {"date_created": "2024-02-05T15:53:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt2_web.jpg", "width": "471", "height": "900", "filesize": "293511"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt2_print.jpg", "width": "1781", "height": "3400", "filesize": "2862749"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt2_full.tif", "width": "6217", "height": "11871", "filesize": "221435108"}}, {"date_created": "2024-02-05T16:04:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt3_web.jpg", "width": "900", "height": "517", "filesize": "316655"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt3_print.jpg", "width": "3400", "height": "1953", "filesize": "4532035"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1953.320/1953.320_alt3_full.tif", "width": "13771", "height": "7909", "filesize": "326774368"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130598, "creators": [], "legal_status": "accessioned", "accession_date": "1953-07-17T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "probably 1800s or early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Length of Textile"], "is_highlight": false, "updated_at": "2026-03-27 00:02:45.966000"}, {"id": 148149, "accession_number": "1975.149", "share_license_status": "CC0", "tombstone": "The Arch of Titus and the Coliseum, Rome, 1846. Thomas Hartley Cromek (British, 1809\u20131873). Watercolor with black ink and graphite underdrawing; sheet: 52.4 x 36 cm (20 5/8 x 14 3/16 in.). The Cleveland Museum of Art, Gift of the Reverend and Mrs. Danila Pascu, 1975.149", "current_location": null, "title": "The Arch of Titus and the Coliseum, Rome", "creation_date": "1846", "creation_date_earliest": 1846, "creation_date_latest": 1846, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with black ink and graphite underdrawing", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 52.4 x 36 cm (20 5/8 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.524, "width": 0.36}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, inscribed, and dated, in black ink, at lower left: T.H. CROMEK.f.ROME. 1846", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "The Royal Academy, London, England (1850).", "opening_date": null}]}, "provenance": [{"description": "Reverend and Mrs. Danila Pascu, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1975", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "According to a ledger recording Thomas Hartley Cromek's sales, the artist sold 13 versions of the image seen in this drawing.", "description": "Thomas Hartley Cromek\u2019s detailed renderings of classical ruins in Italy and Greece appealed to British visitors seeking mementos of their Grand Tour travels. Like many artists of his generation, Cromek went to Italy as a young man and settled in Rome, remaining abroad for 20 years and establishing a solid reputation as a watercolorist. Periodically he returned to England to court potential patrons and sell his work. Upon one of these journeys home, he was summoned to Buckingham Palace where Queen Victoria and Prince Albert purchased several watercolors. This drawing exemplifies the topographical accuracy and clarity of Cromek\u2019s most successful work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79928208"], "internet_archive": ["https://archive.org/details/clevelandart-1975.149-the-arch-of-titus-an"]}, "citations": [{"citation": "\"Annual Report for 1975.\" <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 6 (1976): 155-98.", "page_number": "Mentioned and reproduced: p. 167", "url": "https://www.jstor.org/stable/25152644"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1975.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 2 (1976).", "page_number": "p. 67, no. 73", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 88-9, 144, no. 29; Reproduced: p. 89", "url": null}, {"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 162", "url": ""}], "url": "https://clevelandart.org/art/1975.149", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.149/1975.149_web.jpg", "width": "614", "height": "893", "filesize": "463208", "filename": "1975.149_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.149/1975.149_print.jpg", "width": "2336", "height": "3400", "filesize": "5922986", "filename": "1975.149_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.149/1975.149_full.tif", "width": "3176", "height": "4622", "filesize": "44076064", "filename": "1975.149_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Reverend and Mrs. Danila Pascu", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148149, "creators": [{"id": 1349, "description": "Thomas Hartley Cromek (British, 1809\u20131873)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1809", "death_year": "1873", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-11-29T00:00:00", "sortable_date": 1846, "date_added_to_oa": null, "date_text": "1846", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Arch of Titus with the Colosseum in the Background"], "is_highlight": false, "updated_at": "2026-03-27 00:08:27.301000"}, {"id": 155625, "accession_number": "1990.69", "share_license_status": "CC0", "tombstone": "Scholar Playing a Qin (\uac70\ubb38\uace0 \ud0c0\ub294 \uc778\ubb3c (\u6708\u4e0b\u5f48\u7434\u5716)), 1800s. Korea, Joseon dynasty (1392\u20131910). Album leaf; ink and color on silk; painting only: 23.5 x 23.8 cm (9 1/4 x 9 3/8 in.); overall: 26.5 x 26.5 cm (10 7/16 x 10 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1990.69", "current_location": null, "title": "Scholar Playing a Qin", "title_in_original_language": "\uac70\ubb38\uace0 \ud0c0\ub294 \uc778\ubb3c (\u6708\u4e0b\u5f48\u7434\u5716)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "album leaf; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Album leaf", "type": "Painting", "measurements": "Painting only: 23.5 x 23.8 cm (9 1/4 x 9 3/8 in.); Overall: 26.5 x 26.5 cm (10 7/16 x 10 7/16 in.)", "dimensions": {"painting only": {"height": 0.235, "width": 0.238}, "overall": {"height": 0.265, "width": 0.265}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}, {"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Kang Collection, New York, NY, sold to the Cleveland)", "citations": [], "footnotes": null, "date": "?\u20131990", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1990\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Korean zither with six strings, depicted in this painting, was often played by men.", "description": "The painting invites viewers to an intimate qin, or zither, recital in the cool breezy night under the moon. The musician at the center gently strums the strings, while his servant boy is drowsing, without realizing the tea pot is steaming. In older times, playing a musical instrument was considered an effective way to cultivate one's spiritual and mental balance.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476528"], "internet_archive": ["https://archive.org/details/clevelandart-1990.69-scholar-playing-a-qi"]}, "citations": [{"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Mentioned: p. 52; Reproduced: p. 45, no. 23", "url": ""}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Narrative Figure Paintings of the Joseon Dynasty</em> [\uc870\uc120 \uc2dc\ub300 \uace0\uc0ac \uc778\ubb3c\ud654]. Seoul: National Museum of Korea, 2016.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: p. 184, no. 114", "url": ""}], "url": "https://clevelandart.org/art/1990.69", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1990.69/1990.69_web.jpg", "width": "902", "height": "893", "filesize": "711377", "filename": "1990.69_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1990.69/1990.69_print.jpg", "width": "3400", "height": "3366", "filesize": "12088847", "filename": "1990.69_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1990.69/1990.69_full.tif", "width": "4265", "height": "4223", "filesize": "54063144", "filename": "1990.69_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155625, "creators": [], "legal_status": "accessioned", "accession_date": "1990-09-06T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:37.633000"}, {"id": 374023, "accession_number": "2019.225", "share_license_status": "CC0", "tombstone": "Fairy of the Alps, c. 1885. Henri Fantin-Latour (French, 1836\u20131904). Charcoal with white chalk and black chalk, with framing lines in black crayon and squaring marks in graphite, on laid paper discolored to tan; sheet: 62.5 x 46.7 cm (24 5/8 x 18 3/8 in.). The Cleveland Museum of Art, Mr. and Mrs. Richard W. Whitehill Art Purchase Endowment Fund, 2019.225", "current_location": null, "title": "Fairy of the Alps", "creation_date": "c. 1885", "creation_date_earliest": 1880, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["France"], "technique": "charcoal with white chalk and black chalk, with framing lines in black crayon and squaring marks in graphite, on laid paper discolored to tan", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 62.5 x 46.7 cm (24 5/8 x 18 3/8 in.)", "dimensions": {"sheet": {"height": 0.625, "width": 0.467}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, upper right, in charcoal: Fantin", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>Exposition de dessins de Fantin-Latour</em>. Galerie Tempelaere, Paris (December 2\u201321, 1901).", "opening_date": "1901-01-01T00:00:00"}]}, "provenance": [{"description": "Madame Albert Esnault-Pelterie, Paris", "citations": [], "footnotes": null, "date": "by 1901-1937", "sortorder": 1}, {"description": "(her sale, H\u00f4tel Drouot, Paris, November 4, 1937, no. 11)", "citations": [], "footnotes": null, "date": "1937", "sortorder": 2}, {"description": "(sale, De Baecque et Associ\u00e9s, Paris, June 19, 2017, no. 230)", "citations": [], "footnotes": null, "date": "2017", "sortorder": 3}, {"description": "(Jill Newhouse, New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2017-2019", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2019-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing relates to a print of the same year. Fantin used this sheet to work out his composition before completing a drawing on tracing paper, which was then used to transfer the image to a lithographic stone.", "description": "Henri Fantin-Latour\u2019s drawings featured imaginative compositions, often inspired by the music of contemporary German composers. This sheet relates to the symphonic work <em>Manfred</em> by Robert Schumann (1848), a drama in which Manfred encounters apparitions while mourning his lost lover. Fantin used layers of dark charcoal to evoke the emotional tenor of his subject and to translate the experience of listening to Schumann\u2019s music using a visual medium.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279939"], "internet_archive": ["https://archive.org/details/clevelandart-2019.225-fairy-of-the-alps"]}, "citations": [{"citation": "H\u00e9diard, Germain. \"Les Dessins de Fantin-Latour.\" Unpublished manuscript, 1901. Biblioth\u00e8que Nationale de France (YB3-2752-4).", "page_number": "Mentioned: nos. 77 (dessins encadr\u00e9s) and 12 (exposition chez M. Tempelaere)", "url": ""}, {"citation": "Dubourg, Victoria. <em>Catalogue de l\u2019\u0153uvre complet (1849\u20131904) de Fantin-Latour</em>. Paris: Floury, 1911.", "page_number": "Mentioned: p. 129, no. 1242", "url": null}, {"citation": "<em>Tableaux modernes et du XIXe si\u00e8cle </em>[. . .] <em>appartenant \u00e0 M. X </em>[. . .]. Paris: H\u00f4tel Drouot, 1937.", "page_number": "Mentioned: p. 4, no. 11", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 142-143, no. 26", "url": ""}], "catalogue_raisonne": "Dubourg 1242", "url": "https://clevelandart.org/art/2019.225", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.225/2019.225_web.jpg", "width": "673", "height": "900", "filesize": "302274", "filename": "2019.225_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.225/2019.225_print.jpg", "width": "2541", "height": "3400", "filesize": "4315125", "filename": "2019.225_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.225/2019.225_full.tif", "width": "8850", "height": "11842", "filesize": "314433489", "filename": "2019.225_full.tif"}}, "alternate_images": [{"date_created": "2019-11-27T11:16:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.225/2019.225_alt0_web.jpg", "width": "671", "height": "900", "filesize": "310770"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.225/2019.225_alt0_print.jpg", "width": "2536", "height": "3400", "filesize": "4210145"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.225/2019.225_alt0_full.tif", "width": "9513", "height": "12753", "filesize": "363984816"}}, {"date_created": "2019-11-27T11:16:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.225/2019.225_alt1_web.jpg", "width": "654", "height": "900", "filesize": "345211"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.225/2019.225_alt1_print.jpg", "width": "2469", "height": "3400", "filesize": "4504055"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.225/2019.225_alt1_full.tif", "width": "7449", "height": "10257", "filesize": "229240060"}}], "creditline": "Mr. and Mrs. Richard W. Whitehill Art Purchase Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 374023, "creators": [{"id": 374020, "description": "Henri Fantin-Latour (French, 1836\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter and printmaker, 1836-1904", "name_in_original_language": null, "birth_year": "1836", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1885", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:38.072000"}, {"id": 82903, "accession_number": "2020.150", "share_license_status": "CC0", "tombstone": "Family Scene, 1893. Pierre Bonnard (French, 1867\u20131947). Color lithograph on beige wove paper; image: 28.8 x 19.8 cm (11 5/16 x 7 13/16 in.); sheet: 56.5 x 43.5 cm (22 1/4 x 17 1/8 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.150", "current_location": null, "title": "Family Scene", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "color lithograph on beige wove paper", "support_materials": [{"description": "beige wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 28.8 x 19.8 cm (11 5/16 x 7 13/16 in.); Sheet: 56.5 x 43.5 cm (22 1/4 x 17 1/8 in.)", "dimensions": {"sheet": {"height": 0.565, "width": 0.435}, "image": {"height": 0.288, "width": 0.198}}, "state_of_the_work": null, "edition_of_the_work": "100", "copyright": null, "inscriptions": [{"inscription": "signed and inscribed, lower right, in graphite: no. 22 / P. Bonnard", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "at lower left: blind stamp of L\u2019Estampe Originale", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in pencil on recto, lower right: \"No. 6 (?)/P. Bonnard (signed)\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 11, 2022-January 8, 2023).", "opening_date": "2022-09-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Mark Rosen Fine Art, New York, NY, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "?-2005", "sortorder": 1}, {"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2005-2020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The embossed mark below the lower left corner of this print indicates that it was included in <em>L'Estampe Originale</em>, a monthly luxury publication during the 1890s that featured original prints.", "description": "Pierre Bonnard favored domestic scenes, often focusing on the intimacy of family life. This early lithograph is one of several that he made depicting his sister Andr\u00e9e and her infant son Jean, born the year before. Bonnard included himself in the image at lower right, gazing at his nephew. The awkward cropping of the figures of the artist and his sister, along with the flat planes of color throughout the image, suggest the influence of Japanese woodblock prints on Bonnard during this period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87480844"], "internet_archive": ["https://archive.org/details/clevelandart-2020.150-family-scene"]}, "citations": [{"citation": "Bouvet, Francis. <em>Bonnard: The Complete Graphic Work</em>. New York: Rizzoli, 1981.", "page_number": "Mentioned: no. 4.", "url": ""}, {"citation": "Chapin, Mary Weaver. \u201cFamily Life.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 100-137. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 105; Reproduced: P. 133, no. 77", "url": ""}, {"citation": "Brown, Heather Lemonedes. \u201cCurating Private Lives: Two curators thousands of miles apart collaborate on a show that depicts everyday life in Paris at the turn of the 19th century.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 2 (Spring 2021): 18-21.", "page_number": "Reproduced: P. 21", "url": "https://archive.org/details/CMAMM2021-02/page/18/mode/2up"}, {"citation": "Chapin, Mary Weaver. \"Pierre Bonnard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 102-127. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 104-105; Mentioned: p. 254-257", "url": ""}], "catalogue_raisonne": "Bouvet 4", "url": "https://clevelandart.org/art/2020.150", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.150/2020.150_web.jpg", "width": "650", "height": "900", "filesize": "198453", "filename": "2020.150_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.150/2020.150_print.jpg", "width": "2454", "height": "3400", "filesize": "2097640", "filename": "2020.150_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.150/2020.150_full.tif", "width": "8927", "height": "12369", "filesize": "331281756", "filename": "2020.150_full.tif"}}, "alternate_images": [{"date_created": "2020-02-19T10:36:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.150/2020.150_alt0_web.jpg", "width": "650", "height": "900", "filesize": "326307"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.150/2020.150_alt0_print.jpg", "width": "2454", "height": "3400", "filesize": "4434815"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.150/2020.150_alt0_full.tif", "width": "8927", "height": "12369", "filesize": "331283324"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 82903, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). 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Bohemia, 19th century. Ruby glass with engraved decoration; diameter: 36.5 x 17.5 cm (14 3/8 x 6 7/8 in.); overall: 59 cm (23 1/4 in.). The Cleveland Museum of Art, Gift of Mrs. S. 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"41724424"}}, {"date_created": "2011-11-23T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.274/1947.274_alt42_web.jpg", "width": "502", "height": "893", "filesize": "42428"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.274/1947.274_alt42_print.jpg", "width": "1912", "height": "3400", "filesize": "380987"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.274/1947.274_alt42_full.tif", "width": "2794", "height": "4967", "filesize": "41724424"}}], "creditline": "Gift of Mrs. S. Prentiss Baldwin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125318, "creators": [], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": 1840, "date_added_to_oa": null, "date_text": "mid-1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:33.948000"}, {"id": 117338, "accession_number": "1937.898", "share_license_status": "CC0", "tombstone": "Water Jar (Olla) with Rainbird, 1850\u201360. Native North America, Southwest, New Mexico, Zuni (A:shiwi) Pueblo. Ceramic, slip; overall: 25.5 x 33 cm (10 1/16 x 13 in.). The Cleveland Museum of Art, Gift of Amelia Elizabeth White, 1937.898", "current_location": "231 Native North American", "title": "Water Jar (Olla) with Rainbird", "creation_date": "1850\u201360", "creation_date_earliest": 1850, "creation_date_latest": 1860, "artists_tags": [], "culture": ["Native North America, Southwest, New Mexico, Zuni (A:shiwi) Pueblo"], "technique": "ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Ceramic", "measurements": "Overall: 25.5 x 33 cm (10 1/16 x 13 in.)", "dimensions": {"overall": {"height": 0.255, "width": 0.33}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 229358, "title": "Art of the American Indians: The Thaw Collection", "description": "<i>Art of the American Indians: The Thaw Collection</i>. The Cleveland Museum of Art, Cleveland, OH (March 7-May 30, 2010).", "opening_date": "2010-03-07T00:00:00"}], "legacy": [{"description": "CMA 2010: \"Art of the American Indians: The Thaw Collection\" March 7 - May 30, 2010", "opening_date": "2010-03-07T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Zuni (A:shiwi) women used ollas (<em>oy-</em>ahs) like this one to collect, carry, and store water. The water well was a place for socializing, and the vessels\u2019 public visibility may help to explain their elaborate, deftly painted decoration\u2014here an abstract creature called the Rainbird whose beak spirals between two stylized, stepped wings that may allude to moisture-bearing clouds. Milford Nahohai, the contemporary Zuni potter, believes the motif is inspired by rain clouds that roll into the Zuni River Valley, their leading edges curled under the main mass to form a curve like that of the beak.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60740564"], "internet_archive": ["https://archive.org/details/clevelandart-1937.898-water-jar-olla-with"]}, "citations": [{"citation": "Bergh, Susan E., \"Unburied Treasure\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 45 no. 10, December 2005", "page_number": "Mentioned & reproduced: p. 4", "url": "https://archive.org/details/CMAMM2005-10/page/4"}, {"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. 343", "url": ""}, {"citation": "\"The North Galleries.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 1 (January/February 2014): 24-29.", "page_number": "Mentioned and reproduced: p. 26", "url": "https://archive.org/details/CMAMM2014-01/page/n23/mode/2up"}, {"citation": "Cleveland Museum of Art. <em>Museum Masters: 2016-17 Companion Guide.</em> [Cleveland, Ohio]: Cleveland Museum of Art, 2016. <strong><br></strong>", "page_number": "Mentioned and Reproduced: P. 28", "url": ""}], "url": "https://clevelandart.org/art/1937.898", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.898/1937.898_web.jpg", "width": "1133", "height": "893", "filesize": "645237", "filename": "1937.898_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.898/1937.898_print.jpg", "width": "3400", "height": "2679", "filesize": "4986051", "filename": "1937.898_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.898/1937.898_full.tif", "width": "4812", "height": "3792", "filesize": "54772836", "filename": "1937.898_full.tif"}}, "alternate_images": [], "creditline": "Gift of Amelia Elizabeth White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117338, "creators": [], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "1850\u201360", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Olla with Rain-bird Design"], "is_highlight": false, "updated_at": "2026-03-26 23:59:30.276000"}, {"id": 94906, "accession_number": "1915.464", "share_license_status": "CC0", "tombstone": "Sifting Basket, before 1915. Africa, Central Africa, Democratic Republic of the Congo or Angola, possibly Chokwe-style maker. Plant fibers and dye; overall: 39.4 cm (15 1/2 in.); outside: 39.4 x 20.7 cm (15 1/2 x 8 1/8 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1915.464", "current_location": null, "title": "Sifting Basket", "creation_date": "before 1915", "creation_date_earliest": 1900, "creation_date_latest": 1915, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo or Angola, possibly Chokwe-style maker"], "technique": "Plant fibers and dye", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Tool", "measurements": "Overall: 39.4 cm (15 1/2 in.); Outside: 39.4 x 20.7 cm (15 1/2 x 8 1/8 in.)", "dimensions": {"overall": {"height": 0.394}, "outside": {"height": 0.394, "width": 0.207}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 232698, "title": "At Home in Africa: Design, Beauty and Pleasing Irregularity in Domestic Settings", "description": "<i>At Home in Africa: Design, Beauty and Pleasing Irregularity in Domestic Settings</i>. The Galleries at Cleveland State University, Cleveland, OH (organizer) (August 26-October 4, 2014).", "opening_date": "2014-08-28T00:00:00"}], "legacy": [{"description": "Cleveland Public Library, Cleveland Museum of Art Educational Extension display, Cleveland, OH, 1931.", "opening_date": "1931-01-01T00:00:00"}, {"description": "<a href=\"https://digitalarchives.clevelandart.org/digital/collection/p17142coll1/id/4239/rec/2\">https://digitalarchives.clevelandart.org/digital/collection/p17142coll1/id/4239/rec/2</a>", "opening_date": null}]}, "provenance": [{"description": "(F. M. Rapp, probably by field collection in Portuguese West Africa (Angola) or Belgian Congo (Democratic Republic of Congo), sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->\"In the spring of 1916, Mr. F. M. Rapp, mining engineer, now at Tonopah, Nevada, returned from the Belgian Congo, Central Africa, where he has been engaged for two years in geological work along the Kasai River and its tributaries.\"<br>M. G. Edwards, \"Diamond-bearing gravel from Belgian Congo,\"<em> American Mineralogist </em>(1917) 2 (7): 88\u201389.</div>"], "date": "by 1915", "sortorder": null}, {"description": "by sale to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1915\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "F. M. Rapp\u2013\u2013who acquired this basket in Congo while working for a diamond mine\u2013\u2013attended the Case School of Applied Science in Cleveland.", "description": "The Chokwe pounded maize into a course flour and then sifted it in order to separate the finest flour for cooking. This domestic object exhibits a refined, elegant artistry in its proportion, shape, and integrated woven textures.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79475767"], "internet_archive": ["https://archive.org/details/clevelandart-1915.464-sifting-basket"]}, "citations": [{"citation": "Curnow, Kathy. <em>At Home in Africa: Design, Beauty, and Pleasing Irregularity in Domestic Settings</em>. The Galleries at Cleveland State University, 2014, cat. no. 1-3, pg. 46", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1915.464", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.464/1915.464_web.jpg", "width": "632", "height": "893", "filesize": "316623", "filename": "1915.464_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.464/1915.464_print.jpg", "width": "2407", "height": "3400", "filesize": "4326975", "filename": "1915.464_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.464/1915.464_full.tif", "width": "3963", "height": "5597", "filesize": "66575344", "filename": "1915.464_full.tif"}}, "alternate_images": [{"date_created": "2009-08-06T18:02:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt0_web.jpg", "width": "601", "height": "893", "filesize": "305682"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt0_print.jpg", "width": "2290", "height": "3400", "filesize": "4082629"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt0_full.tif", "width": "3596", "height": "5339", "filesize": "57629604"}}, {"date_created": "2009-08-06T18:12:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt1_web.jpg", "width": "938", "height": "893", "filesize": "570550"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt1_print.jpg", "width": "3400", "height": "3238", "filesize": "6497916"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt1_full.tif", "width": "3877", "height": "3692", "filesize": "42976584"}}, {"date_created": "2009-08-06T18:23:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt2_web.jpg", "width": "935", "height": "893", "filesize": "609828"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt2_print.jpg", "width": "3400", "height": "3248", "filesize": "6824708"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.464/1915.464_alt2_full.tif", "width": "4089", "height": "3906", "filesize": "47951344"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": "6413c1987cbc4805a73201d5e4b9d7af", "sketchfab_url": "https://sketchfab.com/models/6413c1987cbc4805a73201d5e4b9d7af", "gallery_donor_text": null, "athena_id": 94906, "creators": [], "legal_status": "accessioned", "accession_date": "1915-11-19T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "before 1915", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-10 07:03:40.552000"}, {"id": 97889, "accession_number": "1917.492", "share_license_status": "CC0", "tombstone": "Presentation  Bowl, 1900. Native North America, California, Yokuts. Redbud, bracken fern; coiled, grass foundation; overall: 23 x 48 cm (9 1/16 x 18 7/8 in.). The Cleveland Museum of Art, Presented by William Albert Price in memory of Mrs. William Albert Price, 1917.492", "current_location": null, "title": "Presentation  Bowl", "creation_date": "1900", "creation_date_earliest": 1900, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Native North America, California, Yokuts"], "technique": "redbud, bracken fern; coiled, grass foundation", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Basketry", "measurements": "Overall: 23 x 48 cm (9 1/16 x 18 7/8 in.)", "dimensions": {"overall": {"height": 0.23, "width": 0.48}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348319, "title": "Gallery 231 - Native North American Basket Rotation", "description": "<i>Gallery 231 - Native North American Basket Rotation</i>. The Cleveland Museum of Art (organizer) (August 3, 2015-August 15, 2016).", "opening_date": "2015-08-03T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": [{"description": "<em>The Basket Makers</em>, The Cleveland Museum of Art, Cleveland, Oh, (November 26, 1985-March 23, 1986)", "opening_date": "1985-11-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fine bowl was created by a weaver of the Yokuts, who lived in California\u2019s San Joaquin Valley.", "description": "This fine bowl was created by a weaver of the Yokuts, who lived in California\u2019s San Joaquin Valley to the west of Koso (Panamint) Shoshone territory. Shared design motifs indicate contact between the two areas. For instance, the humans who appear to be holding hands in one register on this basket also occur on a small Koso (Panamint) Shosone basket in the collection.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482701"], "internet_archive": ["https://archive.org/details/clevelandart-1917.492-presentation-bowl"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 65", "url": "http://www.jstor.org/stable/25136092"}], "url": "https://clevelandart.org/art/1917.492", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.492/1917.492_web.jpg", "width": "900", "height": "579", "filesize": "136378", "filename": "1917.492_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.492/1917.492_print.jpg", "width": "3400", "height": "2187", "filesize": "1511480", "filename": "1917.492_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.492/1917.492_full.tif", "width": "7208", "height": "4637", "filesize": "100298636", "filename": "1917.492_full.tif"}}, "alternate_images": [{"date_created": "2005-09-21T16:07:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt0_web.jpg", "width": "869", "height": "893", "filesize": "596163"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt0_print.jpg", "width": "3212", "height": "3302", "filesize": "7221217"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt0_full.tif", "width": "3212", "height": "3302", "filesize": "31850068"}}, {"date_created": "2015-03-31T11:18:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt1_web.jpg", "width": "900", "height": "620", "filesize": "140027"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt1_print.jpg", "width": "3400", "height": "2342", "filesize": "1593760"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt1_full.tif", "width": "7091", "height": "4884", "filesize": "103925340"}}, {"date_created": "2015-03-31T08:46:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt2_web.jpg", "width": "900", "height": "866", "filesize": "261064"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt2_print.jpg", "width": "3400", "height": "3273", "filesize": "3192212"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt2_full.tif", "width": "5793", "height": "5576", "filesize": "96935728"}}, {"date_created": "2015-03-31T09:10:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt3_web.jpg", "width": "900", "height": "839", "filesize": "245263"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt3_print.jpg", "width": "3400", "height": "3168", "filesize": "3068101"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.492/1917.492_alt3_full.tif", "width": "6401", "height": "5964", "filesize": "114556868"}}], "creditline": "Presented by William Albert Price in memory of Mrs. William Albert Price", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97889, "creators": [], "legal_status": "accessioned", "accession_date": "1917-03-28T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Large Coiled Bowl Basket"], "is_highlight": false, "updated_at": "2026-03-27 00:05:27.243000"}, {"id": 105105, "accession_number": "1923.31", "share_license_status": "CC0", "tombstone": "Second Venice Set: The Garden, 1879\u201380. James McNeill Whistler (American, 1834\u20131903). Etching and drypoint. The Cleveland Museum of Art, Gift of Mr. and Mrs. Ralph King, 1923.31", "current_location": null, "title": "The Garden", "series": "Second Venice Set", "creation_date": "1879\u201380", "creation_date_earliest": 1879, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["America"], "technique": "etching and drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {"matted": {"height": 0.489, "width": 0.362}}, "state_of_the_work": "V/VIII", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 616690, "title": "Etchings and Lithographs by Whistler: Gifts and Loans of Mr. and Mrs. Ralph King", "description": "<i>Etchings and Lithographs by Whistler: Gifts and Loans of Mr. and Mrs. Ralph King</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-April 2, 1923).", "opening_date": "1923-02-17T00:00:00"}, {"id": 309513, "title": "Paper: The Continuous Thread", "description": "<i>Paper: The Continuous Thread</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 31-October 24, 1982).", "opening_date": "1982-08-31T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. Ralph King, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1923", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1923-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["2771.1922"], "did_you_know": "This print is among the only ones in James McNeill Whistler's <em>Second Venice Set</em> without a clearly identifiable setting.", "description": "Part of an expatriate community in Venice, James McNeill Whistler focused on the city\u2019s architectural details in the prints, drawings, and paintings that he made during a year spent living there. This etching presents a private garden from the perspective of one of the city\u2019s distinctive canals. Seen through an open doorway, the view, offers a voyeuristic glimpse of its inhabitants\u2019 lives. Situated outside and looking into a lush garden, the viewer is placed in the artist\u2019s position, able to feel his excitement as an outsider exploring a new but historied place.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79516982"], "internet_archive": ["https://archive.org/details/clevelandart-1923.31-the-garden"]}, "citations": [{"citation": "Webb, Sheila, and Cleveland Museum of Art. <em>Paper, the Continuous Thread</em>. Cleveland, OH: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1982.", "page_number": "Mentioned and reproduced: p. 49-50, no. 42; Mentioned: p. 68", "url": ""}], "catalogue_raisonne": "Kennedy 210; MacDonald 194", "url": "https://clevelandart.org/art/1923.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.31/1923.31_web.jpg", "width": "683", "height": "893", "filesize": "454570", "filename": "1923.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.31/1923.31_print.jpg", "width": "2602", "height": "3400", "filesize": "5489703", "filename": "1923.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.31/1923.31_full.tif", "width": "4096", "height": "5352", "filesize": "65787832", "filename": "1923.31_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mr. and Mrs. Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 105105, "creators": [{"id": 3330, "description": "James McNeill Whistler (American, 1834\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1923-01-22T00:00:00", "sortable_date": 1879, "date_added_to_oa": null, "date_text": "1879\u201380", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:21.813000"}, {"id": 107873, "accession_number": "1925.500", "share_license_status": "CC0", "tombstone": "Border of a Shawl, c. 1825\u201330. India, Kashmir. Wool: tapestry twill; overall: 37.1 x 48.9 cm (14 5/8 x 19 1/4 in.); mounted: 54.9 x 66.7 cm (21 5/8 x 26 1/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1925.500", "current_location": null, "title": "Border of a Shawl", "creation_date": "c. 1825\u201330", "creation_date_earliest": 1820, "creation_date_latest": 1835, "artists_tags": [], "culture": ["India, Kashmir"], "technique": "wool: tapestry twill", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 37.1 x 48.9 cm (14 5/8 x 19 1/4 in.); Mounted: 54.9 x 66.7 cm (21 5/8 x 26 1/4 in.)", "dimensions": {"overall": {"height": 0.371, "width": 0.489}, "mounted": {"height": 0.549, "width": 0.667}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 535998, "title": "Nature Supernatural", "description": "<i>Nature Supernatural</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 543944, "title": "Himalayan Gallery 237 Rotation", "description": "<i>Himalayan Gallery 237 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 665206, "title": "Himalayan Gallery 237 Rotation", "description": "<i>Himalayan Gallery 237 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-September 8, 2024).", "opening_date": "2024-03-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Ananda K. Coomaraswamy [1877\u20131947], sold to the The Cleveland Museum of Art) #30", "citations": [], "footnotes": null, "date": "?\u20131925", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1925\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The top of the teardrop design recalls fanned-out peacock feathers.", "description": "Kashmiri shawls were extremely popular in the early 1800s, especially among foreigners to the Indian subcontinent. Made in the mountainous region of northwest India from wool from mountain goats from nearby Ladakh, the fabrics were especially prized for their softness and their beautiful symmetrical designs, often called paisley in English. <br><br>This textile fragment was once owned by Ananda Coomaraswamy (1877\u20131947), a Ceylonese (Sri Lankan) art historian and collector who is credited with introducing South Asian art to museums in the United States.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80055875"], "internet_archive": ["https://archive.org/details/clevelandart-1925.500-border-of-a-shawl"]}, "citations": [{"citation": "Ames, Frank. <em>The Kashmir Shawl and Its Indo-French Influence</em>. Woodbridge, Suffolk: Antique Collectors' Club, 1997.", "page_number": "color pl. 161, 165. 166", "url": ""}], "url": "https://clevelandart.org/art/1925.500", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.500/1925.500_web.jpg", "width": "900", "height": "716", "filesize": "544311", "filename": "1925.500_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.500/1925.500_print.jpg", "width": "3400", "height": "2705", "filesize": "8545018", "filename": "1925.500_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.500/1925.500_full.tif", "width": "11689", "height": "9299", "filesize": "326122808", "filename": "1925.500_full.tif"}}, "alternate_images": [{"date_created": "2005-08-31T14:17:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.500/1925.500_alt0_web.jpg", "width": "1158", "height": "893", "filesize": "1054921"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.500/1925.500_alt0_print.jpg", "width": "3400", "height": "2621", "filesize": "8656110"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.500/1925.500_alt0_full.tif", "width": "4389", "height": "3384", "filesize": "44592124"}}, {"date_created": "2024-10-29T15:00:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.500/1925.500_alt1_web.jpg", "width": "900", "height": "724", "filesize": "549522"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.500/1925.500_alt1_print.jpg", "width": "3400", "height": "2734", "filesize": "8329879"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.500/1925.500_alt1_full.tif", "width": "11815", "height": "9501", "filesize": "336798760"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107873, "creators": [], "legal_status": "accessioned", "accession_date": "1925-03-24T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "c. 1825\u201330", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:54.850000"}, {"id": 114729, "accession_number": "1934.330", "share_license_status": "CC0", "tombstone": "Fragment of a Shawl Border, c. 1815\u201325. Kashmir. Wool and silk: tapestry twill; overall: 35.9 x 40.3 cm (14 1/8 x 15 7/8 in.); mounted: 54 x 58.4 cm (21 1/4 x 23 in.). The Cleveland Museum of Art, Gift of Dr. E. Rosencrantz, 1934.330", "current_location": null, "title": "Fragment of a Shawl Border", "creation_date": "c. 1815\u201325", "creation_date_earliest": 1810, "creation_date_latest": 1830, "artists_tags": [], "culture": ["Kashmir"], "technique": "wool and silk: tapestry twill", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 35.9 x 40.3 cm (14 1/8 x 15 7/8 in.); Mounted: 54 x 58.4 cm (21 1/4 x 23 in.)", "dimensions": {"overall": {"height": 0.359, "width": 0.403}, "mounted": {"height": 0.54, "width": 0.584}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 535998, "title": "Nature Supernatural", "description": "<i>Nature Supernatural</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 543944, "title": "Himalayan Gallery 237 Rotation", "description": "<i>Himalayan Gallery 237 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 665206, "title": "Himalayan Gallery 237 Rotation", "description": "<i>Himalayan Gallery 237 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-September 8, 2024).", "opening_date": "2024-03-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "Dr. E. Rosencrantz, San Francisco, CA, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131934", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1934\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Red dyes for textiles could be made from pomegranate skins.", "description": "Many Kashmiri textiles, even those from the early 1800s, come down to us in fragments. This shawl border was once a part of a larger piece, which could have simply been draped over the body or stitched to the hem of a garment (as many European women did). Owning and wearing such luxury textiles would have been part of indicating one\u2019s social status. Although incomplete, this work still shows the general pattern of the larger shawl, and it retains its vibrant and hypnotizing original color. Dyes were plant-based and are liable to wash out.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007587"], "internet_archive": ["https://archive.org/details/clevelandart-1934.330-fragment-of-a-shawl"]}, "citations": [{"citation": "Ames, Frank. <em>The Kashmir Shawl and Its Indo-French Influence</em>. Woodbridge, Suffolk: Antique Collectors' Club, 1997.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1934.330", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1934.330/1934.330_web.jpg", "width": "900", "height": "813", "filesize": "662732", "filename": "1934.330_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1934.330/1934.330_print.jpg", "width": "3400", "height": "3072", "filesize": "8910530", "filename": "1934.330_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1934.330/1934.330_full.tif", "width": "9493", "height": "8577", "filesize": "244302476", "filename": "1934.330_full.tif"}}, "alternate_images": [{"date_created": "2005-08-31T14:03:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt0_web.jpg", "width": "998", "height": "893", "filesize": "964747"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt0_print.jpg", "width": "3400", "height": "3042", "filesize": "9861305"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt0_full.tif", "width": "3584", "height": "3207", "filesize": "34519648"}}, {"date_created": "2018-02-07T11:20:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt1_web.jpg", "width": "900", "height": "787", "filesize": "463305"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt1_print.jpg", "width": "3400", "height": "2973", "filesize": "5878453"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt1_full.tif", "width": "5889", "height": "5149", "filesize": "91005444"}}, {"date_created": "2024-10-29T16:47:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt2_web.jpg", "width": "900", "height": "818", "filesize": "651627"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt2_print.jpg", "width": "3400", "height": "3089", "filesize": "8249451"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.330/1934.330_alt2_full.tif", "width": "9678", "height": "8793", "filesize": "255333140"}}], "creditline": "Gift of Dr. E. Rosencrantz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114729, "creators": [], "legal_status": "accessioned", "accession_date": "1934-12-12T00:00:00", "sortable_date": 1810, "date_added_to_oa": null, "date_text": "c. 1815\u201325", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:19.486000"}, {"id": 118914, "accession_number": "1940.1113", "share_license_status": "CC0", "tombstone": "Specimens of Polyautography Consisting of Impressions taken from Original Drawings made purposely for this Work: Evening Thou Bringest All, 1803. Henry Fuseli (Swiss, 1741\u20131825), published by Philipp H. Andr\u00e9 (German, active London 1800\u20131805). Pen lithograph; sheet: 23.6 x 32.2 cm (9 5/16 x 12 11/16 in.). The Cleveland Museum of Art, Mr. and Mrs. Lewis B. Williams Collection, 1940.1113", "current_location": null, "title": "Evening Thou Bringest All", "series": "Specimens of Polyautography Consisting of Impressions taken from Original Drawings made purposely for this Work", "creation_date": "1803", "creation_date_earliest": 1803, "creation_date_latest": 1803, "artists_tags": ["male"], "culture": ["England, 18th-19th century"], "technique": "Pen lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 23.6 x 32.2 cm (9 5/16 x 12 11/16 in.)", "dimensions": {"sheet": {"height": 0.236, "width": 0.322}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309853, "title": "Two Hundred Years of British Prints", "description": "<i>Two Hundred Years of British Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 1984-February 3, 1985).", "opening_date": "1984-10-09T04:00:00"}, {"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}, {"id": 665048, "title": "Imagination in the Age of Reason", "description": "<i>Imagination in the Age of Reason</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 28, 2024-March 2, 2025).", "opening_date": "2024-09-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Lewis B. Williams [1880\u20131966], Cleveland Heights, OH, given to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131940", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 30, 1940\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The title of this print is drawn from a poem by the classical poet Sappho.", "description": "Here, the free expression of the artist\u2019s drawn lines echoes the frenzied movement of his hand and the excited energy of the woman\u2019s twisting body. While the immediacy of the mark marking suggests direct contact between the paper and the artist\u2019s pen, the reversal of the Greek text at lower left exposes this work as a printed image, breaking the illusion. Created using lithography, a newly invented medium, the artist drew his composition on a specially prepared limestone. The stone was then inked and printed, reversing the image in the process.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013982"], "internet_archive": ["https://archive.org/details/clevelandart-1940.1113-woman-on-a-sofa", "https://archive.org/details/clevelandart-1940.1113-evening-thou-bringes"]}, "citations": [{"citation": "<em>Catalogue of an exhibition of the art of lithography: commemorating the sesquicentennial of its invention, 1798-1948</em>. [Cleveland]: The Cleveland Museum of Art, November 11, 1948-January 2, 1949. Published as: Woman on a Sofa.", "page_number": "Mentioned: p. 35", "url": "https://archive.org/details/Lithography/page/n42"}], "catalogue_raisonne": "Schiff 1434; Weinglass 171", "url": "https://clevelandart.org/art/1940.1113", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.1113/1940.1113_web.jpg", "width": "1263", "height": "889", "filesize": "961535", "filename": "1940.1113_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.1113/1940.1113_print.jpg", "width": "3400", "height": "2393", "filesize": "6286078", "filename": "1940.1113_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.1113/1940.1113_full.tif", "width": "5351", "height": "3766", "filesize": "60488684", "filename": "1940.1113_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Lewis B. Williams Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118914, "creators": [{"id": 1262, "description": "Henry Fuseli (Swiss, 1741\u20131825)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1741", "death_year": "1825", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 673965, "description": "Philipp H. Andr\u00e9 (German, active London 1800\u20131805)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1940-12-30T00:00:00", "sortable_date": 1803, "date_added_to_oa": null, "date_text": "1803", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Woman on a Sofa"], "is_highlight": false, "updated_at": "2026-03-27 00:08:02.566000"}, {"id": 120879, "accession_number": "1941.599", "share_license_status": "CC0", "tombstone": "Decanter Stand, 1814. Paul Storr (British, 1771\u20131844), Rundell, Bridge and Rundell (British, 1797\u20131834). Silver; diameter: 8.5 x 13.7 cm (3 3/8 x 5 3/8 in.). The Cleveland Museum of Art, Gift of Mrs. Otto Miller, 1941.599", "current_location": null, "title": "Decanter Stand", "creation_date": "1814", "creation_date_earliest": 1814, "creation_date_latest": 1814, "artists_tags": ["male"], "culture": ["England, London, 19th century"], "technique": "silver", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Silver", "measurements": "Diameter: 8.5 x 13.7 cm (3 3/8 x 5 3/8 in.)", "dimensions": {"diameter": {"height": 0.085, "width": 0.137}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Engraved on rim of base: \"RUNDELL BRIDGE ET RUNDELL AURIFICES REGIS ET PRINCIPIS WALLIAE REGENTIS BRITANNIAS.\" Engraved on base of interior: Unidentifiable crest with bird over other animal.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Scratched on rim of base: \"6625\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 311898, "title": "35th Anniversary Exhibition", "description": "<i>35th Anniversary Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-September 30, 1951).", "opening_date": "1951-06-20T04:00:00"}, {"id": 701687, "title": "Exhibition of French, English, and American Silver in Honor of Russell A. Plimpton", "description": "<i>Exhibition of French, English, and American Silver in Honor of Russell A. Plimpton</i>. Minneapolis Institute of Art, Minneapolis, MN (organizer) (June 10-July 15, 1956).", "opening_date": "1956-06-10T04:00:00"}, {"id": 445505, "title": "Paul Storr: Silver in American Collections", "description": "<i>Paul Storr: Silver in American Collections</i>. Indianapolis Museum of Art, Indianapolis, IN (organizer) (February 7-March 12, 1972); Dayton Art Institute, Dayton, OH (March 24-April 30, 1972).", "opening_date": "1972-02-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Otto Miller, Cleveland Heights, Ohio.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bacchanal motifs of grapes and consumption echo this object\u2019s function as a stand for a wine decanter.", "description": "Decanter stands served as coasters for glass wine bottles in order to protect the extremely expensive and fragile linen tablecloths they sat upon. This example contains depictions of large grape vines and youthful figures that evoke the Roman god of wine, Bacchus (or Dionysus in Greek mythology). One of the young boys grasps an empty drinking vessel while the other leans against a panther, the frequent companion of Bacchus.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016540"], "internet_archive": ["https://archive.org/details/clevelandart-1941.599-decanter-stand"]}, "citations": [{"citation": "Foote, Helen S. \"Paul De Lamerie and Paul Storr, English Silversmiths.\"<em> The Bulletin of the Cleveland Museum of Art </em>29, no. 8 (October 1942): 121-23.", "page_number": "Mentioned: pp. 122-3; reproduced: p. 120", "url": "www.jstor.org/stable/25141010"}], "url": "https://clevelandart.org/art/1941.599", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1941.599/1941.599_web.jpg", "width": "900", "height": "698", "filesize": "193606", "filename": "1941.599_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1941.599/1941.599_print.jpg", "width": "3400", "height": "2638", "filesize": "1516534", "filename": "1941.599_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1941.599/1941.599_full.tif", "width": "5654", "height": "4387", "filesize": "74437340", "filename": "1941.599_full.tif"}}, "alternate_images": [{"date_created": "2019-07-25T20:08:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt0_web.jpg", "width": "900", "height": "721", "filesize": "197509"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt0_print.jpg", "width": "3400", "height": "2725", "filesize": "1583841"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt0_full.tif", "width": "5468", "height": "4382", "filesize": "71907408"}}, {"date_created": "2019-07-25T20:11:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt1_web.jpg", "width": "900", "height": "835", "filesize": "282056"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt1_print.jpg", "width": "3400", "height": "3153", "filesize": "2637626"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt1_full.tif", "width": "4149", "height": "3847", "filesize": "47910580"}}, {"date_created": "2019-07-25T20:12:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt2_web.jpg", "width": "894", "height": "900", "filesize": "332407"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt2_print.jpg", "width": "3377", "height": "3400", "filesize": "3336819"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt2_full.tif", "width": "3765", "height": "3791", "filesize": "42846120"}}, {"date_created": "2019-07-25T20:15:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt3_web.jpg", "width": "900", "height": "551", "filesize": "309356"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt3_print.jpg", "width": "1422", "height": "870", "filesize": "613514"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt3_full.tif", "width": "1422", "height": "870", "filesize": "3738640"}}, {"date_created": "2019-07-25T20:28:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt4_web.jpg", "width": "900", "height": "246", "filesize": "180011"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt4_print.jpg", "width": "3400", "height": "929", "filesize": "1322007"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1941.599/1941.599_alt4_full.tif", "width": "4319", "height": "1180", "filesize": "15313704"}}], "creditline": "Gift of Mrs. Otto Miller", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 120879, "creators": [{"id": 8523, "description": "Paul Storr (British, 1771\u20131844)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1771", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 390259, "description": "Rundell, Bridge and Rundell (British, 1797\u20131834)", "extent": null, "qualifier": null, "role": "retailer", "biography": "Philip Rundell (1746\u20131827) and John Bridge (bapt. 1755\u20131834) of Rundell &amp; Bridge received the royal warrant in 1797. The firm was responsible for the Crown Jewels used at the coronations of George IV (1762\u20131830), William IV (1765\u20131837) and Queen Victoria (1819\u20131901), as well as for a wide range of banqueting plate and jewelry now in the Royal Collection. Although Philip Rundell and John Bridge were both named in the royal warrant of 1797, it was Bridge who acted as Royal Goldsmith until his death in 1834. His nephew John Bridge succeeded him and served in this position until the firm went into dissolution in 1843. From 1804, the firm was known as Rundell, Bridge and Rundell, and from 1834, Rundell, Bridge &amp; Co.", "name_in_original_language": null, "birth_year": "1797", "death_year": "1834", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1941-12-29T00:00:00", "sortable_date": 1814, "date_added_to_oa": null, "date_text": "1814", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:08.462000"}, {"id": 129164, "accession_number": "1951.65.11", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: The Pastry Shop, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; image: 35.1 x 27.5 cm (13 13/16 x 10 13/16 in.); sheet: 44.3 x 36 cm (17 7/16 x 14 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.11", "current_location": null, "title": "The Pastry Shop", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 35.1 x 27.5 cm (13 13/16 x 10 13/16 in.); Sheet: 44.3 x 36 cm (17 7/16 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.443, "width": 0.36}, "image": {"height": 0.351, "width": 0.275}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.75"], "did_you_know": "In 1897, Vuillard purchased a Kodak Brownie that allowed him to take intimate snapshots of family and friends as well as create reference photographs for his paintings and prints.", "description": "Vuillard\u2019s subject of Parisians enjoying refreshments out-of-doors is echoed in his friend Bonnard\u2019s <em>Caf\u00e9 Terrace,</em> on view nearby. Both artists treat public settings with the same enveloping closeness of their interiors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909888"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.11-the-pastry-shop"]}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 232; Reproduced: P. 258, no. 176", "url": ""}], "catalogue_raisonne": "Roger-Marx 41", "url": "https://clevelandart.org/art/1951.65.11", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.11/1951.65.11_web.jpg", "width": "736", "height": "900", "filesize": "299238", "filename": "1951.65.11_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.11/1951.65.11_print.jpg", "width": "2780", "height": "3400", "filesize": "3350324", "filename": "1951.65.11_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.11/1951.65.11_full.tif", "width": "8947", "height": "10943", "filesize": "293749660", "filename": "1951.65.11_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129164, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscapes and Interiors:  The Pastry Shop"], "is_highlight": false, "updated_at": "2026-03-27 00:08:18.311000"}, {"id": 129165, "accession_number": "1951.65.12", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: The Cook, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 40.7 x 30 cm (16 x 11 13/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.12", "current_location": null, "title": "The Cook", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 40.7 x 30 cm (16 x 11 13/16 in.)", "dimensions": {"sheet": {"height": 0.407, "width": 0.3}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.76"], "did_you_know": "Despite living in close quarters, Vuillard\u2019s mother was known to warmly host and cook for her son\u2019s Nabi friends.", "description": "The artist\u2019s mother was known for her hospitality toward her son\u2019s Nabi friends, who occasionally dined in the Vuillards\u2019 apartment. Madame Vuillard reigned in the kitchen, but here,the artist depicts her as diminutive and frozen, part of the still life of objects and patterns of the room.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909890"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.12-the-cook"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 51; Reproduced: P. 81, no. 27", "url": ""}], "catalogue_raisonne": "Roger-Marx 42", "url": "https://clevelandart.org/art/1951.65.12", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.12/1951.65.12_web.jpg", "width": "672", "height": "893", "filesize": "488023", "filename": "1951.65.12_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.12/1951.65.12_print.jpg", "width": "2559", "height": "3400", "filesize": "7025939", "filename": "1951.65.12_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.12/1951.65.12_full.tif", "width": "4392", "height": "5836", "filesize": "76930676", "filename": "1951.65.12_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129165, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:28.357000"}, {"id": 129167, "accession_number": "1951.65.2", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: The Game of Checkers, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 38 x 30.8 cm (14 15/16 x 12 1/8 in.); image: 33 x 25.7 cm (13 x 10 1/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.2", "current_location": null, "title": "The Game of Checkers", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 38 x 30.8 cm (14 15/16 x 12 1/8 in.); Image: 33 x 25.7 cm (13 x 10 1/8 in.)", "dimensions": {"sheet": {"height": 0.38, "width": 0.308}, "image": {"height": 0.33, "width": 0.257}}, "state_of_the_work": "III/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.66"], "did_you_know": "Checkers is derived from the ancient Middle Eastern game of Qirkat.", "description": "Ambroise Vollard (1865\u20131939), a dealer in Impressionist paintings, was also an important print publisher. In 1895 he commissioned his first portfolio from Pierre Bonnard: 12 color lithographs called <em>Some Aspects of Paris Life </em>(one of them is shown nearby). This was followed by many other albums of prints, including Vuillard's <em>Landscapes and Interiors</em>. Bonnard and Vuillard were members of a group of artists called the Nabis\u2014the Hebrew word for \"prophet\"\u2014which evokes both their playful mysticism and their determination to develop a new artistic language based on the notion that form and color could be used expressively. The Nabis favored subjects of the modern city and middle-class family life depicted in a decorative and even whimsical manner. Vuillard's intimate scenes of comfortable domesticity are wonderful examples of the beautiful color lithography produced in the 1890s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909895"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.2-the-game-of-checkers"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 51; Reproduced: P. 79, no. 24", "url": ""}], "catalogue_raisonne": "Roger-Marx 32", "url": "https://clevelandart.org/art/1951.65.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.2/1951.65.2_web.jpg", "width": "741", "height": "900", "filesize": "392021", "filename": "1951.65.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.2/1951.65.2_print.jpg", "width": "2800", "height": "3400", "filesize": "4439433", "filename": "1951.65.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.2/1951.65.2_full.tif", "width": "7703", "height": "9354", "filesize": "216191292", "filename": "1951.65.2_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129167, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:15.698000"}, {"id": 129168, "accession_number": "1951.65.3", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: The Avenue, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 33.2 x 45 cm (13 1/16 x 17 11/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.3", "current_location": null, "title": "The Avenue", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 33.2 x 45 cm (13 1/16 x 17 11/16 in.)", "dimensions": {"sheet": {"height": 0.332, "width": 0.45}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.67"], "did_you_know": "Vuillard sought assistance from master printer Auguste Clot to tackle the technical difficulty of using many colors in a single print.", "description": "In this small view of a Parisian avenue, city dwellers of various classes coexist, as a fashionably dressed woman is about to cross paths with a man carrying a heavy burden on his shoulders. The city street provides a microcosm of the capital.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909897"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.3-the-avenue"]}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 233; Reproduced: P. 259, no. 178", "url": ""}], "catalogue_raisonne": "Roger-Marx 33", "url": "https://clevelandart.org/art/1951.65.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.3/1951.65.3_web.jpg", "width": "1215", "height": "893", "filesize": "772482", "filename": "1951.65.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.3/1951.65.3_print.jpg", "width": "3400", "height": "2499", "filesize": "6227397", "filename": "1951.65.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.3/1951.65.3_full.tif", "width": "6106", "height": "4488", "filesize": "82245380", "filename": "1951.65.3_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129168, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:42.535000"}, {"id": 129173, "accession_number": "1951.65.8", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: Interior with Pink Wallpaper III, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 39.2 x 34 cm (15 7/16 x 13 3/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.8", "current_location": null, "title": "Interior with Pink Wallpaper III", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 39.2 x 34 cm (15 7/16 x 13 3/8 in.)", "dimensions": {"sheet": {"height": 0.392, "width": 0.34}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302022, "title": "Decorative Style", "description": "<i>Decorative Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 8, 1961-January 7, 1962).", "opening_date": "1961-09-08T04:00:00"}, {"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pattern and textile are paramount in Vuillard\u2019s interiors, likely inspired by the many fabrics he would have encountered within his seamstress mother\u2019s domestic atelier.", "description": "The optical beauty of the patterning and luscious color of <em>Interior with Wallpaper I, II, </em>and<em> III</em> distracts from their ambivalent undercurrents. Across the three sheets, Vuillard creates an airless enclosure in which the wallpaper replicates itself, metastasizing across the surface and threatening the figures partially glimpsed through interior doors. Hidden figures recur in Vuillard\u2019s work, adding an element of the uncanny to familiar settings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909908"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.8-interior-with-pink-w"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 52; Reproduced: P. 83, no. 31", "url": ""}], "catalogue_raisonne": "Roger-Marx 38", "url": "https://clevelandart.org/art/1951.65.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.8/1951.65.8_web.jpg", "width": "720", "height": "893", "filesize": "567307", "filename": "1951.65.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.8/1951.65.8_print.jpg", "width": "2741", "height": "3400", "filesize": "6605686", "filename": "1951.65.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.8/1951.65.8_full.tif", "width": "3726", "height": "4621", "filesize": "51686740", "filename": "1951.65.8_full.tif"}}, "alternate_images": [{"date_created": "2007-11-15T15:47:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.65.8/1951.65.8_alt0_web.jpg", "width": "769", "height": "893", "filesize": "595179"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.65.8/1951.65.8_alt0_print.jpg", "width": "2927", "height": "3400", "filesize": "8000579"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.65.8/1951.65.8_alt0_full.tif", "width": "4824", "height": "5603", "filesize": "81122548"}}], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129173, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscapes and Interiors:  Interior with Rose Tapestry No. 3"], "is_highlight": false, "updated_at": "2026-03-27 00:03:27.681000"}, {"id": 136929, "accession_number": "1961.406", "share_license_status": "CC0", "tombstone": "Gorget (Rei Miro), 1800s. Pacific Islands, Polynesia, Rapa Nui (Easter Island). Wood; overall: 30.8 x 69.8 cm (12 1/8 x 27 1/2 in.). The Cleveland Museum of Art, The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken, 1961.406", "current_location": null, "title": "Gorget (Rei Miro)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Pacific Islands, Polynesia, Rapa Nui (Easter Island)"], "technique": "wood", "support_materials": [], "department": "Oceania", "collection": "Oceanic Art", "type": "Sculpture", "measurements": "Overall: 30.8 x 69.8 cm (12 1/8 x 27 1/2 in.)", "dimensions": {"overall": {"height": 0.308, "width": 0.698}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 519209, "title": "The Imagination of Primitive Man", "description": "<i>The Imagination of Primitive Man</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (January 18-February 25, 1962).", "opening_date": "1962-01-18T05:00:00"}, {"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Howard Beasley", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "William Mathewson Milliken", "citations": [], "footnotes": [], "date": "-1961", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1961-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Chiefly women of Rapa Nui (Easter Island) wore crescent-shaped gorgets like this one.", "description": "Elegant, crescent-shaped gorgets or chest ornaments known as rei miro (\u201cnecklace of wood\u201d) were generally worn by chiefly women of Rapa Nui (Easter Island). The abstracted forms at the tips of this example replace the human heads that are more typical.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80031262"], "internet_archive": ["https://archive.org/details/clevelandart-1961.406-gorget-rei-miro"]}, "citations": [{"citation": "Trevaka Archaeological Outreach, Database Project", "page_number": null, "url": "http://www.terevaka.net/ngaro/"}], "url": "https://clevelandart.org/art/1961.406", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.406/1961.406_web.jpg", "width": "900", "height": "513", "filesize": "128029", "filename": "1961.406_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.406/1961.406_print.jpg", "width": "3400", "height": "1937", "filesize": "643180", "filename": "1961.406_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.406/1961.406_full.tif", "width": "13086", "height": "7454", "filesize": "390197100", "filename": "1961.406_full.tif"}}, "alternate_images": [{"date_created": "2020-09-30T15:37:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.406/1961.406_alt0_web.jpg", "width": "900", "height": "527", "filesize": "145544"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.406/1961.406_alt0_print.jpg", "width": "3400", "height": "1990", "filesize": "967351"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.406/1961.406_alt0_full.tif", "width": "12340", "height": "7223", "filesize": "267420408"}}], "creditline": "The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136929, "creators": [], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:35.189000"}, {"id": 137316, "accession_number": "1962.244", "share_license_status": "CC0", "tombstone": "Gold Weight (abrammuo): Geometric Form, 1800s. Africa, West Africa, Ghana, Akan-style artist. Copper alloy; overall: 2.4 x 1.4 x 1.2 cm (15/16 x 9/16 x 1/2 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Robert M. Hornung, 1962.244", "current_location": null, "title": "Gold Weight (abrammuo): Geometric Form", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Akan-style artist"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 2.4 x 1.4 x 1.2 cm (15/16 x 9/16 x 1/2 in.)", "dimensions": {"overall": {"height": 0.024, "width": 0.014, "depth": 0.012}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}, {"id": 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": "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. 38, p. 117, color repr. p. 34.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Mr. and Mrs. Robert M. Hornung, Cleveland Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131962", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1962\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Geometric forms were the earliest shapes used for gold weights.", "description": "The Asante kingdom (an Akan state in present-day Ghana) primarily derived its wealth and power from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weigh gold dust and nuggets, which were the local form of currency. The rounded, worn-down edges of this weight suggest that it was used frequently. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad categories: geometric and representational. The latter often refers to proverbs, which used judiciously, marked a wise person.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80031856"], "internet_archive": ["https://archive.org/details/clevelandart-1962.244-gold-weight-geometri", "https://archive.org/details/clevelandart-1962.244-gold-weight-abrammuo"]}, "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. 34, no. 38", "url": ""}], "url": "https://clevelandart.org/art/1962.244", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.244/1962.244_web.jpg", "width": "1263", "height": "848", "filesize": "523097", "filename": "1962.244_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.244/1962.244_print.jpg", "width": "3400", "height": "2283", "filesize": "786081", "filename": "1962.244_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.244/1962.244_full.tif", "width": "5102", "height": "3426", "filesize": "52459424", "filename": "1962.244_full.tif"}}, "alternate_images": [{"date_created": "2009-11-05T16:13:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.244/1962.244_alt0_web.jpg", "width": "900", "height": "423", "filesize": "157491"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.244/1962.244_alt0_print.jpg", "width": "3400", "height": "1599", "filesize": "717440"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.244/1962.244_alt0_full.tif", "width": "5884", "height": "2768", "filesize": "48892888"}}], "creditline": "Gift of Mr. and Mrs. Robert M. Hornung", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 137316, "creators": [], "legal_status": "accessioned", "accession_date": "1962-09-22T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Weight for Measuring Gold (mmramoo):  Geometric"], "is_highlight": false, "updated_at": "2026-03-27 00:09:51.390000"}, {"id": 138379, "accession_number": "1962.307", "share_license_status": "CC0", "tombstone": "Headdress (chi wara), early 1900s. Wood, metal, glass beads, seashells, string, and probably tar; overall: 45.2 x 4.8 x 12.4 cm (17 13/16 x 1 7/8 x 4 7/8 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1962.307", "current_location": null, "title": "Headdress (chi wara)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": [], "technique": "Wood, metal, glass beads, seashells, string, and probably tar", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 45.2 x 4.8 x 12.4 cm (17 13/16 x 1 7/8 x 4 7/8 in.)", "dimensions": {"overall": {"height": 0.452, "width": 0.048, "depth": 0.124}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 520185, "title": "African Sculpture", "description": "<i>African Sculpture</i>. Kenyon College, Gambier, OH (organizer) (April 19-May 6, 1963).", "opening_date": "1963-04-19T05:00:00"}, {"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": "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. 55, p. 118, repr. p. 89.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Julius Carlebach, NY", "citations": [], "footnotes": ["<div><!--block-->Carlebach fled from the Nazis in Germany in 1937; he started his gallery in New York in 1939. The New York Times, obituary October 14, 1964&nbsp;</div>"], "date": "no earlier than 1939", "sortorder": null}, {"description": "Katherine White Reswick (aka Katherine C. White)", "citations": [], "footnotes": null, "date": "?-1962", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "<em>Chi wara</em> headdresses look different depending on the region in which they were made.", "description": "<em>Chi wara</em>\u2014a mythical \u201cfarming beast\u201d\u2014was said to teach farming to the Bamana people. Carved patterns cover this female chi wara\u2019s body, highlighting its muscles and emphasizing that it is no earthly animal, but rather an agricultural spirit that combines human, antelope, and anteater elements. This example emphasizes vertical space, with a kneeling human figure on the back. The figure is adorned with imported beads as well as small shells. Accompanied by women\u2019s songs, male performers danced paired male-and-female chi wara headdresses affixed to basketry caps at agricultural competitions and weddings.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1962.307-antelope-headdress"]}, "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. 88-89, no. 55", "url": ""}], "url": "https://clevelandart.org/art/1962.307", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.307/1962.307_web.jpg", "width": "518", "height": "893", "filesize": "210673", "filename": "1962.307_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.307/1962.307_print.jpg", "width": "1972", "height": "3400", "filesize": "3164128", "filename": "1962.307_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.307/1962.307_full.tif", "width": "3462", "height": "5970", "filesize": "62036412", "filename": "1962.307_full.tif"}}, "alternate_images": [{"date_created": "2009-10-27T12:47:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.307/1962.307_alt0_web.jpg", "width": "516", "height": "893", "filesize": "204338"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.307/1962.307_alt0_print.jpg", "width": "1965", "height": "3400", "filesize": "3118713"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.307/1962.307_alt0_full.tif", "width": "3474", "height": "6012", "filesize": "62688996"}}, {"date_created": "2009-10-27T12:48:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.307/1962.307_alt1_web.jpg", "width": "499", "height": "893", "filesize": "203673"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.307/1962.307_alt1_print.jpg", "width": "1898", "height": "3400", "filesize": "3110036"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.307/1962.307_alt1_full.tif", "width": "3342", "height": "5988", "filesize": "60067540"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138379, "creators": [], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Antelope Headdress (Sogoni Kun)", "Male Antelope-Anteater Headdress (chi wara-sogoni kun)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:15.359000"}, {"id": 147904, "accession_number": "1974.258", "share_license_status": "CC0", "tombstone": "At the Sea Side, 1880. James Tissot (French, 1836\u20131902). Etching and drypoint; image: 37.9 x 13.7 cm (14 15/16 x 5 3/8 in.); sheet: 39.3 x 22.8 cm (15 1/2 x 9 in.). The Cleveland Museum of Art, Mr. and Mrs. Charles G. Prasse Collection, 1974.258", "current_location": null, "title": "At the Sea Side", "creation_date": "1880", "creation_date_earliest": 1880, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching and drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 37.9 x 13.7 cm (14 15/16 x 5 3/8 in.); Sheet: 39.3 x 22.8 cm (15 1/2 x 9 in.)", "dimensions": {"image": {"height": 0.379, "width": 0.137}, "sheet": {"height": 0.393, "width": 0.228}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed and dated, in plate, at center left: .J.J. Tissot / 1880", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302084, "title": "Year in Review: 1974", "description": "<i>Year in Review: 1974</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 11-April 6, 1975).", "opening_date": "1975-03-11T04:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Leona E. Prasse, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1974", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1974-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The sitter of this print, Kathleen Newton, tragically died of consumption just two years after Tissot's portrait.", "description": "This print is one of several works in which James Tissot represented his lover and frequent model, Kathleen Newton, near a window. Here, the young woman sits on an open sill, looking outward as if caught in a daydream. Although set in Tissot\u2019s London home and featuring props from his studio, the image includes nautical details added by the artist to suggest a coastal location. The invented ship, lighthouse, and expansive sea visible outdoors convey a sense of longing for travel and freedom.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79927586"], "internet_archive": ["https://archive.org/details/clevelandart-1974.258-at-the-sea-side"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1974.\" <em>The Bulletin of the Cleveland Museum of Art</em> 62, no. 3 (1975): 62-102.", "page_number": "Mentioned: p. 101", "url": "https://www.jstor.org/stable/25152580"}], "catalogue_raisonne": "Beraldi 38; Wentworth 47", "url": "https://clevelandart.org/art/1974.258", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1974.258/1974.258_web.jpg", "width": "351", "height": "893", "filesize": "233379", "filename": "1974.258_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1974.258/1974.258_print.jpg", "width": "1336", "height": "3400", "filesize": "3400097", "filename": "1974.258_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1974.258/1974.258_full.tif", "width": "2250", "height": "5728", "filesize": "38696964", "filename": "1974.258_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. Charles G. Prasse Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147904, "creators": [{"id": 1824, "description": "James Tissot (French, 1836\u20131902)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a fabric merchant, Tissot left for Paris in 1856 in order to study at the \u00c9cole des Beaux-Arts under Louis Lamothe (1822-1869) and Hippolyte Flandrin (1809-1864). Just like Alma Tadema (q.v.), Tissot, in his early career, was influenced by Belgian history painter Henry Leys (1815-1869), which resulted in such paintings as those illustrating Goethe's Faust (1808-32). In Paris he became close friends with J. A. M. Whistler (1834-1903), Degas (q.v.), and later Morisot (q.v.) and Manet (q.v.). Tissot made his debut at the Salon of 1859, and in 1864 he showed his first works depicting scenes of modern life. He became quite successful, and by 1865 his financial troubles had disappeared. His fame had already spread to the other side of the Channel, and in 1864 he exhibited for the first time at the Royal Academy in London. Intrigued by Japanese art, Tissot amassed a renowned collection and painted some fashionable japonaiseries. In 1870 he fought in the Franco-Prussian War and joined the Paris Commune. He left the war-ravaged city in 1871 for London, where his success continued. Degas asked him to participate in the first impressionist exhibition in 1874, but he declined. Around 1875 he met Kathleen Newton, who became his companion until her death at age twenty-eight. Overcome with grief, he moved back to Paris. There he had a large solo exhibition in 1883 at the Palais de l'Industrie, showing paintings, works on paper, and enamels. Two years later he exhibited Quinze tableaux sur la femme \u00e0 Paris, depicting the life of the modern urban woman. From that point on, Tissot became deeply involved with spiritualism and religion. He departed completely from secular subjects and began illustrating the life of Christ.", "name_in_original_language": null, "birth_year": "1836", "death_year": "1902", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:09.628000"}, {"id": 150129, "accession_number": "1980.5", "share_license_status": "CC0", "tombstone": "Capri, c. 1845. Jean Achille Benouville (French, 1815\u20131891). Oil on fabric; framed: 43 x 60 x 6 cm (16 15/16 x 23 5/8 x 2 3/8 in.); unframed: 28.1 x 44.7 cm (11 1/16 x 17 5/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1980.5", "current_location": null, "title": "Capri", "creation_date": "c. 1845", "creation_date_earliest": 1840, "creation_date_latest": 1850, "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: 43 x 60 x 6 cm (16 15/16 x 23 5/8 x 2 3/8 in.); Unframed: 28.1 x 44.7 cm (11 1/16 x 17 5/8 in.)", "dimensions": {"framed": {"height": 0.43, "width": 0.6, "depth": 0.06}, "unframed": {"height": 0.281, "width": 0.447}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Achille Benouville \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}], "legacy": [{"description": "London, Hazlitt, Gooden &amp; Fox. The Lure of Rome: Some Northern Artists in Italy in the Nineteenth Century (1979), no. 83, fig. 39.", "opening_date": "1979-01-01T00:00:00"}]}, "provenance": [{"description": "Hazlitt, Gooden & Fox, London, 1979. Purchased by the CMA on 30 January 1980.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A pair of figures rest on the right side of the composition\u2014both in white garments, taking in the refreshing scent of the sea air.", "description": "Located in the Mediterrean Sea, south of Rome, the island of Capri has been famous since Roman times for its spectacular scenery and mild climate. In the 19th century it became the home of many European nobles, and attracted artists from across the continent. Here Benouville captured the beauty of the island's rocky coastline, focusing his attention on a path leading toward the city of Capri and past the rocky outcropping of Monte Solaro. Fascinated by the Italian landscape, Benouville spent years in Italy drawing and painting the countryside. From 1838 to 1845 he made at least three trips there, and in 1845, after winning the Prix de Rome\u2014a fellowship allowing promising artists to study in that city\u2014he spent much of the next 25 years in Italy. Although trained to paint landscapes in a very formal manner, after leaving France Benouville began to paint his subjects with a much more personal, nontraditional approach. This may account for this picture's unusual composition, in which much of the canvas is given to indistinct but beautifully painted stone, sky, and water.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474720"], "internet_archive": ["https://archive.org/details/clevelandart-1980.5-capri"]}, "citations": [{"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 18-19, Vol. I, no. 6", "url": ""}], "url": "https://clevelandart.org/art/1980.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.5/1980.5_web.jpg", "width": "1263", "height": "788", "filesize": "148439", "filename": "1980.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.5/1980.5_print.jpg", "width": "3400", "height": "2120", "filesize": "1163541", "filename": "1980.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.5/1980.5_full.tif", "width": "7681", "height": "4791", "filesize": "110420880", "filename": "1980.5_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt0_web.jpg", "width": "1263", "height": "786", "filesize": "762107"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt0_print.jpg", "width": "2048", "height": "1275", "filesize": "2036213"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt0_full.tif", "width": "2048", "height": "1275", "filesize": "7836332"}}, {"date_created": "2013-03-28T19:50:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt1_web.jpg", "width": "1263", "height": "796", "filesize": "222409"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt1_print.jpg", "width": "3400", "height": "2142", "filesize": "1677362"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt1_full.tif", "width": "8000", "height": "5040", "filesize": "120981892"}}, {"date_created": "2013-03-28T19:34:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt2_web.jpg", "width": "1250", "height": "893", "filesize": "201648"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt2_print.jpg", "width": "3400", "height": "2429", "filesize": "1624696"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.5/1980.5_alt2_full.tif", "width": "7645", "height": "5463", "filesize": "125315804"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150129, "creators": [{"id": 1551, "description": "Jean Achille Benouville (French, 1815\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Jean-Achille Benouville and his younger brother L\u00e9on (1821-1859) were pupils of Fran\u00e7ois-\u00c9douard Picot (1786-1868), the French neoclassical and academic painter and lithographer who specialized in his-tory and genre subjects. Achille studied and sketched in the countryside around Paris, Compi\u00e8gne, and Fontainebleau and exhibited the finished paintings at the Salon from 1834 on. In 1837, along with his brother L\u00e9on, Achille entered the \u00c9cole des Beaux-Arts in Paris. From 1838 through 1843 Achille visited Italy at least three times. In 1845 Achille won the Premier Grand Prix in the category Historic Landscape with Ulysses and Nausicaa (\u00c9cole des Beaux-Arts, Paris), a genre he continued to paint until the end of his career. L\u00e9on won the same prize in the category of History Paint-ing. Together they went to Rome, where Achille remained with interruptions until 1871, all the while continuing to send his paintings to the Paris Salon. In 1851 he had married Eug\u00e9nie-Clarisse Quesney Lerouge (1820-1870), and the couple had three children. They eventually separated, and he returned to Paris, remarried in 1871, and continued to travel regularly, several times to the Pyrenees and once to the Netherlands in 1875. While his first works strictly adhered to the academic system of landscape painting, Achille gradually distanced himself from the constraining rules that he had been taught and produced works characterized by greater spontaneity.", "name_in_original_language": null, "birth_year": "1815", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1840, "date_added_to_oa": null, "date_text": "c. 1845", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:24.126000"}, {"id": 150168, "accession_number": "1980.84", "share_license_status": "CC0", "tombstone": "Arashi Rikan II as Danshichi Kur\u014dbei in \"Mirror of Naniwa: The Summer Festival\" (\u4e8c\u4ee3\u76ee\u5d50\u7483\u5bdb\u306e\u56e3\u4e03\u4e5d\u90ce\u5175\u885b\u3000\u590f\u796d\u6d6a\u82b1\u9451), 1832. Shunbaisai Hokuei (Japanese, d. 1837). Color woodblock print; 35.7 x 24.4 cm (14 1/16 x 9 5/8 in.). The Cleveland Museum of Art, Edward L. Whittemore Fund, 1980.84", "current_location": null, "title": "Arashi Rikan II as Danshichi Kur\u014dbei in \"Mirror of Naniwa: The Summer Festival\"", "title_in_original_language": "\u4e8c\u4ee3\u76ee\u5d50\u7483\u5bdb\u306e\u56e3\u4e03\u4e5d\u90ce\u5175\u885b\u3000\u590f\u796d\u6d6a\u82b1\u9451", "creation_date": "1832", "creation_date_earliest": 1832, "creation_date_latest": 1832, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "35.7 x 24.4 cm (14 1/16 x 9 5/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.357, "width": 0.244}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Shunkosai Hokuei ga.\nseal: Shunko.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 309857, "title": "Transformations in Japanese Printmaking", "description": "<i>Transformations in Japanese Printmaking</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 25-December 30, 1984).", "opening_date": "1984-09-25T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(R. E. Lewis, Inc., California, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131980", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This belongs to a category of Japanese prints called \u201cactor images\u201d (<em>yakusha</em>-<em>e or </em>\u5f79\u8005\u7d75), which were collected by fans of popular Kabuki actors.", "description": "This print shows Arashi Rikan II (1788\u20131837) acting in a Kabuki play put on at the Chikugoza Theater in Osaka in 1832. Rikan\u2019s character, Danshichi Kur\u014dbei, was among the <em>otokodate</em> roles, or men who stood up for those without much power in society. <em>Mirror of Naniwa</em>: <em>The Summer Festival</em> remains popular today and has the most well-known Kabuki murder scene, in which Danshichi kills his devious father-in-law, Mikawaya Giheiji. Rikan strikes multiple dramatic poses, called <em>mie</em>, during the episode, which features real mud on the stage.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79932392"], "internet_archive": ["https://archive.org/details/clevelandart-1980.84-arashi-rikan-ii-as-d"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 208; Mentioned: p. 218, no. 269", "url": "http://www.jstor.org/stable/25159730"}], "url": "https://clevelandart.org/art/1980.84", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.84/1980.84_web.jpg", "width": "624", "height": "900", "filesize": "185061", "filename": "1980.84_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.84/1980.84_print.jpg", "width": "2357", "height": "3400", "filesize": "2668994", "filename": "1980.84_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.84/1980.84_full.tif", "width": "8179", "height": "11799", "filesize": "289542364", "filename": "1980.84_full.tif"}}, "alternate_images": [{"date_created": "2014-08-12T10:15:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.84/1980.84_alt0_web.jpg", "width": "626", "height": "900", "filesize": "166992"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.84/1980.84_alt0_print.jpg", "width": "2364", "height": "3400", "filesize": "2522067"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.84/1980.84_alt0_full.tif", "width": "5391", "height": "7754", "filesize": "125434484"}}], "creditline": "Edward L. Whittemore Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150168, "creators": [{"id": 34241, "description": "Shunbaisai Hokuei (Japanese, d. 1837)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6625\u6885\u658e \u5317\u82f1", "death_year": "1837", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-09-09T00:00:00", "sortable_date": 1832, "date_added_to_oa": null, "date_text": "1832", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:43.514000"}, {"id": 152490, "accession_number": "1985.312", "share_license_status": "CC0", "tombstone": "Night Rain at Karasaki, from Eight Views of \u014cmi (\u8fd1\u6c5f\u516b\u666f\u4e4b\u5185\u3000\u5510\u5d0e\u591c\u96e8), c. 1835. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; 24.4 x 36.8 cm (9 5/8 x 14 1/2 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.312", "current_location": null, "title": "Night Rain at Karasaki, from Eight Views of \u014cmi", "title_in_original_language": "\u8fd1\u6c5f\u516b\u666f\u4e4b\u5185\u3000\u5510\u5d0e\u591c\u96e8", "creation_date": "c. 1835", "creation_date_earliest": 1833, "creation_date_latest": 1837, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "24.4 x 36.8 cm (9 5/8 x 14 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.244, "width": 0.368}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga. \nPublisher: Yamamoto Heikichi (Eikyudo). \nCensorship Seal: kiwame.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": null, "inscription_translation": "Yielding to the sound in the evening rain,/ \nand drawing near to the evening wind,/ \nhe grows famous,/ \nthe pine tree of Karasaki.\n\n\u2014Translation by Matthi Forrer", "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 178454, "title": "Visions of Japan: Prints and Paintings from Cleveland Collections", "description": "<i>Visions of Japan: Prints and Paintings from Cleveland Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 12, 2004-April 10, 2005).", "opening_date": "2004-12-12T00:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(R. E. Lewis, Inc., California, sold to Mrs. and Mr. Kelvin Smith)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The rain is represented by fine, printed vertical lines.", "description": "The sacred Karasaki Pine was a famous sight on the shores of Lake Biwa. Its branches, supported by a framework of bamboo poles, sheltered a shrine beneath. The poem on this print reads as follows:<br><br>Yielding to the sound in the evening rain,<br>and drawing near to the evening wind,<br>he grows famous,<br>the pine tree of Karasaki. <br> \u2014Translation by Matthi Forrer", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79937255"], "internet_archive": ["https://archive.org/details/clevelandart-1985.312-night-rain-at-karasa"]}, "citations": [{"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 292", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.312", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.312/1985.312_web.jpg", "width": "900", "height": "606", "filesize": "244546", "filename": "1985.312_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.312/1985.312_print.jpg", "width": "3400", "height": "2288", "filesize": "3507074", "filename": "1985.312_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.312/1985.312_full.tif", "width": "12033", "height": "8098", "filesize": "292360304", "filename": "1985.312_full.tif"}}, "alternate_images": [{"date_created": "2014-07-08T09:10:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.312/1985.312_alt0_web.jpg", "width": "900", "height": "599", "filesize": "209581"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.312/1985.312_alt0_print.jpg", "width": "3400", "height": "2264", "filesize": "2950554"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.312/1985.312_alt0_full.tif", "width": "7608", "height": "5065", "filesize": "115633032"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152490, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1833, "date_added_to_oa": null, "date_text": "c. 1835", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Evening Rain on the Karasaki Pine (from the series Eight Views of Omi Province)", "Night Rain at Karasaki, from the series Eight Views of \u014cmi"], "is_highlight": false, "updated_at": "2026-03-27 00:08:22.916000"}, {"id": 152506, "accession_number": "1985.327", "share_license_status": "CC0", "tombstone": "Poem by Minamoto no Muneyuki from the series One Hundred Poems by One Hundred Poets Explained by the Nurse (\u767e\u4eba\u4e00\u9996\u3000\u3046\u306f\u304b\u3091\u3068\u304d\u3000\u6e90\u5b97\u4e8e\u671d\u81e3), 1835\u201336. Katsushika Hokusai (Japanese, 1760\u20131849). Color woodblock print; 24.2 x 35.3 cm (9 1/2 x 13 7/8 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.327", "current_location": null, "title": "Poem by Minamoto no Muneyuki from the series One Hundred Poems by One Hundred Poets Explained by the Nurse", "title_in_original_language": "\u767e\u4eba\u4e00\u9996\u3000\u3046\u306f\u304b\u3091\u3068\u304d\u3000\u6e90\u5b97\u4e8e\u671d\u81e3", "creation_date": "1835\u201336", "creation_date_earliest": 1835, "creation_date_latest": 1836, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "24.2 x 35.3 cm (9 1/2 x 13 7/8 in.)", "dimensions": {"No Extent Specified": {"height": 0.242, "width": 0.353}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Zen Hokusai Manji.\nPublisher: Iseya Sanjiro (Eijudo).\nCensorship Seal: kiwame.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "In the mountain village,/ \nit is in winter that my loneliness/ \nincreases most,/ \nwhen I think of how both have dried up,/ \nthe grasses and people\u2019s visits.\n\n\u2014Translation by Joshua Mostow", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 306046, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (March 26-July 9, 2018).", "opening_date": "2018-03-26T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(R. E. Lewis, Inc., California, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["201.1983"], "did_you_know": "This impression of Hokusai's print has a fold along its center, indicating that it may have once been placed in an album of the book format.", "description": "Katsushika Hokusai designed this print series from the perspective of a confused nurse attempting to illustrate classical poetry but missing the subtle allusions. This interpretation creates what would have been considered a comical disconnect between poem and image. The poem on this print reads as follows: <br><br>In the mountain village,<br>it is in winter that my loneliness<br>increases most,<br>when I think of how both have dried up,<br>the grasses and people\u2019s visits. <br>             \u2014Translation by Joshua Mostow<br> <br>While nobleman Minamoto no Muneyuki (died 939) wrote of dying grasses, the nurse imagines instead a lively scene of hunters warming themselves around a fire.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79937321"], "internet_archive": ["https://archive.org/details/clevelandart-1985.327-poem-by-minamoto-no"]}, "citations": [{"citation": "Morse, Peter, Hokusai Katsushika, and Clay MacCauley. <em>Hokusai, One Hundred Poets</em>. New York: G. Braziller, 1989.", "page_number": "Reproduced: pp. 76-77, cat. no. 28", "url": null}], "url": "https://clevelandart.org/art/1985.327", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.327/1985.327_web.jpg", "width": "900", "height": "626", "filesize": "305954", "filename": "1985.327_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.327/1985.327_print.jpg", "width": "3400", "height": "2363", "filesize": "3680135", "filename": "1985.327_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.327/1985.327_full.tif", "width": "11587", "height": "8053", "filesize": "279964180", "filename": "1985.327_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.327/1985.327_alt0_web.jpg", "width": "1263", "height": "865", "filesize": "938728"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.327/1985.327_alt0_print.jpg", "width": "2048", "height": "1403", "filesize": "2421018"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.327/1985.327_alt0_full.tif", "width": "2048", "height": "1403", "filesize": "8623020"}}, {"date_created": "2014-07-02T10:51:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.327/1985.327_alt1_web.jpg", "width": "900", "height": "627", "filesize": "248382"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.327/1985.327_alt1_print.jpg", "width": "3400", "height": "2367", "filesize": "3051542"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.327/1985.327_alt1_full.tif", "width": "7122", "height": "4959", "filesize": "105986376"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152506, "creators": [{"id": 23328, "description": "Katsushika Hokusai (Japanese, 1760\u20131849)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u845b\u98fe \u5317\u658e", "birth_year": "1760", "death_year": "1849", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "1835\u201336", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hunters Warming their Hands at a Fire (from the series One Hundred Poems Explained by an Old Nurse)"], "is_highlight": false, "updated_at": "2026-03-27 00:03:35.821000"}, {"id": 153786, "accession_number": "1987.80", "share_license_status": "CC0", "tombstone": "Rue Saint-Lazare, Paris, 1897. Camille Pissarro (French, 1830\u20131903). Lithograph; image: 21 x 14.2 cm (8 1/4 x 5 9/16 in.); paper: 32.5 x 24.8 cm (12 13/16 x 9 3/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.80", "current_location": null, "title": "Rue Saint-Lazare, Paris", "creation_date": "1897", "creation_date_earliest": 1897, "creation_date_latest": 1897, "artists_tags": ["male", "Jewish artists"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "blue chine coll\u00e9", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 21 x 14.2 cm (8 1/4 x 5 9/16 in.); Paper: 32.5 x 24.8 cm (12 13/16 x 9 3/4 in.)", "dimensions": {"image": {"height": 0.21, "width": 0.142}, "paper": {"height": 0.325, "width": 0.248}}, "state_of_the_work": "proof no.27", "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": 218915, "title": "L'Impressionnisme vu d'Am\u00e9rique", "description": "<i>L'Impressionnisme vu d'Am\u00e9rique</i>. Mus\u00e9e Fabre, Montpellier, France (organizer) (June 9-September 9, 2007); Mus\u00e9e de Grenoble, Grenoble, France (October 6, 2007-January 20, 2008).", "opening_date": "2007-06-09T00:00:00"}], "legacy": [{"description": "Mus\u00e9e Fabre, Montpellier (6/9/2007 - 9/9/2007) and Mus\u00e9e de Grenoble (10/6/2007 - 1/20/2008):  \"L'Impressionnisme vu d'Am\u00e9rique\"", "opening_date": "2007-06-09T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The street seen here was located near the Gare Saint-Lazare, Paris's first commercial train station.", "description": "Pissarro first worked in lithography in 1874 but, after a dozen attempts, abandoned the medium until 1894. Then, within the space of a few years, he executed about 50 examples. These lithographs record a variety of subjects, including scenes of Rouen and Paris. The artist's bold, quickly drawn lines capture the energy and bustle of these cities.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79940088"], "internet_archive": ["https://archive.org/details/clevelandart-1987.80-rue-saint-lazare-par"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1987.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 2 (February 1988): 30\u201371.", "page_number": "Mentioned: p. 69, no. 154", "url": "http://www.jstor.org/stable/25160017"}], "catalogue_raisonne": "Delteil vol.17, no.184", "url": "https://clevelandart.org/art/1987.80", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.80/1987.80_web.jpg", "width": "584", "height": "893", "filesize": "422147", "filename": "1987.80_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.80/1987.80_print.jpg", "width": "2223", "height": "3400", "filesize": "5581397", "filename": "1987.80_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.80/1987.80_full.tif", "width": "3504", "height": "5359", "filesize": "56365636", "filename": "1987.80_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153786, "creators": [{"id": 1836, "description": "Camille Pissarro (French, 1830\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Pissarro's parents ran a general merchandise business on St. Thomas. After attending boarding school in Paris, Pissarro returned to the West Indies to work for his father from 1847 until 1852. As an artist he was largely self-taught, receiving some instruction from Fritz Melbye (1826-1896), a Danish artist with whom he traveled to Venezuela in 1852. When Pissarro returned to Paris in 1855, he shared a studio with Anton Melbye (1818-1875), Fritz's brother, and with David Jacobsen (1821-1871). He took classes at the \u00c9cole des Beaux-Arts in 1856 and three years later attended the Acad\u00e9mie Suisse, where he befriended artists such as C\u00e9zanne (q.v.), Monet (q.v.), and Guillaumin (q.v.). Corot (q.v.) encouraged him to paint landscapes around Paris, and he was listed as Corot's pupil in the catalogues of the Salons of 1864 and 1865. He had met Julie Vellay in 1860, with whom he would have eight children; they married in 1871. Pissarro exhibited regularly at the Salons from 1859 to 1870, although his work received little attention and he sold hardly anything. In 1866 he settled in Pontoise, often returning to Paris where he kept a studio. He frequented \u00c9mile Zola's \"Thursdays\" (weekly literary gatherings) and associated with Manet's (q.v.) artistic circle that gathered in the Caf\u00e9 Guerbois. During the Franco-Prussian War (1870-71) Pissarro fled with his family, first to Montfoucault and then to London, where he worked with Monet and Daubigny (q.v.) and was introduced to the dealer Durand-Ruel. In 1872 he returned to Pontoise, where he painted with C\u00e9zanne. Around 1869 Pissarro began painting in a purely impressionist style, and in 1874 he helped organize the first impressionist exhibition. He moved to \u00c9ragny-sur-Epte in 1884, where he came into contact with Seurat (q.v.) and Paul Signac (1863-1935) and subsequently began to work in a pointillist style. He eventually found this technique too limiting, and returned to an impressionist mode, often working in series. By the end of his career his landscapes and depictions of city life sold well, and in 1892 he was given a retrospective exhibition at Durand-Ruel. By now, the artist had developed strongly anarchist convictions. Pissarro not only painted and made drawings, he also experimented with etching and lithography.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "1897", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:57.789000"}, {"id": 154752, "accession_number": "1989.332", "share_license_status": "CC0", "tombstone": "Rama, Sita, and Lakshmana in the forest, c. 1830. Northern India, Pahari Region, Himachal Pradesh, Rajput Kingdom of Kangra, Court of Aniruddh Chand (reigned 1823\u20131833). Gum tempera, ink, and gold on paper; painting: 21.5 x 15.1 cm (8 7/16 x 5 15/16 in.); overall: 23.9 x 17.3 cm (9 7/16 x 6 13/16 in.). The Cleveland Museum of Art, Bequest of Mrs. Severance A. Millikin, 1989.332", "current_location": null, "title": "Rama, Sita, and Lakshmana in the forest", "creation_date": "c. 1830", "creation_date_earliest": 1825, "creation_date_latest": 1835, "artists_tags": [], "culture": ["Northern India, Pahari Region, Himachal Pradesh, Rajput Kingdom of Kangra, Court of Aniruddh Chand (reigned 1823\u20131833)"], "technique": "Gum tempera, ink, and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Painting: 21.5 x 15.1 cm (8 7/16 x 5 15/16 in.); Overall: 23.9 x 17.3 cm (9 7/16 x 6 13/16 in.)", "dimensions": {"painting": {"height": 0.215, "width": 0.151}, "overall": {"height": 0.239, "width": 0.173}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310300, "title": "The Severance and Greta Millikin Collection", "description": "<i>The Severance and Greta Millikin Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 5-September 2, 1990).", "opening_date": "1990-07-05T04:00:00"}, {"id": 457592, "title": "Imagining Rama\u2019s Journey", "description": "<i>Imagining Rama\u2019s Journey</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 10-September 17, 2023).", "opening_date": "2023-03-09T05:00:00"}], "legacy": [{"description": "<em>Indian Miniature Rotation (Gallery 115)</em>. The Cleveland Museum of Art, Cleveland, OH (August 13, 2003-February 17, 2004).", "opening_date": "2003-08-13T00:00:00"}]}, "provenance": [{"description": "(C. L. Bharany, Sunder Nagar Market, New Delhi, India, sold to Severance and Greta Millikin)", "citations": [], "footnotes": null, "date": "?\u20131966", "sortorder": 1}, {"description": "Severance A. [1895\u20131985] and Greta [Marguerite Steckerl] Millikin [1903\u201389], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1966\u20131989", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1989\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Indian artists adopted the oval format from European models.", "description": "Although banished from their home, Rama, Sita, and Lakshmana enjoy ten years of relative peace in the wilderness. They build a small hut, make clothes of bark cloth, and eat from the bounty of the forest. Lakshmana neatly prepares meat and roasts kabobs over a fire. <br><br>The oval format, adopted from European models, suggests this scene was part of an album series. The pale hues and placement of figures in a space that recedes into the background reveal awareness of imperial Mughal paintings. The hilly scenery was likely inspired by the landscape surrounding the Kangra Valley.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476360"], "internet_archive": ["https://archive.org/details/clevelandart-1989.332-rama-sita-and-lakshm"]}, "citations": [{"citation": "<em>Catalogue of the Severance and Greta Millikin Collection</em>. Cleveland, OH: Cleveland Museum of Art, 1990.", "page_number": "Reproduced: p. 88, cat. no. 158", "url": ""}], "url": "https://clevelandart.org/art/1989.332", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1989.332/1989.332_web.jpg", "width": "658", "height": "900", "filesize": "309834", "filename": "1989.332_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1989.332/1989.332_print.jpg", "width": "2486", "height": "3400", "filesize": "3236877", "filename": "1989.332_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1989.332/1989.332_full.tif", "width": "5484", "height": "7500", "filesize": "123425284", "filename": "1989.332_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Mrs. Severance A. Millikin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154752, "creators": [], "legal_status": "accessioned", "accession_date": "1989-12-04T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "c. 1830", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Rama, Sita and Lakshmana in the Forest, page from the Ramayana (Tales of God Rama)"], "is_highlight": false, "updated_at": "2026-03-27 00:04:23.178000"}, {"id": 350746, "accession_number": "2019.77", "share_license_status": "CC0", "tombstone": "Study for \u201cIn the Woods, Evening\u201d, 1892\u201394. Alexandre S\u00e9on (French, 1855\u20131917). Colored pencils on beige laid paper; sheet: 35.3 x 23 cm (13 7/8 x 9 1/16 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2019.77", "current_location": null, "title": "Study for \u201cIn the Woods, Evening\u201d", "creation_date": "1892\u201394", "creation_date_earliest": 1892, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "colored pencils on beige laid paper", "support_materials": [{"description": "modern laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 35.3 x 23 cm (13 7/8 x 9 1/16 in.)", "dimensions": {"sheet": {"height": 0.353, "width": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower right, in blue pencil: Alex S\u00e9on; on verso, along top margin, in pencil: Alexandre SEON 1855\u20131917 / el\u00e8ve de Puvis de Chavannes \u00ac\u2013 la secheresse / de son dessin et sa stylization glac\u00e9e, s\u2019allient / \u00e0 la tendresse de son couloris \u2013 / [4527]; on verso, on tape at right center, in pencil: 3", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "private collection, Brussels", "citations": [], "footnotes": [], "date": "?-2015", "sortorder": 1}, {"description": "(Eric Gillis Fine Art, Brussels)", "citations": [], "footnotes": [], "date": "2015-2016", "sortorder": 2}, {"description": "Private Collection, New York", "citations": [], "footnotes": [], "date": "2016-2018", "sortorder": 3}, {"description": "(Mireille Mosler., New York, NY, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "2018-2019", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2019-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing relates to a painting that was exhibited to critical acclaim at the 1894 Soci\u00e9t\u00e9 nationale des Beaux-Arts\u2014an important avant-garde exhibition\u2014but is lost today.", "description": "In this drawing of nymphs holding lyres, Alexandre S\u00e9on hoped to depict, in his words, \u201cthe spirit of the forest.\u201d He was inspired by fairy-tales he heard as a child about the woods near the remote village where he grew up. By applying colored pencils to a roughly textured sheet of paper, S\u00e9on evoked the hazy tones of twilight and gave the sheet a dreamlike tenor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877549"], "internet_archive": ["https://archive.org/details/clevelandart-2019.77-study-for-in-the-woo"]}, "citations": [{"citation": "Bouyer, Raymond. \u201cLe Bilan des deux salons.\u201d <em>L\u2019Ermitage </em>5 (1894).", "page_number": "Mentioned: p. 348 (discussion of related painting)", "url": null}, {"citation": "<em>Exposition Nationale des Beaux-Arts, Catalogue Illustr\u00e9 des ouvrages\u2026expos\u00e9s au Champ-de-Mars</em>. Paris: Georges Petit, 1894.", "page_number": "Mentioned: p. xxvii; Reproduced: p. 38 (mention of related painting)", "url": null}, {"citation": "Malterre, F\u00e9lix. \u201cSalon du Champ de Mars.\u201d <em>Nouvelle revue international</em> 26 (1894)", "page_number": "Mentioned: p. 699 (discussion of related painting)", "url": null}, {"citation": "\u201cAu Salon du Champ-de-Mars.\u201d <em>L\u2019Express du Midi</em> (June 11, 1894).", "page_number": "Mentioned: n.p. (discussion of related painting)", "url": null}, {"citation": "Jumeau-Lafond, Jean-David. <em>Alexandre S\u00e9on (1855-1917): La Beaut\u00e9 id\u00e9ale</em>. Exh. Cat. Quimper: Mus\u00e9e des Beaux Arts, 2015.", "page_number": "Mentioned: p. 267 (discussion of printed reproduction of drawing)", "url": null}, {"citation": "<em>1525\u20131929: Paintings, Drawings &amp; Sculptures</em>. Brussels: Eric Gillis Fine Art, 2016.", "page_number": "Mentioned and reproduced: no. 22", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 170-171, no. 34", "url": ""}, {"citation": "Parisi, Francesco. \"Variazioni e Analogie del Paessaggio Simbolista tra Parigi, Bruges e Roma.\" In <em>Hammersh\u00f8i E I Pittori Del Silenzio Tra Il Nord Europa E l\u2019Italia</em>, edited by Paolo Bolpagni, 82-99. Milano: Dario Cimorelli Editore, 2025.", "page_number": "Mentioned and reproduced: p. 86-89, fig. 2", "url": ""}], "url": "https://clevelandart.org/art/2019.77", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.77/2019.77_web.jpg", "width": "563", "height": "900", "filesize": "401444", "filename": "2019.77_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.77/2019.77_print.jpg", "width": "2127", "height": "3400", "filesize": "4773779", "filename": "2019.77_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.77/2019.77_full.tif", "width": "4381", "height": "7004", "filesize": "92080328", "filename": "2019.77_full.tif"}}, "alternate_images": [{"date_created": "2019-05-23T12:13:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.77/2019.77_alt0_web.jpg", "width": "584", "height": "900", "filesize": "182528"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.77/2019.77_alt0_print.jpg", "width": "2206", "height": "3400", "filesize": "2289488"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.77/2019.77_alt0_full.tif", "width": "5045", "height": "7776", "filesize": "117714848"}}, {"date_created": "2019-05-24T15:02:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.77/2019.77_alt1_web.jpg", "width": "697", "height": "900", "filesize": "331268"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.77/2019.77_alt1_print.jpg", "width": "2632", "height": "3400", "filesize": "3224808"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2019.77/2019.77_alt1_full.tif", "width": "5128", "height": "6625", "filesize": "101947292"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 350746, "creators": [{"id": 350725, "description": "Alexandre S\u00e9on (French, 1855\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, draftsman, and illustrator, 1855-1917", "name_in_original_language": null, "birth_year": "1855", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-06-03T00:00:00-04:00", "sortable_date": 1892, "date_added_to_oa": null, "date_text": "1892\u201394", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:21.165000"}, {"id": 96262, "accession_number": "1916.1979", "share_license_status": "CC0", "tombstone": "Portraits of Jean Terford David and Mary Sicard David, 1813. Thomas Sully (American, born England, 1783\u20131872). Oil on canvas; framed: 122 x 103 x 10 cm (48 1/16 x 40 9/16 x 3 15/16 in.); unframed: 89.5 x 70.5 cm (35 1/4 x 27 3/4 in.); part 2: 121.9 x 103.5 x 15.3 cm (48 x 40 3/4 x 6 in.); part 3: 89.5 x 69.8 cm (35 1/4 x 27 1/2 in.). The Cleveland Museum of Art, Gift of the John Huntington Art and Polytechnic Trust, 1916.1979", "current_location": "205 Federal American", "title": "Portraits of Jean Terford David and Mary Sicard David", "creation_date": "1813", "creation_date_earliest": 1813, "creation_date_latest": 1813, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 122 x 103 x 10 cm (48 1/16 x 40 9/16 x 3 15/16 in.); Unframed: 89.5 x 70.5 cm (35 1/4 x 27 3/4 in.); Part 2: 121.9 x 103.5 x 15.3 cm (48 x 40 3/4 x 6 in.); Part 3: 89.5 x 69.8 cm (35 1/4 x 27 1/2 in.)", "dimensions": {"framed": {"height": 1.22, "width": 1.03, "depth": 0.1}, "unframed": {"height": 0.895, "width": 0.705}, "part 2": {"height": 1.219, "width": 1.035, "depth": 0.153}, "part 3": {"height": 0.895, "width": 0.698}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": ".1 - Signed lower right: \"TS 1813 [TS in monogram]\"\r\n.2 - Signed right: \"TS 1813 [TS in monogram]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312517, "title": "The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition", "description": "<i>The Twentieth Anniversary Exhibition: The Official Art Exhibit of the Great Lakes Exposition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 26-October 4, 1936).", "opening_date": "1936-06-26T04:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Catalogue of the Inaugural Exhibition (6 June-20 September, 1916), no. 156.", "opening_date": "1916-06-06T00:00:00"}, {"description": "Philadelphia, The Pennsylvania Academy of the Fine Arts, Catalogue of the Memorial Exhibition of Portraits by Thomas Sully (1922), pp. 5-7, cat. nos. 71 &amp; 72, illus. p. 49 &amp; 50.", "opening_date": "1922-01-01T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, 20th Anniversary Exhibition (26 June-4 October, 1936), p. 29, nos. 48 &amp; 49.", "opening_date": "1936-06-26T00:00:00"}, {"description": "Detroit, The Detroit Institute of Arts, The World of the Romantic Artist: A Survey of American Culture from 1800 to 1875 (28 December, 1944-28 January, 1945), nos. 5 &amp; 6, ill. p. 8; cat. p. 8-10.", "opening_date": "1944-12-28T00:00:00"}, {"description": "Saginaw, Michigan, The Saginaw Museum, An Exhibition of American Paintings from Colonial Times until Today (10 January-15 February, 1948), p. 22, illus. nos. 56 &amp; 57, plate III.", "opening_date": "1948-01-10T00:00:00"}, {"description": "Chicago, The Art Institute of Chicago, From Colony to Nation: An Exhibition of American Painting Silver and Architecture from 1650 to the War of 1812 (21 April-19 June, 1949), p. 73, cat. nos. 117 &amp; 118.", "opening_date": "1949-04-21T00:00:00"}, {"description": "New York, The National Academy of Design, A Century and a Half of American Art (10 October-16 November, 1975), p. 118, illus. p. 117. (.1 only)", "opening_date": "1975-10-10T00:00:00"}, {"description": "Washington D.C., The National Portrait Gallery, Mr. Sully, Portrait Painter (3 June-5 September, 1983), p. 59, cat. nos. 18 &amp; 19, illus. p. 58-59.", "opening_date": "1983-06-03T00:00:00"}, {"description": "Philadelphia, The Philadelphia Museum of Art, Federal Philadelphia 1783-1825: The Athens of the Western World (5 July - 20 September 1987), cat. no. 224. (.2 only)", "opening_date": "1987-07-05T00:00:00"}, {"description": "Milwaukee Art Museum, WI (10/11/2013 - 1/5/2014) and San Antonio Museum of Art, TX (2/7/20114 - 5/11/2014):  \"Thomas Sully: Painted Performance\", cat. nos. 9 &amp; 10, p. 104-105.", "opening_date": "2011-02-07T00:00:00"}]}, "provenance": [{"description": "Family of the sitter; John Foster Jenkins, Yonkers, NY; The Cleveland Museum of Art (1916)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60502481"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1979-portraits-of-jean-te"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1925.", "page_number": "Reproduced: p. 9", "url": "https://archive.org/details/CMAHandbook_80839/page/n11"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 1928.", "page_number": "Reproduced: p. 9", "url": "https://archive.org/details/CMAHandbook1928/page/n13"}, {"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. 534", "url": "https://archive.org/details/CMAHandbook1958/page/n98"}, {"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. 161", "url": "https://archive.org/details/CMAHandbook1966/page/n185"}, {"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. 161", "url": "https://archive.org/details/CMAHandbook1969/page/n185"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned and reproduced: p. 34, no. 172", "url": "http://www.jstor.org/stable/25152465"}, {"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. 200", "url": "https://archive.org/details/CMAHandbook1978/page/n220"}], "url": "https://clevelandart.org/art/1916.1979", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1979/1916.1979_web.jpg", "width": "900", "height": "569", "filesize": "212730", "filename": "1916.1979_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1979/1916.1979_print.jpg", "width": "3400", "height": "2148", "filesize": "1513515", "filename": "1916.1979_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1979/1916.1979_full.tif", "width": "7462", "height": "4715", "filesize": "105575156", "filename": "1916.1979_full.tif"}}, "alternate_images": [{"date_created": "2014-11-12T20:31:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1979/1916.1979_alt0_web.jpg", "width": "704", "height": "900", "filesize": "144071"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1979/1916.1979_alt0_print.jpg", "width": "2658", "height": "3400", "filesize": "1412331"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1979/1916.1979_alt0_full.tif", "width": "3749", "height": "4795", "filesize": "53953956"}}], "creditline": "Gift of the John Huntington Art and Polytechnic Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 96262, "creators": [{"id": 2424, "description": "Thomas Sully (American, born England, 1783\u20131872)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1872", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-02-28T00:00:00", "sortable_date": 1813, "date_added_to_oa": null, "date_text": "1813", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:09.387000"}, {"id": 125797, "accession_number": "1947.682", "share_license_status": "CC0", "tombstone": "Tide-Changing Jewel with Dragon (\u6f6e\u3092\u652f\u914d\u3059\u308b\u73e0\u3068\u9f8d), early 1900s. Japan, Meiji period (1868\u20131912). Silver, shakud\u014d (copper and gold alloy), and crystal; height with stand: 35.6 cm (14 in.); diameter: 20 cm (7 7/8 in.). The Cleveland Museum of Art, Bequest of Cornelia Blakemore Warner, 1947.682", "current_location": "235A Japanese", "title": "Tide-Changing Jewel with Dragon", "title_in_original_language": "\u6f6e\u3092\u652f\u914d\u3059\u308b\u73e0\u3068\u9f8d", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1930, "artists_tags": [], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "silver, shakud\u014d (copper and gold alloy), and crystal", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Metalwork", "measurements": "height with stand: 35.6 cm (14 in.); Diameter: 20 cm (7 7/8 in.)", "dimensions": {"height with stand": {"height": 0.356}, "stand": {"height": 0.18, "width": 0.26, "depth": 0.19}, "diameter": {"width": 0.015}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 223250, "title": "Millionaires' Row: The Legacy of Euclid Avenue", "description": "<i>Millionaires' Row: The Legacy of Euclid Avenue</i>. Western Reserve Historical Society, Cleveland, OH (organizer) (September 24, 2005-May 31, 2006).", "opening_date": "2005-09-24T00:00:00"}, {"id": 452571, "title": "Meiji Modern: 50 Years of New Japan", "description": "<i>Meiji Modern: 50 Years of New Japan</i>. The Asia Society Museum, New York, NY (October 3, 2023-January 7, 2024) https://asiasociety.org/new-york/exhibitions/meiji-modern-fifty-years-new-japan; The David and Alfred Smart Museum of Art, Chicago, IL (March 21-June 9, 2024); Museum of Fine Arts, Houston, Houston, TX (June 30-September 15, 2024).", "opening_date": "2023-10-03T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Worcester R. [Cornelia Blakemore] Warner [1859\u20131947], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131947", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1947\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "An early Japanese legend describes a god of the sea who possesses two jewels responsible for controlling the ebb and flow of the tides. In other legends, the jewels belong to the Dragon King who rules from a palace beyond or beneath the sea. Tales received from China feature dragons that can generate rain by using pearls. This <em>okimono</em> (a small sculptural object without a function) mines imagery associated with these tales while aiming to appeal to the interest in gems and minerals embraced by some Americans and Europeans of the late 1800s and early 1900s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79904809"], "internet_archive": ["https://archive.org/details/clevelandart-1947.682-crystal-ball-on-stan", "https://archive.org/details/clevelandart-1947.682-tide-changing-jewel"]}, "citations": [{"citation": "Foxwell, Chelsea, and Bradley M. Bailey. <em>Meiji Modern: Fifty Years of New Japan.</em> Lexington, MA: Japanese Art Society of America, 2023.", "page_number": "Mentioned and reproduced: p. 109, no. 2-22", "url": ""}], "url": "https://clevelandart.org/art/1947.682", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1947.682/1947.682_web.jpg", "width": "689", "height": "900", "filesize": "132512", "filename": "1947.682_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1947.682/1947.682_print.jpg", "width": "2604", "height": "3400", "filesize": "1242305", "filename": "1947.682_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1947.682/1947.682_full.tif", "width": "6000", "height": "7834", "filesize": "141041320", "filename": "1947.682_full.tif"}}, "alternate_images": [{"date_created": "2018-07-05T08:13:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt0_web.jpg", "width": "687", "height": "900", "filesize": "119652"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt0_print.jpg", "width": "2594", "height": "3400", "filesize": "1109453"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt0_full.tif", "width": "6000", "height": "7864", "filesize": "141580972"}}, {"date_created": "2018-07-05T08:48:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt1_web.jpg", "width": "690", "height": "900", "filesize": "132308"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt1_print.jpg", "width": "2606", "height": "3400", "filesize": "1214034"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt1_full.tif", "width": "6000", "height": "7829", "filesize": "140951564"}}, {"date_created": "2018-07-05T09:14:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt2_web.jpg", "width": "685", "height": "900", "filesize": "122511"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt2_print.jpg", "width": "2588", "height": "3400", "filesize": "1130829"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1947.682/1947.682_alt2_full.tif", "width": "6000", "height": "7882", "filesize": "141905104"}}], "creditline": "Bequest of Cornelia Blakemore Warner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125797, "creators": [], "legal_status": "accessioned", "accession_date": "1947-12-19T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Crystal Ball on Stand in Shape of a Wave"], "is_highlight": false, "updated_at": "2026-03-27 00:03:52.540000"}, {"id": 152493, "accession_number": "1985.315", "share_license_status": "CC0", "tombstone": "Gathering Shellfish at Low Tide at Susaki, from Famous Places in Edo (\u6c5f\u90fd\u540d\u6240\u3000\u6d32\u5d0e\u3057\u307b\u5e72\u72e9), mid-1830s. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; sheet: 22.3 x 34.7 cm (8 3/4 x 13 11/16 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.315", "current_location": "235A Japanese", "title": "Gathering Shellfish at Low Tide at Susaki, from Famous Places in Edo", "title_in_original_language": "\u6c5f\u90fd\u540d\u6240\u3000\u6d32\u5d0e\u3057\u307b\u5e72\u72e9", "creation_date": "mid-1830s", "creation_date_earliest": 1834, "creation_date_latest": 1837, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Sheet: 22.3 x 34.7 cm (8 3/4 x 13 11/16 in.)", "dimensions": {"sheet": {"height": 0.223, "width": 0.347}, "No Extent Specified": {"height": 0.242, "width": 0.371}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga.\nArtist Seal: Utagawa.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}, {"inscription": "Publisher: Sanoya Kihei (Kikakud\u014d, Shiba shinmei mae). \nCensorship Seal: kiwame.", "inscription_translation": null, "inscription_remark": null, "sortorder": 2}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 306046, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (March 26-July 9, 2018).", "opening_date": "2018-03-26T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(R. E. Lewis, Inc., California, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["538.1984"], "did_you_know": null, "description": "Susaki, a strip of land along Edo (now Tokyo) Bay, was known for excellent shellfish harvests during low tide in the spring. Utagawa Hiroshige designed this print so that the viewer seems to be floating in the bay on board a ship, whose mast and rigging span the left foreground. Instead of depicting the lives of wealthy elites, this landscape focuses on the working-class people wading into shallow water to fill their baskets with shellfish. Susaki Shrine is shown amid pine trees on the right, while the leisure class enjoying the sea breezes from a pavilion are reduced to small figures in the background.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79937264"], "internet_archive": ["https://archive.org/details/clevelandart-1985.315-gathering-shellfish"]}, "citations": [{"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 292", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.315", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.315/1985.315_web.jpg", "width": "900", "height": "592", "filesize": "277012", "filename": "1985.315_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.315/1985.315_print.jpg", "width": "3400", "height": "2235", "filesize": "3800562", "filename": "1985.315_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.315/1985.315_full.tif", "width": "11616", "height": "7635", "filesize": "266096084", "filename": "1985.315_full.tif"}}, "alternate_images": [{"date_created": "2014-07-08T08:07:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.315/1985.315_alt0_web.jpg", "width": "900", "height": "590", "filesize": "220776"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.315/1985.315_alt0_print.jpg", "width": "3400", "height": "2228", "filesize": "2465438"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.315/1985.315_alt0_full.tif", "width": "7557", "height": "4953", "filesize": "112319864"}}], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152493, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "mid-1830s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Gathering Shells at Low Tide at Susaki (from the series Famous Places in Edo)", "Susaki shiohigari. Gathering shells at low tide in Susaki", "Gathering Shellfish at Low Tide at Susaki, from the series Famous Places in Edo"], "is_highlight": false, "updated_at": "2026-03-27 00:07:12.304000"}, {"id": 130365, "accession_number": "1953.13", "share_license_status": "CC0", "tombstone": "The birth of Rama and his brothers, from Chapter 17 of the Bala Kanda (Book of Childhood) of the Adhyatma Ramayana (Rama's Journey of the Supreme Spirit) from the Brahmanda Purana (Ancient Scripture of the Cosmic Egg), c. 1820\u201330. Northern India, Pahari Region, Himachal Pradesh, Rajput Kingdom of Kangra, Court of Aniruddh Chand (reigned 1823\u201333). Gum tempera, ink, and gold on paper; painting: 25.1 x 34 cm (9 7/8 x 13 3/8 in.); overall: 29.9 x 38.5 cm (11 3/4 x 15 3/16 in.). The Cleveland Museum of Art, Edward L. Whittemore Fund, 1953.13", "current_location": null, "title": "The birth of Rama and his brothers, from Chapter 17 of the Bala Kanda (Book of Childhood) of the Adhyatma Ramayana (Rama's Journey of the Supreme Spirit) from the Brahmanda Purana (Ancient Scripture of the Cosmic Egg)", "creation_date": "c. 1820\u201330", "creation_date_earliest": 1820, "creation_date_latest": 1845, "artists_tags": [], "culture": ["Northern India, Pahari Region, Himachal Pradesh, Rajput Kingdom of Kangra, Court of Aniruddh Chand (reigned 1823\u201333)"], "technique": "Gum tempera, ink, and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Painting: 25.1 x 34 cm (9 7/8 x 13 3/8 in.); Overall: 29.9 x 38.5 cm (11 3/4 x 15 3/16 in.)", "dimensions": {"painting": {"height": 0.251, "width": 0.34}, "overall": {"height": 0.299, "width": 0.385}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[[verso, in Sanskrit]] a\u015bame m\u0101si kausaly\u0101 su\u1e63uve putramadbhutam madhum\u0101se site pak\u015be navamy\u0101\u1e41 karka\u1e6de \u015bubhe punarvakh\u1e5bk\u015basahite uccasye grahapa\u00f1cake me\u1e63a\u1e41 p\u016b\u1e63a\u1e47\u012b sa\u1e41pr\u0101pte pu\u1e63pav\u1e5b\u1e63tisam\u0101kule \u0101vir\u0101s\u012bjjagannatha\u1e25 param\u0101tm\u0101 san\u0101tana\u1e25 n\u012blotpaladala\u015by\u0101ma\u1e25 p\u012btav\u0101sa\u015bcaturbhuja\u1e25 jalaj\u0101ru\u1e47anetranta\u1e25 sphuratku\u1e47\u1e0dalama\u1e47\u1e0dita\u1e25 sahastr\u0101rkaprat\u012bk\u0101\u015ba\u1e25 kir\u012b\u1e6d\u012b ku\u00f1cit\u0101laka\u1e25 \u015ba\u1e45khacakragad\u0101padyavanam\u0101l\u0101vir\u0101jita\u1e25 anugrah\u0101khyah\u1e5btsthendus\u016bcakasmitacandrika\u1e25 karu\u1e47\u0101rasasamp\u016br\u1e47avish\u0101lotpalalocana\u1e25 \u015br\u012bvatsah\u0101rakey\u016bran\u016b pur\u0101divibh\u016b\u1e63a\u1e47a. d\u1e5b\u1e63\u1e6dv\u0101 ta\u1e41 param\u0101tm\u0101na\u1e41 kausaly\u0101 vikhay\u0101kul\u0101 har\u1e63a\u015brup\u016br\u1e47anayan\u0101 natv\u0101 pr\u0101\u00f1jalirabrav\u012bt kausalyov\u0101ca devadeva namastestu \u015b\u1e41khacakragad\u0101dhara parm\u0101tm\u0101cyutonanta\u1e25 p\u016br\u1e47astva\u1e41 puru\u1e63ottama\u1e25 vadantyagocara\u1e41 v\u0101c\u0101\u1e41 buddhath\u0101d\u012bn\u0101mat\u012bndriyam tv\u0101\u1e41 vedav\u0101dina\u1e25 sattam\u0101tra\u1e41 jnanaikavigraham svameva m\u0101yay\u0101 vi\u015bva\u1e41 s\u1e5bjasvavasi ha\u1e41si ca sattvadigu\u1e47asa\u1e41yuktasturya ev\u0101mala\u1e25 sad\u0101 karoviva na kart\u0101 sva\u1e41 gacchas\u012bva na gacchasi \u015b\u1e5b\u1e47o\u1e63i na \u015b\u1e5b\u1e47ov\u012bva pa\u015byas\u012bva na pa\u015byasi agr\u0101\u1e47o \u015bman\u0101\u1e25 suddha ity\u0101di \u015brutirabrav\u012bt sama\u1e25 sarve\u1e63u bh\u016bte\u1e63u ti\u1e63\u1e6dhaapi na lak\u015byase ajn\u0101nadhv\u0101ntacit\u0101n\u0101\u1e41 vyakta eva sumedhas\u0101m ja\u1e6dhare tava d\u1e5b\u015b\u1e41yante brahm\u0101\u1e47\u1e0d\u0101\u1e25 param\u0101\u1e47ava\u1e25 tva\u1e41 mamodarasambh\u016bta iti lok\u0101nvi\u1e0dambase bhakte\u1e63u p\u0101rava\u015bya\u1e41 te d\u1e5b\u1e63\u1e6da\u1e41 megha ragh\u016bttama sa\u1e41s\u0101ras\u0101gare magn\u0101 patiputradhan\u0101di\u1e63u bhram\u0101mi m\u0101yay\u0101 tegha p\u0101dam\u016blamup\u0101gat\u0101 deva tvadr\u016bpametanme sad\u0101 ti\u1e63\u1e6dhatu m\u0101nase \u0101v\u1e5b\u1e47otu na m\u0101\u1e45 m\u0101y\u0101 tava vi\u015bvavimohin\u012b upasa\u1e41hara vi\u015bv\u0101sma ado r\u016bpamalaukikam dar\u015bayasva mah\u0101nandab\u0101labh\u0101va\u1e41 sukomalam lalit\u0101li\u1e41gan\u0101l\u0101paistari\u1e63y\u0101myutkata\u1e41 tama\u1e25 \u015br\u012bbhagav\u0101nuv\u0101ca yadyadi\u1e63\u1e6dha\u1e41 tav\u0101styamba tattadravatu n\u0101nyatha aha\u1e41 tu brahma\u1e47\u0101 p\u016brva\u1e43 bh\u016bmerbh\u0101r\u0101panuttye pr\u0101rthito r\u0101va\u1e47a\u1e43 m\u0101nu\u1e63atvamup\u0101gata\u1e25 svay\u0101 da\u015barathen\u0101ha\u1e41 tapas\u0101r\u0101dhita\u1e25 pur\u0101 matputratv\u0101bhik\u0101\u1e0dik\u015ba\u1e47y\u0101 tath\u0101 k\u1e5btamanindite r\u016bpametatvay\u0101 d\u1e5b\u1e63\u1e6da\u1e43 pr\u0101ttana\u1e43 tapasa\u1e25 phalam maddarshana\u1e43 vimok\u015b\u0101ya kalpate hmanyadurlabha\u1e41 sa\u1e41v\u0101dam\u0101vayoryastu pa\u1e6dheddh\u0101 \u1e63\u1e5b\u1e47uy\u0101dapi sa y\u0101ti mama s\u0101r\u016bpya\u1e41 mara\u1e47e matsm\u1e5bti\u1e43 labhet ityuktv\u0101 m\u0101tara\u1e41 r\u0101mo b\u0101lo bh\u016btv\u0101 ruroda ha b\u0101latvep\u012bndran\u012bl\u0101bho vi\u015b\u0101lak\u015botisundara\u1e25 b\u0101l\u0101ru\u1e47aprat\u012bk\u0101\u015bo l\u0101lit\u0101khilalokapa\u1e25 atha r\u0101j\u0101 da\u015baratha\u1e25 \u015brutv\u0101 putrodbhavotsavam \u0101nand\u0101r\u1e47avamagnps\u0101v\u0101yayau guru\u1e47a saha r\u0101ma\u1e41 r\u0101j\u012bvapatr\u0101k\u015ba\u1e41 d\u1e5b\u1e63tv\u0101 har\u1e63a\u015brusa\u1e41pluta\u1e25 guru\u1e47a j\u0101takarm\u0101\u1e47i kartavy\u0101ni cak\u0101ra sa\u1e25 kaikey\u012b c\u0101tha bharatamas\u016bta kamalek\u015ba\u1e47a sumitr\u0101y\u0101\u1e41 yayau j\u0101tau pur\u1e47endusad\u1e5b\u015b\u0101nanau", "inscription_translation": "In the tenth month, Kaushalya gave birth to an exceptional child. The supreme spirit, the eternal being, and the lord of all, incarnated in the month of Chaitra amidst a shower of flowers on the ninth day of the bright fortnight under the constellation of Punarvasu in the auspicious zodiacal sign of cancer when the five planets[the Sun, Mars, Saturn, Jupiter, and Venus] were ascending and the sun was in the sign of the ram (Mesha). Blue in complexion like the petals of a lily, clad in a yellow robe, with four arms, eyes tinged with lotus-red, sporting a pair of shining ear-pendants, luminous as a hundred suns, crowned with a diadem over his head of curly locks, adorned with conch, discus, mace, and lotus in his four arms and a wreath of wild flowers adorning his chest--her face lit by the \u202fsight of the lord's glorious figure, Kaushalya greeted him with hands raised and eyes brimming with tears of pleasure. \"Salutations to Thee, Lord of all divinities and Weaver of celestial emblems such as the conch, discus, and mace! You, Lord, are the supreme spirit, the highest of all beings; you are eternal, all-pervasive, and unlimited. The adepts of the Vedas assert that you are indescribable through words and incomprehensible through the conceptual process of the intellect. You are the essence of all beings as pure existence, transcending the scope of the senses, and your shape is pure consciousness. You, in collaboration with the gunas of rajas, sattva, and tamas, create, maintain, and destroy the cosmos with your power known as maya. But you are always the pure being, the fourth that transcends waking, dreaming, and sleeping. You appear to be a doer, but you are not; you appear to be moving, but you are not; you appear to be hearing, but you are not; and you appear to be seeing, but you are not. Without life, without consciousness, and untouched - this is how the Vedas describe you. Though you reside as an unaltered being in all beings, you are beyond the reach of those whose minds are clouded by ignorance; only those with a clear mind can recognize you. All of the world systems in the cosmos are no larger than the atoms in your abdomen. Following the world's ways, you are born from my womb. You are the most aristocratic of Raghu's descendants! Today, via your condescension, I have come to realize how you submit yourself to your followers. Today, I have gained your holy feet, I, who is\u202fsunk in the ocean of Samsara, the transmigratory cycle, and am forced by your illusionary power into an infatuation with husband, children, riches, and other mundane worries. O Lord! May this image of yours be forever etched in my consciousness, and may your maya, the power that hypnotizes the entire world, have no influence or power over me. Spirit of the cosmos! Deign to withdraw this superhuman form [and appear] as a baby who brings joy to everyone who beholds it. I will overcome the terrible darkness of ignorance by cuddling and conversing with you as a baby.\u201d The Lord spoke, \"O mother! Let everything transpire as you desire. It will never be different. Brahma has pleaded with me in the past to relieve the world of its burdens by eliminating Ravana. I've now taken on a human shape for this purpose. In addition, O noble lady, you and Dasharatha had undergone austerities in the past, praying that you might receive me as your son. This form of Mine that you have witnessed is a vision granted to you as a reward for the austerities you have performed in the past. This form cannot be experienced in any other manner. For, my vision bestows freedom on those who comprehend it. Those who study this discussion between us or even hear it read will remember me at the time of death and acquire sarupya, which consists of the attainment of My form.\u201d In response, Rama assumed the form of an infant and wailed like a newborn baby. Even in his newborn form, he was incredibly gorgeous, with a skin as blue as a sapphire and exceptionally large eyes. He gleamed like the morning sun, and all the guardian deities of the four cardinal directions rejoiced at his birth. Upon hearing the joyful news of the birth of a son, King Dasharatha hurried to visit the infant, accompanied by his family priest Vasishtha. Dasharatha, whose eyes resembled lotus petals and were filled with tears of delight at the sight of the infant Rama, conducted all the birth ceremonies for him as commanded by his teacher. After that, the beautiful Kaikeyi gave birth to Bharata, and Sumitra gave birth to a set of moon-faced twins.", "inscription_remark": "This inscription is oriented to assume a horizontal page turning.", "sortorder": null}], "exhibitions": {"current": [{"id": 309885, "title": "Sacred India", "description": "<i>Sacred India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1985-January 12, 1986).", "opening_date": "1985-11-05T05:00:00"}, {"id": 457592, "title": "Imagining Rama\u2019s Journey", "description": "<i>Imagining Rama\u2019s Journey</i>. 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Rama\u2019s half-brother Bharata lies swaddled next to his mother Queen Kaikeyi on an adjacent terrace of the women\u2019s quarters. The patterned carvings and textiles of the palace interior communicate the luxury into which the princes were born, and from which Rama and Lakshmana will be eventually exiled.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516260"], "internet_archive": ["https://archive.org/details/clevelandart-1953.13-the-birth-of-rama-an"]}, "citations": [{"citation": "Boger, Ann C., and Joellin K. 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Whittemore Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130365, "creators": [], "legal_status": "accessioned", "accession_date": "1953-02-04T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "c. 1820\u201330", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Scenes from the Birth of Krishna", "Scenes from the Birth of Rama"], "is_highlight": false, "updated_at": "2026-03-27 00:00:11.250000"}, {"id": 147018, "accession_number": "1972.49", "share_license_status": "CC0", "tombstone": "Bust of a Chinese, 1867\u201368. Jean-Baptiste Carpeaux (French, 1827\u20131875). Plaster; overall: 35.5 x 25.8 x 14.2 cm (14 x 10 3/16 x 5 9/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 1972.49", "current_location": null, "title": "Bust of a Chinese", "creation_date": "1867\u201368", "creation_date_earliest": 1867, "creation_date_latest": 1868, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "plaster", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 35.5 x 25.8 x 14.2 cm (14 x 10 3/16 x 5 9/16 in.)", "dimensions": {"overall": {"height": 0.355, "width": 0.258, "depth": 0.142}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inset into bust near base at rear is struck copper plate inscribed:  \"PROPRIETE CARPEAUX\" with an eagle in the center.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}], "legacy": [{"description": "CMA 1973:  \"Year in Review 1972,\" Bulletin, LX (March 1973), repr. p. 81, cat. no. 8", "opening_date": "1973-03-01T00:00:00"}]}, "provenance": [{"description": "[Nathan Chaikin, Switzerland].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Greatly admired during his time, Jean-Baptiste Carpeaux received important commissions from French Emperor Napoleon III and Baron Georges-Eug\u00e8ne Haussmann.", "description": "This bust is related to the allegorical figure of Asia in Carpeaux's monumental bronze fountain, <em>The Four Parts of the World Upholding the Celestial Sphere</em>, commissioned by Baron Haussmann in 1867 for the Luxembourg Gardens in Paris. The figure was changed into a woman in the fountain and reflects the artist's interest in accurately portraying different ethnic groups. This bust exists in various sizes and media.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79925960"], "internet_archive": ["https://archive.org/details/clevelandart-1972.49-bust-of-a-chinese"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (March 1973): 63\u2013115.", "page_number": "Reproduced: p. 81; Mentioned: p. 106, no.8", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Hawley, Henry H. \u201cCarpeaux\u2019s Mysterious Sculpture.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 4 (April 1976): 99\u2013107.", "page_number": "Mentioned and Reproduced: p. 101-102, fig. 4", "url": "http://www.jstor.org/stable/25152633"}, {"citation": "Abe, Stanley K. <em>Imagining Sculpture: A Short Conjectural History</em>. Munich : Hirmer Verlag, 2022.", "page_number": "Reproduced: p. 180, fig. 14.1", "url": ""}], "url": "https://clevelandart.org/art/1972.49", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.49/1972.49_web.jpg", "width": "718", "height": "900", "filesize": "122526", "filename": "1972.49_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.49/1972.49_print.jpg", "width": "2714", "height": "3400", "filesize": "1396594", "filename": "1972.49_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.49/1972.49_full.tif", "width": "5338", "height": "6687", "filesize": "107113764", "filename": "1972.49_full.tif"}}, "alternate_images": [{"date_created": "2013-11-14T11:54:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt0_web.jpg", "width": "682", "height": "900", "filesize": "108370"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt0_print.jpg", "width": "2578", "height": "3400", "filesize": "1168409"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt0_full.tif", "width": "5317", "height": "7011", "filesize": "111860168"}}, {"date_created": "2013-11-14T13:31:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt1_web.jpg", "width": "773", "height": "900", "filesize": "132306"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt1_print.jpg", "width": "2922", "height": "3400", "filesize": "1562750"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt1_full.tif", "width": "5709", "height": "6644", "filesize": "113820108"}}, {"date_created": "2013-11-14T13:46:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt2_web.jpg", "width": "619", "height": "900", "filesize": "104602"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt2_print.jpg", "width": "2340", "height": "3400", "filesize": "1083918"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt2_full.tif", "width": "4619", "height": "6711", "filesize": "93021940"}}, {"date_created": "2013-11-14T14:07:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt3_web.jpg", "width": "709", "height": "900", "filesize": "113316"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt3_print.jpg", "width": "2680", "height": "3400", "filesize": "1252583"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt3_full.tif", "width": "5122", "height": "6499", "filesize": "99891312"}}, {"date_created": "2013-11-14T14:19:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt4_web.jpg", "width": "716", "height": "900", "filesize": "119116"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt4_print.jpg", "width": "2704", "height": "3400", "filesize": "1367287"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt4_full.tif", "width": "5396", "height": "6785", "filesize": "109863496"}}, {"date_created": "2013-11-14T14:52:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt5_web.jpg", "width": "900", "height": "571", "filesize": "211996"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt5_print.jpg", "width": "3400", "height": "2156", "filesize": "2009832"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1972.49/1972.49_alt5_full.tif", "width": "4549", "height": "2885", "filesize": "39400392"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147018, "creators": [{"id": 5856, "description": "Jean-Baptiste Carpeaux (French, 1827\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1827", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-06-12T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867\u201368", "collapse_artists": false, "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": "2026-03-27 00:08:16.896000"}, {"id": 149419, "accession_number": "1978.71", "share_license_status": "CC0", "tombstone": "Maharao Kishor Singh II of Kota (r. 1819\u201328) Worshiping Krishna as Brij Rajji, c. 1825. Northwestern India, Rajasthan, Rajput Kingdom of Kota. Gum tempera, silver, and gold on paper; overall: 24.5 x 18.8 cm (9 5/8 x 7 3/8 in.). The Cleveland Museum of Art, James Albert and Mary Gardiner Ford Memorial Fund, 1978.71", "current_location": null, "title": "Maharao Kishor Singh II of Kota (r. 1819\u201328) Worshiping Krishna as Brij Rajji", "creation_date": "c. 1825", "creation_date_earliest": 1820, "creation_date_latest": 1828, "artists_tags": [], "culture": ["Northwestern India, Rajasthan, Rajput Kingdom of Kota"], "technique": "Gum tempera, silver, and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 24.5 x 18.8 cm (9 5/8 x 7 3/8 in.)", "dimensions": {"overall": {"height": 0.245, "width": 0.188}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304286, "title": "Year in Review: 1978", "description": "<i>Year in Review: 1978</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 13-March 18, 1979).", "opening_date": "1979-02-13T05:00:00"}, {"id": 370719, "title": "Krishna and the Path of Grace \u2013 Indian Gallery 242 Rotation", "description": "<i>Krishna and the Path of Grace \u2013 Indian Gallery 242 Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 14, 2020-March 7, 2021).", "opening_date": "2020-08-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Terence McInerney, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?\u20131978", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1978\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mirrors line the back of the shrine.", "description": "The ruler of the small princely state of Kota, dressed as a priest of the Pushti Marg sect, holds a lamp with five flames. He pays homage to a triad of metal images with Krishna in the center, flanked by two consorts, enshrined in a small kiosk lined with metallic panels designed to reflect light. This icon is worshiped only in Kota. <br><br>A multitude of glass lamps hang from the ceiling, and toys and games to amuse Krishna and his companions have been arranged on the steps leading up to the altar, including brass elephants, silver cows, balls, and a pachisi board.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473629"], "internet_archive": ["https://archive.org/details/clevelandart-1978.71-maharao-kishor-singh"]}, "citations": [{"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\u201347.", "page_number": "Reproduced: p. 29; Mentioned: p. 47, no. 164", "url": "http://www.jstor.org/stable/25159613"}, {"citation": "Leach, Linda York. <em>Indian Miniature Paintings and Drawings</em>. Cleveland, OH: Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "Mentioned and Reproduced: cat. no. 79", "url": null}, {"citation": "Tod, James, and Norbert Peabody. <em>Annals and Antiquities of Rajast\u2019han, or the Central and Western Rajpoot States of India.</em> London, New Haven: Royal Asiatic Society; Yale University Press, 2023.", "page_number": "Reproduced: p. 415, fig. 160, Vol. III", "url": ""}], "url": "https://clevelandart.org/art/1978.71", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1978.71/1978.71_web.jpg", "width": "672", "height": "900", "filesize": "334310", "filename": "1978.71_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1978.71/1978.71_print.jpg", "width": "2540", "height": "3400", "filesize": "3625363", "filename": "1978.71_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1978.71/1978.71_full.tif", "width": "5325", "height": "7129", "filesize": "113923064", "filename": "1978.71_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.71/1978.71_alt0_web.jpg", "width": "681", "height": "893", "filesize": "577000"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.71/1978.71_alt0_print.jpg", "width": "1884", "height": "2472", "filesize": "4316282"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1978.71/1978.71_alt0_full.tif", "width": "1884", "height": "2472", "filesize": "13985740"}}], "creditline": "James Albert and Mary Gardiner Ford Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149419, "creators": [], "legal_status": "accessioned", "accession_date": "1978-11-20T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "c. 1825", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Vallabha Priest Worshipping a Krishna Image", "Maharao Kishor Singh dressed as a Vallabha priest worshipping Krishna as Brijrajji", "Maharao Kishor Singh II (1781-1828) of Kota Worshipping Krishna as Brij Rajji"], "is_highlight": false, "updated_at": "2026-03-27 00:04:42.478000"}, {"id": 150055, "accession_number": "1980.266", "share_license_status": "CC0", "tombstone": "Self-Portrait, c. 1872\u201374. Armand Guillaumin (French, 1841\u20131927). Oil on fabric; unframed: 45.4 x 37.5 cm (17 7/8 x 14 3/4 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.266", "current_location": null, "title": "Self-Portrait", "creation_date": "c. 1872\u201374", "creation_date_earliest": 1872, "creation_date_latest": 1874, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 45.4 x 37.5 cm (17 7/8 x 14 3/4 in.)", "dimensions": {"unframed": {"height": 0.454, "width": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: Guillaum[in]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"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": []}, "provenance": [{"description": "Tadamasa Hayashi collection, Paris.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "New York, American Art Galleries sale, Tadamasa Hayashi collection, 8-9 January 1913 (lot 126, repr.), Portrait d'homme, Ernest Le V\u00e9el, Paris. Versailles sale, 11, 13 June 1968 (lot 100), Autoportrait, 38 x 46 cm [reversed], signed lower right.", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Robert Laurent, Ogunquit, Maine.", "citations": [], "footnotes": [], "date": null, "sortorder": 3}, {"description": "New York sale, 16 December 1970 (lot 11, repr.), Autoportrait.", "citations": [], "footnotes": [], "date": null, "sortorder": 4}, {"description": "Mr. and Mrs. Noah L. Butkin, Cleveland. Given to the CMA on 19 December 1980.", "citations": [], "footnotes": [], "date": null, "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1891, Guillaumin won 100,000 francs in a state lottery, allowing him to quit his government transportation position and begin painting full time.", "description": "Armand Guillaumin created numerous self-portraits throughout his career. In this early example, the muted, brown tones and somber gaze downward in the painting convey seriousness, while the vivid blue, orange, green, and yellow colors in <em>Self-Portrait</em> (2020.129) suggest a confidence echoed by the artist\u2019s direct gaze. Both emotions were experienced by Guillaumin around this time, as he sought to establish himself as a professional artist alongside a full-time job for the French railway system.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474596"], "internet_archive": ["https://archive.org/details/clevelandart-1980.266-self-portrait"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 178; Mentioned: p. 213, no. 95", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 338-340, Vol. II, no. 118", "url": ""}, {"citation": "Cezanne, Philippe. <em>Paul Ce\u0301zanne De\u0301peint par Ses Contemporains</em>. Lyon: Fage, 2021.", "page_number": "Reproduced: P. 43, fig. 19", "url": ""}], "url": "https://clevelandart.org/art/1980.266", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.266/1980.266_web.jpg", "width": "738", "height": "893", "filesize": "84325", "filename": "1980.266_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.266/1980.266_print.jpg", "width": "2811", "height": "3400", "filesize": "1257035", "filename": "1980.266_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.266/1980.266_full.tif", "width": "5527", "height": "6685", "filesize": "110865864", "filename": "1980.266_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.266/1980.266_alt0_web.jpg", "width": "733", "height": "893", "filesize": "462976"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.266/1980.266_alt0_print.jpg", "width": "1536", "height": "1872", "filesize": "2173318"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.266/1980.266_alt0_full.tif", "width": "1536", "height": "1872", "filesize": "8629356"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150055, "creators": [{"id": 1785, "description": "Armand Guillaumin (French, 1841\u20131927)", "extent": null, "qualifier": null, "role": "artist", "biography": "Armand Guillaumin grew up in a working-class family and spent much of his childhood in Moulins. In 1857 he was sent to Paris to become a clerk in his uncle's lingerie shop. He quickly entered a municipal art school and three years later, hoping to find more time to pursue his interest in art, left his uncle's shop and took a position at the Paris-Orl\u00e9ans railway. His free time was still limited, however, and although he made studies of the workers and the landscape around the railway area, he continued to paint mainly on Sundays. In 1861 he enrolled at the Acad\u00e9mie Suisse, where he met C\u00e9zanne (q.v.) and Pissarro (q.v.), with whom he would later develop a solid friendship. He also came under the influence of Courbet (q.v.), using a dark palette to create strong outlines and thick impasto. Guillaumin exhibited at the Salon des Refus\u00e9s in 1863 and in many of the impressionist exhibitions. He could not live just by his painting and in 1868, after two years of unemployment, joined the Ponts et Chauss\u00e9es (Department of Bridges and Roads) of the city of Paris, soon working nights. He painted with Pissarro in Pontoise and with C\u00e9zanne at the home of Dr. Paul Gachet in Auvers. During the late 1880s Guillaumin's work became more subjective, and he began to use color more expressively, anticipating the Fauves. He became a friend of van Gogh (q.v.), and some of his works were sold by Theo van Gogh. In 1886 he married Marie-Josephine Gareton, a professor at a women's school, who supported him financially. After winning the state lottery in 1891, he was able to concentrate completely on his painting, traveling between Agay, Crozant, and Saint-Palais-sur-Mer throughout the year and even making a trip to Holland in 1903-4.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1927", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "c. 1872\u201374", "collapse_artists": false, "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": "2026-03-27 00:07:44.725000"}, {"id": 153029, "accession_number": "1986.1131", "share_license_status": "Copyrighted", "tombstone": "Water Jar (Olla), before 1920. Maria Martinez (San Ildefonso Pueblo, about 1887\u20131980). Ceramic, slip; overall: 28.5 x 34 cm (11 1/4 x 13 3/8 in.). The Cleveland Museum of Art, Anonymous Gift, 1986.1131", "current_location": null, "title": "Water Jar (Olla)", "creation_date": "before 1920", "creation_date_earliest": 1897, "creation_date_latest": 1920, "artists_tags": ["Indigenous", "female"], "culture": ["Native North America, Southwest, New Mexico"], "technique": "ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Ceramic", "measurements": "Overall: 28.5 x 34 cm (11 1/4 x 13 3/8 in.)", "dimensions": {"overall": {"height": 0.285, "width": 0.34}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 229358, "title": "Art of the American Indians: The Thaw Collection", "description": "<i>Art of the American Indians: The Thaw Collection</i>. The Cleveland Museum of Art, Cleveland, OH (March 7-May 30, 2010).", "opening_date": "2010-03-07T00:00:00"}, {"id": 540619, "title": "Maria & Modernism", "description": "<i>Maria & Modernism</i>. Heard Museum, Phoenix, AZ (organizer) (February 24-July 28, 2024).", "opening_date": "2024-02-24T05:00:00"}], "legacy": []}, "provenance": [{"description": "Gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1986", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1986-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Maria Martinez of New Mexico\u2019s San Ildefonso Pueblo may be the most famous of all Native American artists.", "description": "Maria Martinez of San Ildefonso Pueblo, perhaps the most famous of all Indigenous artists, was crucial to transforming modern Native American ceramics from utilitarian wares into fine decorative arts. She developed her mastery while young, learning traditional techniques from other Pueblo women. The style for which she is known\u2014lustrous black wares venerated within and outside of Indigenous communities\u2014grew in part from study of ceramic fragments at ancient, Ancestral Pueblo sites. This large, beautifully proportioned water jar is one of her earliest efforts in the style, its dark color imparted by the firing technique.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780836"], "internet_archive": []}, "citations": [{"citation": "Pardue, Diana F., ed. <em>Maria and Modernism</em>, exh. cat. (Phoenix: Heard Museum, 2024).", "page_number": "Reproduced p. 143.", "url": ""}, {"citation": "Bergh, Susan E. \"Unburied Treasure.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 45, no. 10 (December 2005): 4-7.", "page_number": "Mentioned and reproduced: p. 7", "url": "https://archive.org/details/CMAMM2005-10/page/4/mode/2up"}, {"citation": "Adams, Henry.<em> What's American About American Art?: A Gallery Tour in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2008.", "page_number": "p. 27", "url": null}], "url": "https://clevelandart.org/art/1986.1131", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153029, "creators": [{"id": 16637, "description": "Maria Martinez (San Ildefonso Pueblo, about 1887\u20131980)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1887", "death_year": "1980", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-03-16T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "before 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": true, "updated_at": "2026-03-27 00:09:00.452000"}, {"id": 160460, "accession_number": "1998.286.b", "share_license_status": "CC0", "tombstone": "Calligraphy (reverse), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk; image: 117.7 x 33.5 cm (46 5/16 x 13 3/16 in.); panel: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.). The Cleveland Museum of Art, Bequest of Gordon K. Mott, 1998.286.b", "current_location": null, "title": "Calligraphy (reverse)", "creation_date": "late 1800s", "creation_date_earliest": 1869, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen affixed with album leaves (obverse), calligraphy (reverse), ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 117.7 x 33.5 cm (46 5/16 x 13 3/16 in.); Panel: 164.5 x 43.6 cm (64 3/4 x 17 3/16 in.)", "dimensions": {"image": {"height": 1.177, "width": 0.335}, "panel": {"height": 1.645, "width": 0.436}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}, {"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Collection in Pusan, Korea, to Gordon K. Mott", "citations": [], "footnotes": null, "date": "?-1955", "sortorder": 1}, {"description": "Gordon K. Mott [1914-1998], Lakewood, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1955-1998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1998-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A calligrapher has brushed several Chinese poems about the four seasons on the reverse side, among them \"Composing in the Daytime of Summer\" by Tang poet Liu Zongyuan (773\u2013819) and \"Composing when Spring Begins\" by Song scholar Zhang Shi (1133\u20131180).", "description": "The front of this screen features an assortment of subjects: birds and flowers, landscapes, and scenes of everyday life, mostly in monochromatic ink with light colors. The screen\u2019s reverse side conveys a number of classical poems about the fleeting beauty of the four seasons. Traditionally, only one side of a folding screen bears painted or embroidered images, since these were used as a background furnishing. In Korean houses by the 1800s and early 1900s, however, two-sided folding screens became noticeably popular, possibly inspired by Japanese double-sided folding screens, which mainly served as room dividers in Japanese households.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477617"], "internet_archive": ["https://archive.org/details/clevelandart-1998.286.b-calligraphy-reverse"]}, "citations": [{"citation": "Kim, Chwi-jeong. \"New Trends and Japhwabyung in the Period of Modernization \uac1c\ud654\uae30 \ud654\ub2e8\uc758 \uc2e0\uacbd\ud5a5\uacfc \uc7a1\ud654\ubcd1.\" <em>Misulsa nondan</em> (2008): 253-287.", "page_number": null, "url": null}, {"citation": "So\u0306n, Su\u0306ng-hye. <em>The Lure of Painted Poetry: Japanese and Korean Art</em>. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 83", "url": null}, {"citation": "An, Bo-ra. \"A Study of \u2018Baeknapdo byungpung\u2019 in the late Joseon period: Focus on the Example in the Collection of Boston Museum of Fine Arts \uc870\uc120 \ub9d0\uae30\uc758 \u767e\u8872\u5716 \u5c5b\u98a8 \uc5f0\uad6c: \ubcf4\uc2a4\ud134\ubbf8\uc220\uad00 \uc18c\uc7a5\ubcf8\uc744 \uc911\uc2ec\uc73c\ub85c.\" <em>Misulsa yeongu</em> (2013): 323-351.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1998.286.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.286.b/1998.286.b_web.jpg", "width": "900", "height": "334", "filesize": "154720", "filename": "1998.286.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.286.b/1998.286.b_print.jpg", "width": "3400", "height": "1262", "filesize": "1353094", "filename": "1998.286.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.286.b/1998.286.b_full.tif", "width": "17833", "height": "6619", "filesize": "354141864", "filename": "1998.286.b_full.tif"}}, "alternate_images": [{"date_created": "2004-02-27T20:46:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt0_web.jpg", "width": "900", "height": "381", "filesize": "132287"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt0_print.jpg", "width": "3400", "height": "1438", "filesize": "1044743"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt0_full.tif", "width": "5000", "height": "2115", "filesize": "31749672"}}, {"date_created": "2010-10-19T15:45:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt1_web.jpg", "width": "500", "height": "900", "filesize": "134558"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt1_print.jpg", "width": "1889", "height": "3400", "filesize": "1362637"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt1_full.tif", "width": "3705", "height": "6668", "filesize": "74140096"}}, {"date_created": "2010-10-19T15:49:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt2_web.jpg", "width": "500", "height": "900", "filesize": "190629"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt2_print.jpg", "width": "1889", "height": "3400", "filesize": "1874121"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt2_full.tif", "width": "3705", "height": "6668", "filesize": "74142036"}}, {"date_created": "2010-10-19T16:23:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt3_web.jpg", "width": "500", "height": "900", "filesize": "189113"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt3_print.jpg", "width": "1889", "height": "3400", "filesize": "1927306"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt3_full.tif", "width": "3705", "height": "6668", "filesize": "74141820"}}, {"date_created": "2010-10-19T16:28:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt4_web.jpg", "width": "500", "height": "900", "filesize": "193097"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt4_print.jpg", "width": "1889", "height": "3400", "filesize": "1930863"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt4_full.tif", "width": "3705", "height": "6668", "filesize": "74141804"}}, {"date_created": "2010-10-19T16:32:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt5_web.jpg", "width": "500", "height": "900", "filesize": "137261"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt5_print.jpg", "width": "1889", "height": "3400", "filesize": "1401157"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.286.b/1998.286.b_alt5_full.tif", "width": "3705", "height": "6668", "filesize": "74140408"}}], "creditline": "Bequest of Gordon K. Mott", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160460, "creators": [], "legal_status": "accessioned", "accession_date": "1999-03-01T00:00:00", "sortable_date": 1869, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1998.286", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:54.746000"}, {"id": 166637, "accession_number": "2008.358", "share_license_status": "CC0", "tombstone": "Joan of Arc, c. 1889. Ernest Meissonier (French, 1815\u20131891). Graphite, red chalk, colored washes, and black and white gouache; sheet: 18.8 x 30.3 cm (7 3/8 x 11 15/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.358", "current_location": null, "title": "Joan of Arc", "creation_date": "c. 1889", "creation_date_earliest": 1884, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite, red chalk, colored washes, and black and white gouache", "support_materials": [{"description": "blue wove paper (faded in image area to gray-green), laid down on light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 18.8 x 30.3 cm (7 3/8 x 11 15/16 in.)", "dimensions": {"sheet": {"height": 0.188, "width": 0.303}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed with monogram, lower left", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 338266, "title": "Exposition Meissonier", "description": "<i>Exposition Meissonier</i>. Galerie Georges Petit (organizer).", "opening_date": "1893-03-01T05:00:00"}, {"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": []}, "provenance": [{"description": "Estate of the artist", "citations": [], "footnotes": [""], "date": "1891-1893", "sortorder": 1}, {"description": "(his studio sale, Galerie Georges Petit, Paris, May 18-20, 1893, no. 464)", "citations": [], "footnotes": ["<div><!--block-->Wax seal of sale on verso of tertiary support.</div>"], "date": "1893", "sortorder": 2}, {"description": "Alfred Hartmann, Mulhouse", "citations": [], "footnotes": [], "date": "after 1893-1899", "sortorder": 3}, {"description": "(his sale, H\u00f4tel Drouot, Paris, April 12-15, 1899, no. 92)", "citations": [], "footnotes": ["<div><!--block-->In this sale the drawing is described as having a monogram at the right, no longer present on the sheet.&nbsp;</div>"], "date": "1899", "sortorder": 4}, {"description": "(sale, Sotheby-Parke-Bernet, New York, October 3, 1975, no. 169, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "1975", "sortorder": 5}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1975-2008", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ernest Meisonnier found the original subject proposed for his Pantheon mural commission\u2014Saint Genevi\u00e8ve\u2014to be uninspiring and instead proposed an allegorical Triumph of France featuring Joan of Arc alongside Charlemagne and Napoleon Bonaparte, among others.", "description": "This drawing is a rare study relating to Ernest Meissonier's never-realized mural for the Pantheon in Paris. After seeking and receiving the commission in 1874, Meisonnier procrastinated on the project for many years. Here, the French heroine Joan of Arc appears at center, without a helmet, on a bare white horse, staring ahead with steadfast calm. The figure of Joan in this drawing appears to correspond to the subject in a now-lost design for the complete painting, which Meissonier presented in 1889.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997170"], "internet_archive": ["https://archive.org/details/clevelandart-2008.358-joan-of-arc"]}, "citations": [{"citation": "<em>Exposition Meissonier</em>. Exh. Cat. Paris: Galerie Georges Petit, 1893.", "page_number": "Mentioned: p. 100, no. 464", "url": null}, {"citation": "Gr\u00e9ard, M.O. <em>Jean-Louis-Ernest Meissonier: Ses souvenirs, ses entretiens</em>. Paris: Hachette, 1897.", "page_number": "Mentioned: p. 432", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: pp. 126-27, 144, no. 58; Reproduced: p. 127", "url": null}], "url": "https://clevelandart.org/art/2008.358", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.358/2008.358_web.jpg", "width": "1263", "height": "805", "filesize": "813668", "filename": "2008.358_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.358/2008.358_print.jpg", "width": "3400", "height": "2166", "filesize": "6636198", "filename": "2008.358_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.358/2008.358_full.tif", "width": "5577", "height": "3553", "filesize": "59471496", "filename": "2008.358_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:53:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.358/2008.358_alt0_web.jpg", "width": "1263", "height": "795", "filesize": "775624"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.358/2008.358_alt0_print.jpg", "width": "3400", "height": "2141", "filesize": "5647303"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.358/2008.358_alt0_full.tif", "width": "5000", "height": "3148", "filesize": "47240972"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166637, "creators": [{"id": 1661, "description": "Ernest Meissonier (French, 1815\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ernest Meissonier had little formal or institutional artistic training, having studied only briefly in Cogniet's (q.v.) studio. Meissonier began his career making woodcuts for book illustrations, which must have served his craftsmanship and influenced his tendency toward working in a small format. From the beginning he was inspired by seventeenth-century Dutch and Flemish genre painters, as attested by his first Salon painting, Dutch Burghers (1834, Wallace Collection, London). His subjects would eventually have a more typical French flavor, representing artists, musicians, or members of the bourgeoisie involved in leisurely activities, and mostly in eighteenth-century settings. Meissonier joined the French army during the Austro-Italian War (1859), after which he frequently painted military scenes, such as Napoleon III at Solferino (1863, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Along with the many small depictions of the soldier's life, Meissonier also produced some military paintings on a grand scale. Such works were his attempt to make history paintings and served to counter the criticism that his subjects were frivolous. His military paintings culminated in a partly finished project of four large canvases depicting events in Napoleon I's military career that occupied him from 1864 through 1876. But no matter the size or subject of his paintings, they were always meticulously executed. The Franco-Prussian War also inspired some important works, such as Ruins of the Tuileries (1871, Mus\u00e9e National du Ch\u00e2teau de Compi\u00e8gne). Meissonier's work was extremely popular with the upwardly mobile mercantile elite who appreciated his craftsmanship. Criticism came from artists like Degas (q.v.) and Manet (q.v.), who advocated a more Courbet-like realism, addressing contemporary issues rather than painting idealized reflections of the past. Meissonier led the jury that excluded Courbet (q.v.) from the Salon of 1872 because of his involvement in the Paris Commune in 1871. Yet in 1889 Meissonier was also involved in founding the more progressive artist's organization and exhibitions of the Soci\u00e9t\u00e9 Nationale des Beaux-Arts that seceded from the traditional Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais. Meissonier received many honors and was the first artist to be promoted to the grand croix, the highest rank of the Legion of Honor (1899).", "name_in_original_language": null, "birth_year": "1815", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1884, "date_added_to_oa": null, "date_text": "c. 1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:58.358000"}, {"id": 171076, "accession_number": "2013.5", "share_license_status": "CC0", "tombstone": "Woman's Skirt, late 1800s\u2013about 1906\u201312. Africa, Central Africa, Democratic Republic of Congo, Mbuun-style weavers and embroiderers. Raffia palm fiber (Raphia ruffia or R. vinifera) and dye; overall: 73.7 x 102.9 cm (29 x 40 1/2 in.). The Cleveland Museum of Art, Alma Kroeger Fund, 2013.5", "current_location": null, "title": "Woman's Skirt", "creation_date": "late 1800s\u2013about 1906\u201312", "creation_date_earliest": 1875, "creation_date_latest": 1917, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Mbuun-style weavers and embroiderers"], "technique": "Raffia palm fiber (Raphia ruffia or R. vinifera) and dye", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 73.7 x 102.9 cm (29 x 40 1/2 in.)", "dimensions": {"overall": {"height": 0.737, "width": 1.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 387021, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 5, 2018-February 19, 2019).", "opening_date": "2018-03-05T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Emile Lejeune by field collection in the Belgian Congo", "citations": [], "footnotes": [], "date": "collected c. 1896-1906", "sortorder": 1}, {"description": "Lejeune family by descent", "citations": [], "footnotes": [], "date": "?-until 2011", "sortorder": 2}, {"description": "(Andres Moraga Textile Art, San Francisco, CA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2013", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2013-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The diamond motifs on this skirt have symbolic and cosmological links to lizards (<em>mbil</em>), an animal associated with matrilineal (female descent) clans.", "description": "Mbuun men wove and embroidered wrap skirts like this for women to wear on special occasions. Gently color-shifted patterns (<em>lubawa</em>) along the central panels were achieved by \u201cfloating\u201d wefts (selectively covering over vertical, or warp, threads with horizontal, or weft, threads). In contrast, various black-brown embroidered diamonds cover the borders. These are called <em>lobubasa,</em> motifs also seen on cicatrices (ornamental scars) that once beautified women\u2019s bodies. Short tufts running horizontally and vertically across the textile were created by inserting extra fibers, then cutting and fluffing them with a knife. These add texture and hide the seams between woven panels.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60748999"], "internet_archive": ["https://archive.org/details/clevelandart-2013.5-woman-s-skirt"]}, "citations": [{"citation": "Picton, John, and John Mack. <em>African Textiles</em>. London: Published for the Trustees of the British Museum by British Museum Publications, 1989.", "page_number": "p.199-200", "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. 41", "url": ""}, {"citation": "Petridis, Constantine.  \u201c2013 Acquisitions: African Art.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 22.", "page_number": "Reproduced and Mentioned: p. 22", "url": "https://archive.org/details/CMAMM2014-02"}], "url": "https://clevelandart.org/art/2013.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.5/2013.5_web.jpg", "width": "1263", "height": "880", "filesize": "277345", "filename": "2013.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.5/2013.5_print.jpg", "width": "3400", "height": "2369", "filesize": "2442272", "filename": "2013.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.5/2013.5_full.tif", "width": "7798", "height": "5434", "filesize": "127145044", "filename": "2013.5_full.tif"}}, "alternate_images": [{"date_created": "2013-04-08T19:40:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.5/2013.5_alt0_web.jpg", "width": "1262", "height": "893", "filesize": "254295"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.5/2013.5_alt0_print.jpg", "width": "3400", "height": "2406", "filesize": "2328227"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.5/2013.5_alt0_full.tif", "width": "7714", "height": "5460", "filesize": "126377212"}}], "creditline": "Alma Kroeger Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171076, "creators": [], "legal_status": "accessioned", "accession_date": "2013-03-04T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s\u2013about 1906\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": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:56.951000"}, {"id": 296866, "accession_number": "2018.34", "share_license_status": "CC0", "tombstone": "Dance staff for E\u0300s\u0323u\u0300 (\u00d2g\u00f2 \u00c8l\u1eb9\u0301gba), 1800s. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Wood, leather, cowrie shells, seeds, and natural fiber; 62 cm (24 7/16 in.). The Cleveland Museum of Art, John L. Severance Fund, 2018.34", "current_location": null, "title": "Dance staff for E\u0300s\u0323u\u0300 (\u00d2g\u00f2 \u00c8l\u1eb9\u0301gba)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "Wood, leather, cowrie shells, seeds, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "62 cm (24 7/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.62}, "overall": {"height": 0.625, "width": 0.39, "depth": 0.12}, "figures": {"height": 0.29}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 324225, "title": "African art rotation", "description": "<i>African art rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 20, 2019-October 5, 2020).", "opening_date": "2019-02-20T05:00:00"}], "legacy": [{"description": "<em>Utotombo: L'Art d'Afrique noire dans les collections priv\u00e9es belges.</em> Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, Brussels, Belgium (March 25 - June 5, 1988)", "opening_date": "1988-03-25T00:00:00"}]}, "provenance": [{"description": "(Lucien Van de Velde [1910\u20131996], Anvers, Belgium, sold to Dr. Marc Lorre)", "citations": [], "footnotes": [], "date": "?\u20131974", "sortorder": 1}, {"description": "Mrs. Marc Lorre, Antwerp, Belgium, sold to Christie\u2019s", "citations": [], "footnotes": null, "date": "1974\u20132012", "sortorder": 2}, {"description": "(Christie\u2019s, Paris, France, December 11, 2012, no. 59, sold to a private collector)", "citations": [], "footnotes": null, "date": "2012", "sortorder": 3}, {"description": "Private collection, Paris, France, sold to Christie\u2019s", "citations": [], "footnotes": [], "date": "2018", "sortorder": 4}, {"description": "(Christie\u2019s, Paris, France, April 8, 2018, Sale 16061 Arts d'Afrique, d'Oc\u00e9anie et d'Am\u00e9rique,  no. 58 sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2018", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2018\u2013", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "If Eshu isn\u2019t properly honored, trouble may befall the community or individual.", "description": "\u00c8\u1e63\u00f9 (also called \u00c8l\u0323\u00e9gba) embodies the most complex deity in the Yor\u00f9b\u00e1 pantheon of gods. The messenger of the Yor\u00f9b\u00e1 gods, \u00c8\u1e63\u00f9 is also the bearer of sacrifices, guardian of the ritual way of life, and is associated with highly significant places including crossroads, markets, and home entrances. As seen here, \u00c8\u1e63\u00f9's power is often visually represented in \u00d2g\u00f2 \u00c8l\u0323\u00e9gba (dance staffs); in this example, the unusually paired man and woman reference his ability to switch between the two genders, turn death into life (through childbirth), and to overcome the tension between the sexes. The male character bears a ritual flute reserved for this god. The abundance of cowrie shells means that \u00c8\u1e63\u00f9 brings wealth.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79872551"], "internet_archive": ["https://archive.org/details/clevelandart-2018.34-dance-staff-for-esu"]}, "citations": [{"citation": "Debbaut, Jan, Dominique Favart, and G. van Geertruyen. <em>Utotombo: l'art d'Afrique noire dans les collections prive\u0301es belges</em>. Exh. Cat. Brussels: Soci\u00e9t\u00e9 des Expositions du Palais des Beaux-Arts, March 25-June 5, 1988.", "page_number": "Reproduced: p. 163, cat. 98", "url": null}, {"citation": "Drewal, Henry John, John Pemberton, Rowland Abiodun, and Allen Wardwell. <em>Yoruba: Nine centuries of African art and thought. </em>New York: Center for African Art in association with H.N. Abrams, 1989.", "page_number": null, "url": null}, {"citation": "Nzewi, Ugochukwu-Smooth. \u201cAcquisitions 2018: African Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 2 (March/April 2019): 8-9.", "page_number": "Reproduced: P. 9; Mentioned: P. 8, 9.", "url": "https://archive.org/details/CMAMM2019-02/page/n3/mode/2up"}], "url": "https://clevelandart.org/art/2018.34", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.34/2018.34_web.jpg", "width": "665", "height": "900", "filesize": "148178", "filename": "2018.34_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.34/2018.34_print.jpg", "width": "2512", "height": "3400", "filesize": "1360094", "filename": "2018.34_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.34/2018.34_full.tif", "width": "6000", "height": "8121", "filesize": "146207324", "filename": "2018.34_full.tif"}}, "alternate_images": [{"date_created": "2018-05-29T09:35:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt0_web.jpg", "width": "674", "height": "900", "filesize": "148416"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt0_print.jpg", "width": "2546", "height": "3400", "filesize": "1375961"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt0_full.tif", "width": "6000", "height": "8011", "filesize": "144227204"}}, {"date_created": "2018-05-29T09:56:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt1_web.jpg", "width": "665", "height": "900", "filesize": "151607"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt1_print.jpg", "width": "2511", "height": "3400", "filesize": "1416668"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt1_full.tif", "width": "6000", "height": "8125", "filesize": "146279296"}}, {"date_created": "2018-05-29T11:13:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt2_web.jpg", "width": "660", "height": "900", "filesize": "120393"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt2_print.jpg", "width": "2492", "height": "3400", "filesize": "1119457"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt2_full.tif", "width": "5752", "height": "7849", "filesize": "135470684"}}, {"date_created": "2018-05-29T11:42:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt3_web.jpg", "width": "667", "height": "900", "filesize": "120424"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt3_print.jpg", "width": "2519", "height": "3400", "filesize": "1149787"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt3_full.tif", "width": "5803", "height": "7834", "filesize": "136410324"}}, {"date_created": "2018-05-29T11:59:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt4_web.jpg", "width": "690", "height": "900", "filesize": "149692"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt4_print.jpg", "width": "2608", "height": "3400", "filesize": "1413119"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.34/2018.34_alt4_full.tif", "width": "5906", "height": "7701", "filesize": "136475812"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 296866, "creators": [], "legal_status": "accessioned", "accession_date": "2018-06-04T00:00:00-04:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Dance staff for E\u0300s\u0323u\u0300"], "is_highlight": false, "updated_at": "2026-03-27 00:10:20.879000"}, {"id": 315304, "accession_number": "2022.141", "share_license_status": "Copyrighted", "tombstone": "Cityscape of Pyongyang (\ud3c9\uc591\ub3c4\ubcd1), late 1800s. Kim Yoon-bo (Korean, 1865\u20131938). Ten-panel folding screen; ink and color on silk; painting: 98.3 x 307.3 cm (38 11/16 x 121 in.); overall framed: 210.2 x 325.5 cm (82 3/4 x 128 1/8 in.). The Cleveland Museum of Art, Partial purchase from the Severance and Greta Millikin Purchase Fund and partial gift of The Honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D., 2022.141", "current_location": null, "title": "Cityscape of Pyongyang", "title_in_original_language": "\ud3c9\uc591\ub3c4\ubcd1", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Painting: 98.3 x 307.3 cm (38 11/16 x 121 in.); Overall framed: 210.2 x 325.5 cm (82 3/4 x 128 1/8 in.)", "dimensions": {"painting": {"height": 0.983, "width": 3.073}, "overall framed": {"height": 2.102, "width": 3.255}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": null, "inscription_translation": "\"Giseong\u2019s Ancient Painting or Map\"", "inscription_remark": "The upper left corner of the last panel bears an inscription with the title of the work, the artist\u2019s signature, and his seal. \"Giseong\" is the old name for Pyongyang.", "sortorder": null}], "exhibitions": {"current": [{"id": 315373, "title": "Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation", "description": "<i>Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 21-July 21, 2019).", "opening_date": "2019-01-23T05:00:00"}, {"id": 617635, "title": "From Dreaming to Hiking: Korean Landscape Paintings", "description": "<i>From Dreaming to Hiking: Korean Landscape Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 1-September 29, 2024).", "opening_date": "2024-03-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Bonhams New York, NY, 21 March 2018 sale, lot 2293, sold to Joseph P. and Roberta L. Carroll)", "citations": [], "footnotes": null, "date": "March 21, 2018", "sortorder": 1}, {"description": "(The Honorable Joseph P. Carroll and Prof. Roberta L. Carroll, MD, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2018\u20132022", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["11.2019"], "did_you_know": "By the end of the 1800s, Pyongyang, now the capital of North Korea, was nicknamed the \u201cJerusalem of the East\u201d for its high Christian population.", "description": "Today Pyongyang is better known as the capital of North Korea, one of the world\u2019s most oppressive regimes. But during the Joseon dynasty (1392\u20131910) the city was largely famous for three things: good local government, economic stability, and talented entertainers. Thus, the king's favored senior court officials were often appointed to Pyongyang's governor prior to their full retirement. <br><br>Painted by Kim Yoon-bo, native to Pyongyang, this folding screen provides us with a better understanding of the late 19th-century Korean landscape paintings characteristics with topographic accuracy without losing the sophistication of calligraphic brushwork.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117234025"], "internet_archive": []}, "citations": [{"citation": "Son, Myeonghee. \"Pre-modern and Modern Pyongyang as Represented in Joseon-Period Maps and Paintings [\uc870\uc120\uc2dc\ub300 \ud3c9\uc591\uc131\ub3c4\ub97c \ud1b5\ud574 \ubcf8 \ud3c9\uc591\uc758 \ubaa8\uc2b5\uacfc \uc9c0\uc5ed\uc801 \uc131\uaca9].\" <em>Hanguk gojido yeongu</em> no. 1 (2009): 63-84.", "page_number": "", "url": "https://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART002397013"}, {"citation": "Bonham's New York. <em>Fine Japanese and Korean Art</em>. 21 March 2018. Lot no. 2293.", "page_number": "Mentioned and Reproduced: p. 135, lot no. 2293", "url": ""}, {"citation": "Kim, Mi-jung and So, Hyun-su. \"A Study on the Characteristics of Humanistic Landscape in Pyongyang Castle through Pictorial Maps in the Late Joseon Dynasty [\uc870\uc120\ud6c4\uae30 \ud68c\ud654\uc2dd \uace0\uc9c0\ub3c4\ub97c \ud1b5\ud574 \ubcf8 \ud3c9\uc591\uc131\uc758 \uc778\ubb38\uacbd\uad00 \ud2b9\uc131].\" <em>Journal of Korean Institute of Traditional Landscape Architecture </em>38, no. 2 (2020): 14-30.", "page_number": "", "url": "https://www.kci.go.kr/kciportal/ci/sereArticleSearch/ciSereArtiView.kci?sereArticleSearchBean.artiId=ART002608499"}], "url": "https://clevelandart.org/art/2022.141", "images": {}, "alternate_images": [], "creditline": "Partial purchase from the Severance and Greta Millikin Purchase Fund and partial gift of The Honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 315304, "creators": [{"id": 315306, "description": "Kim Yoon-bo (Korean, 1865\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uae40\uc724\ubcf4", "birth_year": "1865", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Giseong\u2019s Ancient Painting or Map", "City of Pyongyang"], "is_highlight": false, "updated_at": "2026-03-27 00:09:53.981000"}, {"id": 299437, "accession_number": "2022.198", "share_license_status": "CC0", "tombstone": "Vase with Peonies, 1900\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with molded and carved design and pink-infused cream glaze; height: 17.8 cm (7 in.); diameter: 12.1 cm (4 3/4 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.198", "current_location": null, "title": "Vase with Peonies", "creation_date": "1900\u20131914", "creation_date_earliest": 1900, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with molded and carved design and pink-infused cream glaze", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height: 17.8 cm (7 in.); Diameter: 12.1 cm (4 3/4 in.)", "dimensions": {"height": {"height": 0.178}, "diameter": {"width": 0.121}, "diameter of foot": {"width": 0.064}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\u201cSeif\u016b\u201d inscribed on the base", "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 295705, "title": "Japanese Gallery 235 Rotation - July 2017-January 2018", "description": "<i>Japanese Gallery 235 Rotation - July 2017-January 2018</i>. The Cleveland Museum of Art (organizer) (July 15, 2017-January 2, 2018).", "opening_date": "2017-07-15T04:00:00"}, {"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "James and Christine Heusinger, Berea, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One of Seif\u016b Yohei III\u2019s most visually impactful techniques was to combine complex low-relief designs in clay surrounded by diffused underglaze blue or pink, which he then covered with a transparent or translucent glaze.", "description": "This flower vase has a creamy white glaze infused with pink. Sadly, the box has been lost, so we cannot know how it was described by the studio. However, through comparison with other works, it is possible to surmise that the work can be categorized as <em>kanpakuji</em> with in-glaze pink. A single huge blossom shoots up into the widest part of the vessel, near the top, so it will be visible from a distance. If this design is displayed in a space with a decorative alcove located some distance away from the entrance, even at a remove, it can announce the taste of its owner and immediately please a guest. On the other side of the vase, two butterflies, their wings overlapping, flit through the sky.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117706780"], "internet_archive": ["https://archive.org/details/clevelandart-2022.198-vase-with-peonies"]}, "citations": [{"citation": "Vilbar, Sinead. \"Colors of Kyoto: Modern ceramics of Japan.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 2 (2023): 14-17.", "page_number": "Reproduced: P. 15; Mentioned: P. 16", "url": "https://archive.org/details/CMAMM2023-02/page/14/mode/2up"}, {"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 54, pp. 132\u2013135", "url": ""}, {"citation": "Goodall, Hollis. \"Seif\u016b Yohei III: Master of Finesse.\" <em>Impressions: The Journal of the Japanese Art Society of America</em> 45, part 2 (2024): 178\u2013193.", "page_number": "Mentioned: p. 186; Reproduced: p. 189, fig. 7", "url": ""}], "url": "https://clevelandart.org/art/2022.198", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.198/2022.198_web.jpg", "width": "755", "height": "900", "filesize": "140011", "filename": "2022.198_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.198/2022.198_print.jpg", "width": "2853", "height": "3400", "filesize": "907368", "filename": "2022.198_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.198/2022.198_full.tif", "width": "8643", "height": "10301", "filesize": "267121540", "filename": 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"width": "3400", "height": "3138", "filesize": "904555"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.198/2022.198_alt10_full.tif", "width": "6301", "height": "5816", "filesize": "109968560"}}], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 299437, "creators": [{"id": 299428, "description": "Seif\u016b Yohei III (Japanese, 1851\u20131914)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u4e09\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1851", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131914", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:25.292000"}, {"id": 153411, "accession_number": "1986.94", "share_license_status": "CC0", "tombstone": "Alms Bowl with Celestial Design (\uc77c\uc6d4\uce60\uc131\ubb34\ub2ac \uacf5\uc591\uc8fc\ubc1c (\u65e5\u6708\u4e03\u661f\u6587\u7a7a\u4f9b\u990a\u6900)), early 1900s. Korea. Bronze with incised decoration; overall: 11.5 cm (4 1/2 in.); diameter of mouth: 26.8 cm (10 9/16 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1986.94", "current_location": null, "title": "Alms Bowl with Celestial Design", "title_in_original_language": "\uc77c\uc6d4\uce60\uc131\ubb34\ub2ac \uacf5\uc591\uc8fc\ubc1c (\u65e5\u6708\u4e03\u661f\u6587\u7a7a\u4f9b\u990a\u6900)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Korea"], "technique": "bronze with incised decoration", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Metalwork", "measurements": "Overall: 11.5 cm (4 1/2 in.); Diameter of mouth: 26.8 cm (10 9/16 in.)", "dimensions": {"diameter of mouth": {"width": 0.268}, "overall": {"height": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310034, "title": "Year in Review for 1986", "description": "<i>Year in Review for 1986</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 4-March 15, 1987).", "opening_date": "1987-02-04T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Gatodo Gallery Co., Ltd., Tokyo, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131986", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1986\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The images of the seven bright stars that form the Big Dipper, the sun, and the moon are incised on the surface of this bronze bowl.", "description": "This alms bowl engraved with an image of the sun, the moon, and the Big Dipper is believed to be used in shamanic rituals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79939360"], "internet_archive": ["https://archive.org/details/clevelandart-1986.94-alms-bowl-with-celes"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1986.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 74, no. 2 (February 1987): 38\u201379.", "page_number": "Mentioned: p. 75, no. 208; Reproduced: p. 77", "url": "http://www.jstor.org/stable/25159974"}, {"citation": "\u201cArt of Asia Acquired by North American Museums, 1987.\u201d <em>Archives of Asian Art</em> 41 (1988): 95\u2013110.", "page_number": "Mentioned and Reproduced: p. 98, fig. 11", "url": "https://www.jstor.org/stable/20111187"}, {"citation": "An, Gui-sook. <em>Korean Bronze Artisans </em>[\uc720\uae30\uc7a5]. Seoul: Hwasan munhwa, 2002.", "page_number": null, "url": null}, {"citation": "<em>Goryeo Dynasty: Korea's Age of Enlightenment, 918-1392</em>. San Francisco: Asian Art Museum, 2003.", "page_number": null, "url": null}, {"citation": "<em>Goryeo: The Glory of Korea </em>[\ub300\uace0\ub824, \uadf8 \ucc2c\ub780\ud55c \ub3c4\uc804]. Seoul: National Museum of Korea, 2018.", "page_number": null, "url": null}, {"citation": "Nelson, Sarah. <em>Gyeongju: The Capital of Golden Silla</em>. Routledge, 2019.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 133, no. 95", "url": ""}], "url": "https://clevelandart.org/art/1986.94", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1986.94/1986.94_web.jpg", "width": "1263", "height": "795", "filesize": "73942", "filename": "1986.94_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1986.94/1986.94_print.jpg", "width": "3400", "height": "2139", "filesize": "575667", "filename": "1986.94_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1986.94/1986.94_full.tif", "width": "5173", "height": "3255", "filesize": "50543036", "filename": "1986.94_full.tif"}}, "alternate_images": [{"date_created": "2012-04-20T19:24:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt0_web.jpg", "width": "1263", "height": "772", "filesize": "71756"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt0_print.jpg", "width": "3400", "height": "2077", "filesize": "565057"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt0_full.tif", "width": "5370", "height": "3281", "filesize": "52882728"}}, {"date_created": "2012-04-20T19:26:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt1_web.jpg", "width": "1263", "height": "740", "filesize": "63736"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt1_print.jpg", "width": "3400", "height": "1993", "filesize": "506131"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt1_full.tif", "width": "5608", "height": "3288", "filesize": "55343952"}}, {"date_created": "2012-04-23T12:37:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt2_web.jpg", "width": "937", "height": "893", "filesize": "99368"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt2_print.jpg", "width": "3400", "height": "3241", "filesize": "1328365"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1986.94/1986.94_alt2_full.tif", "width": "3555", "height": "3389", "filesize": "36172644"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153411, "creators": [], "legal_status": "accessioned", "accession_date": "1986-12-15T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:03.254000"}, {"id": 149642, "accession_number": "1979.38", "share_license_status": "CC0", "tombstone": "Bacchante, 1863. Jean-Baptiste Cl\u00e9singer (French, 1814\u20131883). Marble; overall: 88 x 44.5 x 37.5 cm (34 5/8 x 17 1/2 x 14 3/4 in.). The Cleveland Museum of Art, The Thomas L. Fawick Memorial Collection, 1979.38", "current_location": "218 European Sculpture", "title": "Bacchante", "creation_date": "1863", "creation_date_earliest": 1863, "creation_date_latest": 1836, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "marble", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 88 x 44.5 x 37.5 cm (34 5/8 x 17 1/2 x 14 3/4 in.)", "dimensions": {"overall": {"height": 0.88, "width": 0.445, "depth": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed below, on back of bust:  J. Cl\u00e9singer / Rome / 1836.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}], "legacy": [{"description": "CMA 1980:  \"Year in Review 1979,\" Bulletin, LXVII (March, 1980), cat. #26, p. 95, repr. p. 70", "opening_date": "1980-03-01T00:00:00"}]}, "provenance": [{"description": "[Heim Gallery, London]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The French sculptor Auguste Cl\u00e9singer spent much of his life in Rome, where this bust was created in 1863. He is particularly noted for the creation of sensual subjects in marble, such as this obviously inebriated Bacchante, a female companion of Bacchus, the Roman god of wine.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60780861"], "internet_archive": ["https://archive.org/details/clevelandart-1979.38-bacchante"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cThomas L. Fawick Memorial Collection is on View in Year in Review Exhibition,\u201d February 7, 1980, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr2737"}, {"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 26, p. 70; Mentioned: p. 59", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Lochhead, Stuart. A Taste for the 19th Century. 2019, 38-39.", "page_number": "Mentioned and reporduced: pp. 38-39.", "url": ""}], "url": "https://clevelandart.org/art/1979.38", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.38/1979.38_web.jpg", "width": "643", "height": "893", "filesize": "221163", "filename": "1979.38_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.38/1979.38_print.jpg", "width": "2447", "height": "3400", "filesize": "3025759", "filename": "1979.38_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.38/1979.38_full.tif", "width": "3598", "height": "5000", "filesize": "53999660", "filename": "1979.38_full.tif"}}, "alternate_images": [{"date_created": "2008-09-30T14:57:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt0_web.jpg", "width": "668", "height": "893", "filesize": "213177"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt0_print.jpg", "width": "2545", "height": "3400", "filesize": "3089223"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt0_full.tif", "width": "3743", "height": "5000", "filesize": "56179412"}}, {"date_created": "2008-09-30T17:15:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt1_web.jpg", "width": "668", "height": "893", "filesize": "222910"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt1_print.jpg", "width": "2545", "height": "3400", "filesize": "3211983"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt1_full.tif", "width": "3743", "height": "5000", "filesize": "56173772"}}, {"date_created": "2008-09-30T17:38:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt2_web.jpg", "width": "668", "height": "893", "filesize": "218108"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt2_print.jpg", "width": "2545", "height": "3400", "filesize": "3081844"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.38/1979.38_alt2_full.tif", "width": "3743", "height": "5000", "filesize": "56177780"}}], "creditline": "The Thomas L. Fawick Memorial Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 149642, "creators": [{"id": 5850, "description": "Jean-Baptiste Cl\u00e9singer (French, 1814\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1814", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1863, "date_added_to_oa": null, "date_text": "1863", "collapse_artists": false, "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": "2026-03-27 00:03:22.917000"}, {"id": 153752, "accession_number": "1987.53", "share_license_status": "CC0", "tombstone": "Center Table, c. 1875. Herter Brothers (American). Rosewood inlaid with other woods and bone; overall: 76.5 x 122 x 76.2 cm (30 1/8 x 48 1/16 x 30 in.). The Cleveland Museum of Art, John L. Severance Fund, 1987.53", "current_location": "208 American Gilded Age and Realism", "title": "Center Table", "creation_date": "c. 1875", "creation_date_earliest": 1870, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["America, New York"], "technique": "rosewood inlaid with other woods and bone", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 76.5 x 122 x 76.2 cm (30 1/8 x 48 1/16 x 30 in.)", "dimensions": {"overall": {"height": 0.765, "width": 1.22, "depth": 0.762}}, "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": 696117, "title": "The Herter Brothers: Furniture and Interiors for a Gilded Age", "description": "<i>The Herter Brothers: Furniture and Interiors for a Gilded Age</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (August 21-October 22, 1994); High Museum of Art, Atlanta, GA (December 13, 1994-February 12, 1995); The Metropolitan Museum of Art, New York, NY (May 10-July 30, 1995).", "opening_date": "1994-08-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "Colonel Elverson, Philadelphia.  Private collection, Pennsylvania.  (Sotheby's, 13 September 1986, no. 131).  (Margot Johnson, Inc., New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The general form of this table is based on 19th-century English pieces that are variously described as modern Gothic or Eastlakian. They tend to be rectilinear with incised ornament, and are often, as here, gilded. Combined with this form are decorative elements of Japanese derivation\u2014the carved panel of the stretcher and the inlaid medallions on the frieze beneath the top. The elaborate marquetry, or inlay, of the top includes motifs of classical origin. The top was perhaps made in France and imported to America to be used on furniture made here.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757519"], "internet_archive": ["https://archive.org/details/clevelandart-1987.53-center-table"]}, "citations": [{"citation": "Pin\u0303a, Leslie. <em>Furniture in History, 3000 B.C.\u20132000 A.D</em>. Boston: Prentice Hall, 2010. p. 128.", "page_number": "", "url": ""}, {"citation": "Howe, Katherine S. et al. <em>Herter Brothers: Furniture and Interiors for a Gilded Age</em>. New York: Harry N. Abrams, Inc., 1994.", "page_number": "Cat. 22; pp. 172\u20133, 221, 224", "url": ""}, {"citation": "Turner, Evan H. \u201cThe Year in Review for 1987.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 2 (February 1988): 30\u201371.", "page_number": "Reproduced: p. 58; Mentioned: p. 65, no. 22", "url": "http://www.jstor.org/stable/25160017"}], "url": "https://clevelandart.org/art/1987.53", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.53/1987.53_web.jpg", "width": "1120", "height": "893", "filesize": "618963", "filename": "1987.53_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.53/1987.53_print.jpg", "width": "1926", "height": "1536", "filesize": "675403", "filename": "1987.53_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.53/1987.53_full.tif", "width": "1926", "height": "1536", "filesize": "8878260", "filename": "1987.53_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 153752, "creators": [{"id": 5819, "description": "Herter Brothers (American)", "extent": null, "qualifier": null, "role": "designed and made by", "biography": "Christian Herter (1840-83). Born in Stuttgart. He studied at the \u00c9cole des Beaux Arts in Paris before joining his elder half-brother Gustave (1830-98) in New York in 1860. Gustave had been there since 1848 and had worked for Tiffany before founding his own furniture and decorations firm in 1857. In 1864 Christian returned to Paris to study under Pierre-Victor Gallard (1822-92) and in the early 1870s he was in England. Herter Brothers became a leading New York furniture and decorating business in the 1870s and 1880s, being one of the first to abandon the usual run of historical styles and produce pieces rather similar to those made contemporaneously in England, with a discreet use of oriental motifs. Marquetry furniture like that made for the railroad magnate Jay Gould in 1877-82 or the luxurious gilt and inlaid furniture made for the William H. Vanderbuilt House, NY, c. 1882 is typical of the more extravagant type of aesthetic movement in the US. He employed a large staff of craftsmen and designers, the latter including the architect Charles B. Atwood (1849-95). The firm survived until 1906.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-06-10T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "c. 1875", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:49.498000"}, {"id": 171657, "accession_number": "2014.421", "share_license_status": "Copyrighted", "tombstone": "The Terminal, 1893 (printed 1911). Alfred Stieglitz (American, 1864\u20131946). Photogravure from the original negative; image: 12.1 x 15.7 cm (4 3/4 x 6 3/16 in.); paper: 27.9 x 19.9 cm (11 x 7 13/16 in.). The Cleveland Museum of Art, Gift of Karen and Walter Holtkamp, 2014.421", "current_location": null, "title": "The Terminal", "creation_date": "1893 (printed 1911)", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male", "Jewish artists"], "culture": ["America"], "technique": "photogravure from the original negative", "support_materials": [], "department": "Photography", "collection": "PH - American 1900-1950", "type": "Photograph", "measurements": "Image: 12.1 x 15.7 cm (4 3/4 x 6 3/16 in.); Paper: 27.9 x 19.9 cm (11 x 7 13/16 in.)", "dimensions": {"image": {"height": 0.121, "width": 0.157}, "paper": {"height": 0.279, "width": 0.199}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202729, "title": "Shadows and Dreams: Pictorialist Photography in America", "description": "<i>Shadows and Dreams: Pictorialist Photography in America</i>. The Cleveland Museum of Art (organizer) (September 5, 2015-January 17, 2016).", "opening_date": "2015-09-05T00:00:00"}, {"id": 455214, "title": "Photographs in Ink", "description": "<i>Photographs in Ink</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20, 2022-April 2, 2023).", "opening_date": "2022-11-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Collection of Karen and Walter Holtkamp", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Alfred Stieglitz valued the subtle qualities of prints by fine art photographers. He personally supervised the printing of <em>Camera Work,</em> a prestigious art journal he published that advocated for photography\u2019s place as a fine art. He produced the photogravures from artists\u2019 original negatives whenever possible. Here is a rare opportunity to compare Stieglitz\u2019s <em>The Terminal,</em> printed using two different photomechanical techniques. Stieglitz declared the image a milestone not only for him but for photography and seeing itself. How do the slight differences\u2014the cropping and the range of light-to-dark values, among others\u2014affect the image for you?", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q104846931"], "internet_archive": ["https://archive.org/details/clevelandart-2014.421-the-terminal"]}, "citations": [], "url": "https://clevelandart.org/art/2014.421", "images": {}, "alternate_images": [], "creditline": "Gift of Karen and Walter Holtkamp", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171657, "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": "2014-12-01T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893 (printed 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": "2026-03-27 00:07:03.403000"}, {"id": 94894, "accession_number": "1915.453", "share_license_status": "CC0", "tombstone": "Comb (cisakulo), mid- to late 1800s. Africa, Central Africa, Angola, or Democratic Republic of Congo, Chokwe-style. Wood, glass beads, and natural fibers; overall: 13.3 x 8 x 1.4 cm (5 1/4 x 3 1/8 x 9/16 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1915.453", "current_location": null, "title": "Comb (cisakulo)", "creation_date": "mid- to late 1800s", "creation_date_earliest": 1850, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, Central Africa, Angola, or Democratic Republic of Congo, Chokwe-style"], "technique": "Wood, glass beads, and natural fibers", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 13.3 x 8 x 1.4 cm (5 1/4 x 3 1/8 x 9/16 in.)", "dimensions": {"overall": {"height": 0.133, "width": 0.08, "depth": 0.014}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "(F. M. Rapp, probably by field collection in Portuguese West Africa (Angola) or Belgian Congo (Democratic Republic of Congo), sold to the Cleveland Museum of Art)", "citations": [], "footnotes": ["<div><!--block-->\"In the spring of 1916, Mr. F. M. Rapp, mining engineer, now at Tonopah, Nevada, returned from the Belgian Congo, Central Africa, where he has been engaged for two years in geological work along the Kasai River and its tributaries.\"<br>M. G. Edwards, \"Diamond-bearing gravel from Belgian Congo,\"<em> American Mineralogist </em>(1917) 2 (7): 88\u201389.</div>"], "date": "by 1915", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1915-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The double birds on this comb are the <em>ngungu</em>, a kind of hornbill linked to hunting and the related power of leaders. They were considered a good omen, and served as mediators between the earthly world and the spiritual one.", "description": "Chokwe women and men inserted finely decorated combs and pins in their hair to signal rank and wealth. Here, as among neighboring peoples, hairstyles reflected changing trends across place and over time. This comb's wooden material and sculptural top made it of a higher value than simple examples made from metal or cane. Its wide teeth were practical, securing elements of a hairstyle in place. The long-beaked <em>ngungu</em> birds with beaded necklaces were a well-known symbol of chiefly power. In addition to being a sign of beauty and good health, a well-styled hairdo also suggests that the wearer relies on the help of others in its creation. Combs were often gifted to women by admirers or husbands to mark important life events. This comb entered the Cleveland Museum of Art's collection in 1915, one year before the museum opened its doors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79475749"], "internet_archive": ["https://archive.org/details/clevelandart-1915.453-comb-cisakulo"]}, "citations": [{"citation": "Petridis, Constantine. \"A New Installation for African Art in Cleveland.\" Tribal 3, no. 36 (Autumn/Winter 2004): 68-73.", "page_number": "", "url": ""}, {"citation": "Wixom, WIlliam D. \"African Art at the Cleveland Museum of Art.\" <em>African Arts</em>. 10, no. 3. (April 1977) 16-25.", "page_number": "Mentioned and Reproduced: p.16, fig. 1", "url": "https://www.jstor.org/stable/3335296"}, {"citation": "Donley, Gregory M., \"A New Face for African Art\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 42 no. 04, April 2002", "page_number": "Mentioned & reproduced: p. 6-7", "url": "https://archive.org/details/CMAMM2002-04/page/n5"}, {"citation": "Petridis, Constantijn. <em>South of the Sahara: selected works of African art. </em>Cleveland: Cleveland Museum of Art, 2003.", "page_number": "Reproduced: cat. 34, p. 98 - 99", "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. 40-41", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel.<em> The language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/1915.453", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.453/1915.453_web.jpg", "width": "698", "height": "900", "filesize": "178365", "filename": "1915.453_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.453/1915.453_print.jpg", "width": "2637", "height": "3400", "filesize": "1177354", "filename": "1915.453_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.453/1915.453_full.tif", "width": "6681", "height": "8613", "filesize": "172655848", "filename": "1915.453_full.tif"}}, "alternate_images": [{"date_created": "2009-05-08T17:43:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt0_web.jpg", "width": "586", "height": "893", "filesize": "244770"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt0_print.jpg", "width": "2232", "height": "3400", "filesize": "858977"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt0_full.tif", "width": "3822", "height": "5822", "filesize": "66775840"}}, {"date_created": "2021-04-21T13:41:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt1_web.jpg", "width": "695", "height": "900", "filesize": "181644"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt1_print.jpg", "width": "2627", "height": "3400", "filesize": "1261754"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt1_full.tif", "width": "6681", "height": "8646", "filesize": "173317544"}}, {"date_created": "2021-04-21T13:47:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt2_web.jpg", "width": "724", "height": "900", "filesize": "161881"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt2_print.jpg", "width": "2735", "height": "3400", "filesize": "845279"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt2_full.tif", "width": "6951", "height": "8640", "filesize": "180195384"}}, {"date_created": "2021-04-21T13:49:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt3_web.jpg", "width": "736", "height": "900", "filesize": "161874"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt3_print.jpg", "width": "2779", "height": "3400", "filesize": "898662"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt3_full.tif", "width": "7018", "height": "8585", "filesize": "180774088"}}, {"date_created": "2021-04-21T13:58:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt4_web.jpg", "width": "732", "height": "900", "filesize": "137961"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt4_print.jpg", "width": "2765", "height": "3400", "filesize": "652705"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt4_full.tif", "width": "7018", "height": "8629", "filesize": "181699592"}}, {"date_created": "2021-04-21T14:14:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt5_web.jpg", "width": "730", "height": "900", "filesize": "135506"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt5_print.jpg", "width": "2759", "height": "3400", "filesize": "628149"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt5_full.tif", "width": "7018", "height": "8649", "filesize": "182120636"}}, {"date_created": "2021-04-21T14:31:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt6_web.jpg", "width": "900", "height": "580", "filesize": "151067"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt6_print.jpg", "width": "3400", "height": "2190", "filesize": "832142"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.453/1915.453_alt6_full.tif", "width": "4933", "height": "3178", "filesize": "47056268"}}], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94894, "creators": [], "legal_status": "accessioned", "accession_date": "1915-11-19T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "mid- to late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Comb with Birds"], "is_highlight": false, "updated_at": "2026-03-27 00:06:39.111000"}, {"id": 160528, "accession_number": "1998.31", "share_license_status": "CC0", "tombstone": "Bird Sleeping on a Plum Tree (\ub9e4\ud654\ub098\ubb34 \uc704\uc758 \uc878\uace0 \uc788\ub294 \uc0c8 [\u6885\u7af9\u9ce5\u5716]), early 1900s. Yang Ki-hun (Seuk-Eun) (Korean, 1843\u20131919?). Hanging scroll, ink on silk; overall: 103 x 112.4 cm (40 9/16 x 44 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 1998.31", "current_location": null, "title": "Bird Sleeping on a Plum Tree", "title_in_original_language": "\ub9e4\ud654\ub098\ubb34 \uc704\uc758 \uc878\uace0 \uc788\ub294 \uc0c8 [\u6885\u7af9\u9ce5\u5716]", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "hanging scroll, ink on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 103 x 112.4 cm (40 9/16 x 44 1/4 in.)", "dimensions": {"overall": {"height": 1.03, "width": 1.124}, "painting only": {"height": 0.37, "width": 0.968}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197104, "title": "The Lure of Painted Poetry: Japanese and Korean Art", "description": "<i>The Lure of Painted Poetry: Japanese and Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 15-August 21, 2011).", "opening_date": "2011-03-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "The Honorable Joseph P. Carroll and Roberta Carroll, MD, New York, NY", "citations": [], "footnotes": null, "date": "?\u20131998", "sortorder": 1}, {"description": "(Joseph P. Carroll, Ltd., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "1998", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1998\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Yang Ki-hun was one of the most commercially successful painters active in the late 19th century.", "description": "The plum\u2019s status as the orthodox symbol of the literati\u2019s pure spirit originated in Lin Bu\u2019s poem \"Tiny Plum Flowers in Mountain Garden.\" The plum was also widely depicted in Korean paintings as part of the Four Gentlemen\u2014or Four Gracious Plants\u2014motif. Here, the plum and bamboo express literati spirituality while the bird with its head pointing downward indicates the artist\u2019s feelings about the unstable situation at the end of the Joseon period. Yang Ki-hun was a Korean scholar-official renowned for painting and calligraphy. King Gojong (reigned 1863\u20131907) was one of Yang's prominent patrons.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477622"], "internet_archive": ["https://archive.org/details/clevelandart-1998.31-bird-sleeping-on-a-p"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cPainting by 18th-century Italian Master Gaetano Gandolfi among Works Added to CMA Collection,\u201d March 24, 1998, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4108"}, {"citation": "So\u0306n, Su\u0306ng-hye. The Lure of Painted Poetry: Japanese and Korean Art. Cleveland, OH: Cleveland Museum of Art, 2011.", "page_number": "Reproduced: cat. no. 75", "url": null}, {"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "Seo, Jeong-min. \u201cYang Gi-hun\"s Painting of Geese and Reeds [\uc11d\uc5f0 \uc591\uae30\ud6c8 \ub178\uc548\ub3c4 \uc5f0\uad6c].\u201d <em>Hanguk geunhyundai misul sahak </em>(2015): 107\u2013133.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE06401515"}, {"citation": "<em>Modern Traditions in Korean Calligraphy and Painting</em> [\uadfc\ub300\uc11c\ud654]. Seoul: National Museum of Korea, 2019.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: p. 223, no. 125", "url": ""}], "url": "https://clevelandart.org/art/1998.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1998.31/1998.31_web.jpg", "width": "1263", "height": "494", "filesize": "389219", "filename": "1998.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1998.31/1998.31_print.jpg", "width": "3400", "height": "1330", "filesize": "3208247", "filename": "1998.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1998.31/1998.31_full.tif", "width": "6297", "height": "2464", "filesize": "46573904", "filename": "1998.31_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.31/1998.31_alt0_web.jpg", "width": "328", "height": "893", "filesize": "222200"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.31/1998.31_alt0_print.jpg", "width": "752", "height": "2048", "filesize": "1167732"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.31/1998.31_alt0_full.tif", "width": "752", "height": "2048", "filesize": "4622108"}}, {"date_created": "2010-10-12T15:19:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.31/1998.31_alt1_web.jpg", "width": "780", "height": "893", "filesize": "381070"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.31/1998.31_alt1_print.jpg", "width": "2970", "height": "3400", "filesize": "6296903"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1998.31/1998.31_alt1_full.tif", "width": "4436", "height": "5077", "filesize": "67592080"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160528, "creators": [{"id": 21220, "description": "Yang Ki-hun (Seuk-Eun) (Korean, 1843\u20131919?)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uc591\uae30\ud6c8", "birth_year": "1843", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1998-03-09T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-08 11:09:03.276000"}, {"id": 171607, "accession_number": "2014.388.1", "share_license_status": "CC0", "tombstone": "Royal Round Tent made for Muhammad Shah (Roof), 1834\u201348. Iran, Rasht, Qajar period (1779-1925). Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring; overall: 360 x 400 x 400.1 cm (141 3/4 x 157 1/2 x 157 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2014.388.1", "current_location": null, "title": "Royal Round Tent made for Muhammad Shah (Roof)", "creation_date": "1834\u201348", "creation_date_earliest": 1834, "creation_date_latest": 1848, "artists_tags": [], "culture": ["Iran, Rasht, Qajar period (1779-1925)"], "technique": "Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 360 x 400 x 400.1 cm (141 3/4 x 157 1/2 x 157 1/2 in.)", "dimensions": {"overall": {"height": 3.6, "width": 4.0, "depth": 4.001}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202564, "title": "Muhammad Shah's Royal Persian Tent", "description": "<i>Muhammad Shah's Royal Persian Tent</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13, 2015-August 23, 2016).", "opening_date": "2015-07-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mehdi Mahboubian [1921-2005], Oxfordshire, UK", "citations": [], "footnotes": null, "date": "by early 1980s-1991?", "sortorder": 1}, {"description": "(Sotheby's, London, sale 24 April 1991)", "citations": [], "footnotes": [], "date": "April 24, 1991", "sortorder": 2}, {"description": "Private Collection, consigned to Francesca Galloway, Ltd.", "citations": [], "footnotes": [], "date": "after 1991", "sortorder": 3}, {"description": "(Francesca Galloway, Ltd., London, UK, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-2014", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2014-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rasht work is named after the city on the Caspian Sea in present-day Iran, which was a major silk trade center with numerous textile workshops.", "description": "Royal tents were potent symbols of authority, wealth, and power throughout the greater Middle East. Rulers owned thousands of tents. They were used for shelter, shade, and innumerable functions in tent compounds that were essential for imperial ceremonies, travel, and military campaigns. Distinguished by size with elaborately decorated interior walls and ceilings, tents could be as large as castles. Opulent tents were also presented as imperial gifts. <br><br>Tents are only known through documents before 1600. For example, in Baghdad in 809, Caliph Harun al-Rashid owned 4,000 ceremonial tents and 150,000 camping tents that were stored in the imperial Abbasid treasury. An astonishing variety and quantity of tents were housed in the royal Fatimid tent storeroom in Cairo in 1068-69, including \"military tents, fortress tents, and castle tents, manufactured of . . . gold-brocaded stuff embroidered with designs of elephants, wild beasts, horses, peacocks, birds.\" <br><br>Since 1600, Ottoman Turkish tents with elaborate floral decoration have been preserved in Istanbul in the Topkapi Palace Museum and Military Museum, and in European collections as war booty, primarily from the Ottoman Turks' attempt to conquer Vienna in 1683. These tents are not done in the Rasht technique, but rather are applique.<br><br>In contrast, royal tents from Iran are extremely rare. This spectacular ceremonial tent is embroidered with the name of its owner, Muhammad Shah, who ruled Iran from 1834 to 1848 during the Qajar dynasty. The radiant jewellike interior features exuberant flora, blossoming vines, and robust birds made with colored wool embellished with silk-thread embroidery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082253"], "internet_archive": ["https://archive.org/details/clevelandart-2014.388.1-royal-round-tent-mad"]}, "citations": [{"citation": "\"The Shahs' Tents\" with articles by Toby Falk \"Royalty in the Field,\" Jennifer Wearden \"Rasht Textiles,\" and Ian Bennet \"A Qajar Masterpiece.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 59 (October 1991), pp.118-123.", "page_number": "Mentioned and Reproduced: pp. 118-123", "url": null}, {"citation": "Sotheby's London. <em>European and Oriental Rugs, Carpets and Textiles</em>. 24 April 1991 sale.", "page_number": null, "url": null}, {"citation": "Baker, Patricia L. Islamic Textiles. 1995.", "page_number": "p.138-39", "url": null}, {"citation": "Atasoy, Nurhan. Otag\u0306-\u0131 Hu\u0308mayun: Ottoman imperial tent complex. I\u0307stanbul: Aygaz, 2000.", "page_number": null, "url": null}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Reproduced: pp. 392-393", "url": null}, {"citation": "\"The Shah's Tent.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 185 (Autumn 2015): 94-95.", "page_number": "Reproduced: figs. 1-4, pp. 94-95", "url": null}], "url": "https://clevelandart.org/art/2014.388.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.1/2014.388.1_web.jpg", "width": "900", "height": "618", "filesize": "133445", "filename": "2014.388.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.1/2014.388.1_print.jpg", "width": "3400", "height": "2335", "filesize": "1887424", "filename": "2014.388.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.1/2014.388.1_full.tif", "width": "5412", "height": "3717", "filesize": "60375576", "filename": "2014.388.1_full.tif"}}, "alternate_images": [{"date_created": 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"https://openaccess-cdn.clevelandart.org/alternate/2014.388.1/2014.388.1_alt10_print.jpg", "width": "3280", "height": "3211", "filesize": "3968899"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.1/2014.388.1_alt10_full.tif", "width": "3280", "height": "3211", "filesize": "31653300"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171607, "creators": [], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834\u201348", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": "<strong>Customized storage for a very large tent<br></strong>In addition to thinking about condition issues and treating textiles before they are placed on display in the galleries, the textile conservator must also think about their storage because textiles are light-sensitive and spend much of their lives in storage. When the tent was deinstalled in 2015, we vacuumed it front and back before storing it. The wall panels were rolled on separate padded archival tubes, covered in undyed cotton muslin before being placed in storage.<br><br>Storage of the tent roof was a particular challenge. The CMA cabinetmakers constructed a sealed wood box measuring 79 cm (31 in.) H x 310 cm (122 in.) W x 157 cm (62 in.) D to store both the tent roof and the mount armature used to erect the tent. That armature is packed at the bottom of the box. A tray that contains the tent roof fits on top of the mount armature hardware; the boss at the apex of the tent roof is supported at one end of the box. Specialized lift equipment is needed to move the box; needless to say, it is heavy as well as large.", "has_conservation_images": false, "cover_accession_number": "2014.388", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:04.851000"}, {"id": 171608, "accession_number": "2014.388.2", "share_license_status": "CC0", "tombstone": "Royal Round Tent made for Muhammad Shah (wall panel with three design units), 1834\u201348. Iran, Rasht, Qajar period (1779-1925). Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring; overall: 172.1 x 309.2 cm (67 3/4 x 121 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2014.388.2", "current_location": null, "title": "Royal Round Tent made for Muhammad Shah (wall panel with three design units)", "creation_date": "1834\u201348", "creation_date_earliest": 1834, "creation_date_latest": 1848, "artists_tags": [], "culture": ["Iran, Rasht, Qajar period (1779-1925)"], "technique": "Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 172.1 x 309.2 cm (67 3/4 x 121 3/4 in.)", "dimensions": {"overall": {"height": 1.721, "width": 3.092}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscriptions:  The central design unit of this wall panel has two embroidered inscriptions. \n1.\tUpper inscription (center of the top blossom):\n\"Muhammad shah sultan-e ghazi.\"", "inscription_translation": "Muhammad Shah, Warrior Sultan.", "inscription_remark": "This inscription indicates that the tent was made for Muhammad Shah, who reigned from 1834-1848.", "sortorder": null}, {"inscription": "2.\tLower inscription (on the base of the vase):\n \"Kamtarin bandeh-ye dargah fath'ali.\"", "inscription_translation": "The lowliest slave of the court, Fath 'Ali.", "inscription_remark": "The \"lowliest slave\" refers to the master artisan of the tent who is identified in the traditional humble manner. It indicates that the artisan had worked in the workshop of Fath 'Ali Shah (r. 1797-1837), Muhammad Shah's father.", "sortorder": null}], "exhibitions": {"current": [{"id": 202564, "title": "Muhammad Shah's Royal Persian Tent", "description": "<i>Muhammad Shah's Royal Persian Tent</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13, 2015-August 23, 2016).", "opening_date": "2015-07-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mehdi Mahboubian [1921-2005], Oxfordshire, UK", "citations": [], "footnotes": [], "date": "by early 1980s-1991?", "sortorder": 1}, {"description": "(Sotheby's, London, sale 24 April 1991)", "citations": [], "footnotes": null, "date": "April 24, 1991", "sortorder": 2}, {"description": "Private Collection, consigned to Francesca Galloway, Ltd.", "citations": [], "footnotes": null, "date": "after 1991", "sortorder": 3}, {"description": "(Francesca Galloway, Ltd., London, UK, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?-2014", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2014-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rasht work is named after the city on the Caspian Sea in present-day Iran, which was a major silk trade center with numerous textile workshops.", "description": "Royal tents were potent symbols of authority, wealth, and power throughout the greater Middle East. Rulers owned thousands of tents. They were used for shelter, shade, and innumerable functions in tent compounds that were essential for imperial ceremonies, travel, and military campaigns. Distinguished by size with elaborately decorated interior walls and ceilings, tents could be as large as castles. Opulent tents were also presented as imperial gifts. <br><br>Tents are only known through documents before 1600. For example, in Baghdad in 809, Caliph Harun al-Rashid owned 4,000 ceremonial tents and 150,000 camping tents that were stored in the imperial Abbasid treasury. An astonishing variety and quantity of tents were housed in the royal Fatimid tent storeroom in Cairo in 1068-69, including \"military tents, fortress tents, and castle tents, manufactured of . . . gold-brocaded stuff embroidered with designs of elephants, wild beasts, horses, peacocks, birds.\" <br><br>Since 1600, Ottoman Turkish tents with elaborate floral decoration have been preserved in Istanbul in the Topkapi Palace Museum and Military Museum, and in European collections as war booty, primarily from the Ottoman Turks' attempt to conquer Vienna in 1683. These tents are not done in the Rasht technique, but rather are applique.<br><br>In contrast, royal tents from Iran are extremely rare. This spectacular ceremonial tent is embroidered with the name of its owner, Muhammad Shah, who ruled Iran from 1834 to 1848 during the Qajar dynasty. The radiant jewellike interior features exuberant flora, blossoming vines, and robust birds made with colored wool embellished with silk-thread embroidery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082256"], "internet_archive": ["https://archive.org/details/clevelandart-2014.388.2-royal-round-tent-mad"]}, "citations": [{"citation": "\"The Shahs' Tents\" with articles by Toby Falk \"Royalty in the Field,\" Jennifer Wearden \"Rasht Textiles,\" and Ian Bennet \"A Qajar Masterpiece.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 59 (October 1991), pp.118-123.", "page_number": "Mentioned and Reproduced: pp. 118-123", "url": null}, {"citation": "Sotheby's London. <em>European and Oriental Rugs, Carpets and Textiles</em>. 24 April 1991 sale.", "page_number": null, "url": null}, {"citation": "Baker, Patricia L. Islamic Textiles. 1995.", "page_number": "p.138-39", "url": null}, {"citation": "Atasoy, Nurhan. Otag\u0306-\u0131 Hu\u0308mayun: Ottoman imperial tent complex. I\u0307stanbul: Aygaz, 2000.", "page_number": null, "url": null}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Reproduced: pp. 392-393", "url": null}, {"citation": "\"The Shah's Tent.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 185 (Autumn 2015): 94-95.", "page_number": "Reproduced: figs. 1-4, pp. 94-95", "url": null}], "url": "https://clevelandart.org/art/2014.388.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.2/2014.388.2_web.jpg", "width": "900", "height": "515", "filesize": "280035", "filename": "2014.388.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.2/2014.388.2_print.jpg", "width": "3400", "height": "1946", "filesize": "3185780", "filename": "2014.388.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.2/2014.388.2_full.tif", "width": "26956", "height": "15427", "filesize": "1247590720", "filename": "2014.388.2_full.tif"}}, "alternate_images": [{"date_created": 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"filesize": "94495784"}}, {"date_created": "2014-05-15T13:00:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.2/2014.388.2_alt7_web.jpg", "width": "820", "height": "900", "filesize": "378496"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.2/2014.388.2_alt7_print.jpg", "width": "3096", "height": "3400", "filesize": "3063071"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.2/2014.388.2_alt7_full.tif", "width": "3819", "height": "4194", "filesize": "48086024"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171608, "creators": [], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834\u201348", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": "Textiles are light sensitive, which means the dyes used to color them can fade with overexposure to light. Light damage is both cumulative and irreversible. Often, the reverse of a textile has brighter colors than the front face because the reverse may have been hidden or protected from light exposure. If we are able to compare the front and back of a textile, sometimes we see stark evidence of dye fading. That phenomenon is certainly true of the tent wall panels and roof.", "has_conservation_images": true, "cover_accession_number": "2014.388", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Royal Round Tent made for Muhammad Shah (wall panel with three panels A)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:58.253000"}, {"id": 171609, "accession_number": "2014.388.3", "share_license_status": "CC0", "tombstone": "Royal Round Tent made for Muhammad Shah (wall panel with one design unit), 1834\u201348. Iran, Rasht, Qajar period (1779-1925). Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring; overall: 166.1 x 119.4 cm (65 3/8 x 47 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2014.388.3", "current_location": null, "title": "Royal Round Tent made for Muhammad Shah (wall panel with one design unit)", "creation_date": "1834\u201348", "creation_date_earliest": 1834, "creation_date_latest": 1848, "artists_tags": [], "culture": ["Iran, Rasht, Qajar period (1779-1925)"], "technique": "Interior: wool: plain weave, inlaid work; silk: embroidery, chain stitch; tape, leather; Exterior: cotton, wool: plain weave; rope, iron ring", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 166.1 x 119.4 cm (65 3/8 x 47 in.)", "dimensions": {"overall": {"height": 1.661, "width": 1.194}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202564, "title": "Muhammad Shah's Royal Persian Tent", "description": "<i>Muhammad Shah's Royal Persian Tent</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 13, 2015-August 23, 2016).", "opening_date": "2015-07-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mehdi Mahboubian [1921-2005], Oxfordshire, UK", "citations": [], "footnotes": [], "date": "by early 1980s-1991?", "sortorder": 1}, {"description": "(Sotheby's, London, sale 24 April 1991)", "citations": [], "footnotes": [], "date": "April 24, 1991", "sortorder": 2}, {"description": "Private Collection, consigned to Francesca Galloway, Ltd.", "citations": [], "footnotes": [], "date": "after 1991", "sortorder": 3}, {"description": "(Francesca Galloway, Ltd., London, UK, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-2014", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2014-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rasht work is named after the city on the Caspian Sea in present-day Iran, which was a major silk trade center with numerous textile workshops.", "description": "Royal tents were potent symbols of authority, wealth, and power throughout the greater Middle East. Rulers owned thousands of tents. They were used for shelter, shade, and innumerable functions in tent compounds that were essential for imperial ceremonies, travel, and military campaigns. Distinguished by size with elaborately decorated interior walls and ceilings, tents could be as large as castles. Opulent tents were also presented as imperial gifts. <br><br>Tents are only known through documents before 1600. For example, in Baghdad in 809, Caliph Harun al-Rashid owned 4,000 ceremonial tents and 150,000 camping tents that were stored in the imperial Abbasid treasury. An astonishing variety and quantity of tents were housed in the royal Fatimid tent storeroom in Cairo in 1068-69, including \"military tents, fortress tents, and castle tents, manufactured of . . . gold-brocaded stuff embroidered with designs of elephants, wild beasts, horses, peacocks, birds.\" <br><br>Since 1600, Ottoman Turkish tents with elaborate floral decoration have been preserved in Istanbul in the Topkapi Palace Museum and Military Museum, and in European collections as war booty, primarily from the Ottoman Turks' attempt to conquer Vienna in 1683. These tents are not done in the Rasht technique, but rather are applique.<br><br>In contrast, royal tents from Iran are extremely rare. This spectacular ceremonial tent is embroidered with the name of its owner, Muhammad Shah, who ruled Iran from 1834 to 1848 during the Qajar dynasty. The radiant jewellike interior features exuberant flora, blossoming vines, and robust birds made with colored wool embellished with silk-thread embroidery.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80082259"], "internet_archive": ["https://archive.org/details/clevelandart-2014.388.3-royal-round-tent-mad"]}, "citations": [{"citation": "\"The Shahs' Tents\" with articles by Toby Falk \"Royalty in the Field,\" Jennifer Wearden \"Rasht Textiles,\" and Ian Bennet \"A Qajar Masterpiece.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 59 (October 1991), pp.118-123.", "page_number": "Mentioned and Reproduced: pp. 118-123", "url": null}, {"citation": "Sotheby's London. <em>European and Oriental Rugs, Carpets and Textiles</em>. 24 April 1991 sale.", "page_number": null, "url": null}, {"citation": "Baker, Patricia L. Islamic Textiles. 1995.", "page_number": "p. 138-39", "url": null}, {"citation": "Atasoy, Nurhan. Otag\u0306-\u0131 Hu\u0308mayun: Ottoman imperial tent complex. I\u0307stanbul: Aygaz, 2000.", "page_number": null, "url": null}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Reproduced: pp. 392-393", "url": null}, {"citation": "\"The Shah's Tent.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 185 (Autumn 2015): 94-95.", "page_number": "Reproduced: figs. 1-4, pp. 94-95", "url": null}], "url": "https://clevelandart.org/art/2014.388.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.3/2014.388.3_web.jpg", "width": "677", "height": "900", "filesize": "410411", "filename": "2014.388.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.3/2014.388.3_print.jpg", "width": "2556", "height": "3400", "filesize": "3856551", "filename": "2014.388.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.3/2014.388.3_full.tif", "width": "7998", "height": "10640", "filesize": "255324688", "filename": "2014.388.3_full.tif"}}, "alternate_images": [{"date_created": "2015-03-17T13:50:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt0_web.jpg", "width": "686", "height": "900", "filesize": "327940"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt0_print.jpg", "width": "2593", "height": "3400", "filesize": "3605116"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt0_full.tif", "width": "11384", "height": "14928", "filesize": "509855368"}}, {"date_created": "2015-03-17T13:55:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt1_web.jpg", "width": "683", "height": "900", "filesize": "92337"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt1_print.jpg", "width": "2580", "height": "3400", "filesize": "1297235"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt1_full.tif", "width": "11228", "height": "14797", "filesize": "498451160"}}, {"date_created": "2021-10-25T15:19:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt2_web.jpg", "width": "727", "height": "900", "filesize": "193497"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt2_print.jpg", "width": "2748", "height": "3400", "filesize": "2793536"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.3/2014.388.3_alt2_full.tif", "width": "8201", "height": "10146", "filesize": "249647024"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171609, "creators": [], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834\u201348", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": "<strong>Customized storage for a very large tent<br></strong>In addition to thinking about condition issues and treating textiles before they are placed on display in the galleries, the textile conservator must also think about their storage because textiles are light-sensitive and spend much of their lives in storage. When the tent was deinstalled in 2015, we vacuumed it front and back before storing it. The wall panels were rolled on separate padded archival tubes, covered in undyed cotton muslin before being placed in storage.<br><br>Storage of the tent roof was a particular challenge. The CMA cabinetmakers constructed a sealed wood box measuring 79 cm (31 in.) H x 310 cm (122 in.) W x 157 cm (62 in.) D to store both the tent roof and the mount armature used to erect the tent. That armature is packed at the bottom of the box. A tray that contains the tent roof fits on top of the mount armature hardware; the boss at the apex of the tent roof is supported at one end of the box. Specialized lift equipment is needed to move the box; needless to say, it is heavy as well as large.", "has_conservation_images": false, "cover_accession_number": "2014.388", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Royal Round Tent made for Muhammad Shah (wall panel with one panel B)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:46.302000"}, {"id": 171610, "accession_number": "2014.388.4", "share_license_status": "CC0", "tombstone": "Royal Round Tent made for Muhammad Shah (wall panel with three design units), 1834\u201348. Iran, Rasht, Qajar period (1779-1925). Wool with silk embroidery (chain stitch), rope, cotton, leather, tape; Rasht work; overall: 167.6 x 286.4 cm (66 x 112 3/4 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2014.388.4", "current_location": null, "title": "Royal Round Tent made for Muhammad Shah (wall panel with three design units)", "creation_date": "1834\u201348", "creation_date_earliest": 1834, "creation_date_latest": 1848, "artists_tags": [], "culture": ["Iran, Rasht, Qajar period (1779-1925)"], "technique": "Wool with silk embroidery (chain stitch), rope, cotton, leather, tape; Rasht work", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Textile", "measurements": "Overall: 167.6 x 286.4 cm (66 x 112 3/4 in.)", "dimensions": {"overall": {"height": 1.676, "width": 2.864}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscriptions:  The central design unit of this wall panel has two embroidered inscriptions. \n1.\tUpper inscription (center of the top blossom):\n\"Muhammad shah sultan-e ghazi.\"", "inscription_translation": "Muhammad Shah, Warrior Sultan.", "inscription_remark": "This inscription indicates that the tent was made for Muhammad Shah, who reigned from 1834-1848.", "sortorder": null}, {"inscription": "2.\tLower inscription (on the base of the vase):\n \"Kamtarin bandeh-ye dargah fath'ali.\"", "inscription_translation": "The lowliest slave of the court, Fath 'Ali.", "inscription_remark": "The \"lowliest slave\" refers to the master artisan of the tent who is identified in the traditional humble manner. It indicates that the artisan had worked in the workshop of Fath 'Ali Shah (r. 1797-1837), Muhammad Shah's father.", "sortorder": null}], "exhibitions": {"current": [{"id": 202564, "title": "Muhammad Shah's Royal Persian Tent", "description": "<i>Muhammad Shah's Royal Persian Tent</i>. 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Rulers owned thousands of tents. They were used for shelter, shade, and innumerable functions in tent compounds that were essential for imperial ceremonies, travel, and military campaigns. Distinguished by size with elaborately decorated interior walls and ceilings, tents could be as large as castles. Opulent tents were also presented as imperial gifts. <br><br>Tents are only known through documents before 1600. For example, in Baghdad in 809, Caliph Harun al-Rashid owned 4,000 ceremonial tents and 150,000 camping tents that were stored in the imperial Abbasid treasury. An astonishing variety and quantity of tents were housed in the royal Fatimid tent storeroom in Cairo in 1068-69, including \"military tents, fortress tents, and castle tents, manufactured of . . . gold-brocaded stuff embroidered with designs of elephants, wild beasts, horses, peacocks, birds.\" <br><br>Since 1600, Ottoman Turkish tents with elaborate floral decoration have been preserved in Istanbul in the Topkapi Palace Museum and Military Museum, and in European collections as war booty, primarily from the Ottoman Turks' attempt to conquer Vienna in 1683. These tents are not done in the Rasht technique, but rather are applique.<br><br>In contrast, royal tents from Iran are extremely rare. This spectacular ceremonial tent is embroidered with the name of its owner, Muhammad Shah, who ruled Iran from 1834 to 1848 during the Qajar dynasty. 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Otag\u0306-\u0131 Hu\u0308mayun: Ottoman imperial tent complex. I\u0307stanbul: Aygaz, 2000.", "page_number": null, "url": null}, {"citation": "Mackie, Louise W. <em>Symbols of Power: Luxury Textiles from Islamic Lands, 7th-21st Century</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Reproduced: pp. 392-393", "url": null}, {"citation": "\"The Shah's Tent.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 185 (Autumn 2015): 94-95.", "page_number": "Reproduced: figs. 1-4, pp. 94-95", "url": null}], "url": "https://clevelandart.org/art/2014.388.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.4/2014.388.4_web.jpg", "width": "900", "height": "507", "filesize": "253462", "filename": "2014.388.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.4/2014.388.4_print.jpg", "width": "3400", "height": "1916", "filesize": "2943093", "filename": "2014.388.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2014.388.4/2014.388.4_full.tif", "width": "27457", "height": "15473", "filesize": "1274561212", "filename": "2014.388.4_full.tif"}}, "alternate_images": [{"date_created": "2015-03-17T12:16:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt0_web.jpg", "width": "626", "height": "900", "filesize": "328985"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt0_print.jpg", "width": "2363", "height": "3400", "filesize": "3553791"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt0_full.tif", "width": "10669", "height": "15348", "filesize": "491277620"}}, {"date_created": "2015-03-17T12:49:09", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt1_web.jpg", "width": "600", "height": "900", "filesize": "95188"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt1_print.jpg", "width": "2267", "height": "3400", "filesize": "1164792"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt1_full.tif", "width": "10194", "height": "15290", "filesize": "467627704"}}, {"date_created": "2015-03-17T12:24:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt2_web.jpg", "width": "708", "height": "900", "filesize": "372525"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt2_print.jpg", "width": "2676", "height": "3400", "filesize": "4071873"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt2_full.tif", "width": "12000", "height": "15248", "filesize": "548962928"}}, {"date_created": "2015-03-17T12:55:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt3_web.jpg", "width": "701", "height": "900", "filesize": "104333"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt3_print.jpg", "width": "2648", "height": "3400", "filesize": "1361558"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt3_full.tif", "width": "12000", "height": "15407", "filesize": "554680776"}}, {"date_created": "2015-03-17T12:31:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt4_web.jpg", "width": "702", "height": "900", "filesize": "301845"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt4_print.jpg", "width": "2651", "height": "3400", "filesize": "3315574"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt4_full.tif", "width": "12000", "height": "15393", "filesize": "554181748"}}, {"date_created": "2015-03-17T13:01:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt5_web.jpg", "width": "649", "height": "900", "filesize": "101446"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt5_print.jpg", "width": "2450", "height": "3400", "filesize": "1259622"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2014.388.4/2014.388.4_alt5_full.tif", "width": "11066", "height": "15358", "filesize": "509883988"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171610, "creators": [], "legal_status": "accessioned", "accession_date": "2014-12-01T00:00:00", "sortable_date": 1834, "date_added_to_oa": null, "date_text": "1834\u201348", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": "<strong>Customized storage for a very large tent<br></strong>In addition to thinking about condition issues and treating textiles before they are placed on display in the galleries, the textile conservator must also think about their storage because textiles are light-sensitive and spend much of their lives in storage. When the tent was deinstalled in 2015, we vacuumed it front and back before storing it. The wall panels were rolled on separate padded archival tubes, covered in undyed cotton muslin before being placed in storage.<br><br>Storage of the tent roof was a particular challenge. The CMA cabinetmakers constructed a sealed wood box measuring 79 cm (31 in.) H x 310 cm (122 in.) W x 157 cm (62 in.) D to store both the tent roof and the mount armature used to erect the tent. That armature is packed at the bottom of the box. A tray that contains the tent roof fits on top of the mount armature hardware; the boss at the apex of the tent roof is supported at one end of the box. Specialized lift equipment is needed to move the box; needless to say, it is heavy as well as large.", "has_conservation_images": false, "cover_accession_number": "2014.388", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Royal Round Tent made for Muhammad Shah (wall panel with three panels C)"], "is_highlight": false, "updated_at": "2026-03-27 00:00:57.088000"}, {"id": 370563, "accession_number": "2019.243", "share_license_status": "CC0", "tombstone": "Youth Playing a Lyre to a Maiden by a Fountain, 1803. Carl Wilhelm I Kolbe (German, 1757\u20131835). Etching on heavy wove paper; image: 38.7 x 51.1 cm (15 1/4 x 20 1/8 in.); plate: 40.7 x 52.9 cm (16 x 20 13/16 in.); sheet: 45.7 x 59.7 cm (18 x 23 1/2 in.). The Cleveland Museum of Art, Gift of Virginia Barbato, 2019.243", "current_location": null, "title": "Youth Playing a Lyre to a Maiden by a Fountain", "creation_date": "1803", "creation_date_earliest": 1803, "creation_date_latest": 1803, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "etching on heavy wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Image: 38.7 x 51.1 cm (15 1/4 x 20 1/8 in.); Plate: 40.7 x 52.9 cm (16 x 20 13/16 in.); Sheet: 45.7 x 59.7 cm (18 x 23 1/2 in.)", "dimensions": {"sheet": {"height": 0.457, "width": 0.597}, "plate": {"height": 0.407, "width": 0.529}, "image": {"height": 0.387, "width": 0.511}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed \u201cKolbe\u201d in graphite, LR.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 665048, "title": "Imagination in the Age of Reason", "description": "<i>Imagination in the Age of Reason</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 28, 2024-March 2, 2025).", "opening_date": "2024-09-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "Private Collection, Germany", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "(C.G. Boerner, New York, NY)", "citations": [], "footnotes": null, "date": "2019", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 2, 2019", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Carl Wilhelm Kolbe was nicknamed <em>Eichenkolbem </em>(Oak Kolbe) for his devotion to trees, which he credited with inspiring him to become an artist.", "description": "<em>Youth Playing a Lyre to a Maiden by a Fountain</em> features seated lovers singled out by the light that strikes their upper bodies, which counters the overwhelming scale of the fantastical growth of vegetation surrounding them. Carl Wilhelm Kolbe\u2019s \u201cvegetable sheets\u201d broke new ground in Germany around 1800 by focusing on giant vegetation, allowing the viewer to experience the mysterious life in the undergrowth, a place untouched by humankind. Here, the vegetation is magnified, filling almost the entire sheet, and creating a distorted and somewhat surreal perspective combined with the meticulous observation of botanical details.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q84279482"], "internet_archive": ["https://archive.org/details/clevelandart-2019.243-youth-playing-a-lyre"]}, "citations": [{"citation": "Jentsch, Ernst. <em>Der Radierer Carl Wilhelm Kolbe, 1757 Berlin \u2013 1835 Dessau</em>. PhD diss., Schlesische Friedrich-Wilhelms-Universit\u00e4t, Breslau, 1920", "page_number": "no. 230", "url": null}, {"citation": "Martens, Ulf. <em>Der Zeichner und Radierer Carl Wilhelm Kolbe d. \u00c4. (1759-1835).</em> Berline: Gebr. Mann, 1976", "page_number": "no. 95 (only state)", "url": null}, {"citation": "Griffiths, Antony, and Frances Carey. German Printmaking in the Age of Goethe. London: Published for the Trustees of the British Museum by British Museum Press, 1994.", "page_number": "no. 72", "url": null}, {"citation": "Michels, Norbert, Markus Bertsch, <em>Carl Wilhelm Kolbe D.a\u0308. (1759-1835): Ku\u0308nstler, Philologe, Patriot</em>. Anhaltischen Gema\u0308ldegalerie Dessau, 2009", "page_number": "Bd. 15: p. 244, no. 62", "url": null}, {"citation": "Bartrum, Giulia. German Romantic Prints and Drawings: From an English Private Collection. London: Contemporary Editions, 2011.", "page_number": "p. 204-05, no. 62", "url": null}, {"citation": "Philadelphia Museum of Art, John W. Ittmann, Cordula Grewe, Warren Breckman, Mitchell Benjamin Frank, Catriona MacLeod, and F. Carlo Schmid. The Enchanted World of German Romantic Prints, 1770-1850. 2017.", "page_number": "p. 300-01, fig. 265, p. 278, no. 145", "url": null}], "catalogue_raisonne": "Jentsch 230; Martens 95", "url": "https://clevelandart.org/art/2019.243", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.243/2019.243_web.jpg", "width": "900", "height": "693", "filesize": "371783", "filename": "2019.243_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.243/2019.243_print.jpg", "width": "3400", "height": "2619", "filesize": "5036976", "filename": "2019.243_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.243/2019.243_full.tif", "width": "12823", "height": "9877", "filesize": "379988468", "filename": "2019.243_full.tif"}}, "alternate_images": [], "creditline": "Gift of Virginia Barbato", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 370563, "creators": [{"id": 26313, "description": "Carl Wilhelm I Kolbe (German, 1757\u20131835)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1757", "death_year": "1835", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-12-02T00:00:00-05:00", "sortable_date": 1803, "date_added_to_oa": null, "date_text": "1803", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:11.677000"}, {"id": 97900, "accession_number": "1917.499", "share_license_status": "CC0", "tombstone": "Presentation Bowl, 1900\u20131905. Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone. Willow, devil's claw, yucca root; coiled ( 3 rods); overall: 20.7 x 44.6 cm (8 1/8 x 17 9/16 in.). The Cleveland Museum of Art, Presented by William Albert Price in memory of Mrs. William Albert Price, 1917.499", "current_location": null, "title": "Presentation Bowl", "creation_date": "1900\u20131905", "creation_date_earliest": 1900, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone"], "technique": "Willow, devil's claw, yucca root; coiled ( 3 rods)", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Basketry", "measurements": "Overall: 20.7 x 44.6 cm (8 1/8 x 17 9/16 in.)", "dimensions": {"overall": {"height": 0.207, "width": 0.446}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348319, "title": "Gallery 231 - Native North American Basket Rotation", "description": "<i>Gallery 231 - Native North American Basket Rotation</i>. The Cleveland Museum of Art (organizer) (August 3, 2015-August 15, 2016).", "opening_date": "2015-08-03T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This basket mingles 19th-century design features with 20th-century innovations, including the construction method.", "description": "This basket was made for the Euro-American collectors\u2019 market in the early 1900s but it is modeled on basketry bowls from which the Timbisha (Panamint) Shoshone once served food. When used indigenously, the main view would have been of the interior. Made-for-sale baskets testify to Indigenous women\u2019s truly creative, resilient responses to forces that endangered their livelihoods and existence.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482720"], "internet_archive": ["https://archive.org/details/clevelandart-1917.499-presentation-bowl"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 65", "url": "http://www.jstor.org/stable/25136092"}, {"citation": "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. 406", "url": "https://archive.org/details/CMAHandbook1978/page/n426"}], "url": "https://clevelandart.org/art/1917.499", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1917.499/1917.499_web.jpg", "width": "1256", "height": "893", "filesize": "645945", "filename": "1917.499_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1917.499/1917.499_print.jpg", "width": "3400", "height": "2418", "filesize": "4385192", "filename": "1917.499_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1917.499/1917.499_full.tif", "width": "4508", "height": "3206", "filesize": "43383972", "filename": "1917.499_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.499/1917.499_alt0_web.jpg", "width": "905", "height": "893", "filesize": "586252"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.499/1917.499_alt0_print.jpg", "width": "3400", "height": "3355", "filesize": "7668371"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1917.499/1917.499_alt0_full.tif", "width": "3653", "height": "3605", "filesize": "39538640"}}], "creditline": "Presented by William Albert Price in memory of Mrs. William Albert Price", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 97900, "creators": [], "legal_status": "accessioned", "accession_date": "1917-03-28T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131905", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Large Coiled Bowl Basket"], "is_highlight": false, "updated_at": "2026-03-27 00:01:25.601000"}, {"id": 119725, "accession_number": "1940.560", "share_license_status": "CC0", "tombstone": "Interior of a Cathedral, c. 1820s. Samuel Prout (British, 1783\u20131852). Gray and brown wash with point of brush and pen and brown ink with watercolor heightened with gouache; sheet: 43.3 x 30 cm (17 1/16 x 11 13/16 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.560", "current_location": null, "title": "Interior of a Cathedral", "creation_date": "c. 1820s", "creation_date_earliest": 1820, "creation_date_latest": 1829, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "gray and brown wash with point of brush and pen and brown ink with watercolor heightened with gouache", "support_materials": [{"description": "heavy, moderately textured cream wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 43.3 x 30 cm (17 1/16 x 11 13/16 in.)", "dimensions": {"sheet": {"height": 0.433, "width": 0.3}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, in brown ink, at lower right: SProut", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310295, "title": "The Birth and Flowering of British Romantic Art", "description": "<i>The Birth and Flowering of British Romantic Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-July 22, 1990).", "opening_date": "1990-05-01T04:00:00"}], "legacy": [{"description": "Lemonedes, Heather. British Drawings: The Cleveland Museum of Art. Published on the occasion of the exhibition \"British Drawings from the Cleveland Museum of Art\" shown 10 Feb to 26 May 2013 at the Cleveland Museum of Art. London: D Giles Limited, 2013. Cat 21, pg 68-9.", "opening_date": "2013-02-10T00:00:00"}]}, "provenance": [{"description": "A. D. Halford, Esq.", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(sale, Victor G. Fischer Company Collection, Anderson Galleries, New York, February 19, 1912, no. 648)", "citations": [], "footnotes": null, "date": "1912", "sortorder": 2}, {"description": "James Parmelee [1855-1931], Washington, DC, by descent to Alice Maury Parmelee", "citations": [], "footnotes": null, "date": "?-1931", "sortorder": 3}, {"description": "Alice Maury Parmelee [1866-1940], Washington, DC, bequeathed to the Cleveland Museum of Art, Cleveland, OH through the Estate of James Parmelee", "citations": [], "footnotes": null, "date": "1931-1940", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1940-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Rather than showing a specific church, this drawing seems to depict an amalgamation of Gothic architecture, capturing a mood and not a particular place.", "description": "Samuel Prout\u2019s watercolors of picturesque views and architectural marvels of Italy, France, Germany, and Switzerland attracted a wide audience, helped inspire travel, and shaped the English perception of Continental Europe. The influential critic John Ruskin became a close friend, neighbor, and great supporter of the artist, declaring in the Art Journal in 1849 that no other artist expressed architectural detail in more \"splendid accumulation\" or \"patient love\" than Prout.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80014907"], "internet_archive": ["https://archive.org/details/clevelandart-1940.560-interior-of-a-cathed"]}, "citations": [{"citation": "Francis, Henry S. \"The Bequest of James Parmelee.\" <em>Bulletin of the Cleveland Museum of Art</em> 28, no. 2 (February 1941): 15-27, 31.", "page_number": "Mentioned: p. 17", "url": "https://www.jstor.org/stable/25140904"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 68-69, 147, no. 21; Reproduced: p. 69", "url": null}], "url": "https://clevelandart.org/art/1940.560", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1940.560/1940.560_web.jpg", "width": "621", "height": "893", "filesize": "147090", "filename": "1940.560_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1940.560/1940.560_print.jpg", "width": "2366", "height": "3400", "filesize": "2069151", "filename": "1940.560_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1940.560/1940.560_full.tif", "width": "4565", "height": "6558", "filesize": "89925136", "filename": "1940.560_full.tif"}}, "alternate_images": [], "creditline": "Bequest of James Parmelee", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 119725, "creators": [{"id": 1271, "description": "Samuel Prout (British, 1783\u20131852)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1852", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1940-10-30T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "c. 1820s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:43.781000"}, {"id": 125929, "accession_number": "1948.156.8", "share_license_status": "CC0", "tombstone": "Some Scenes of Parisian Life: The Costermonger, 1899. Pierre Bonnard (French, 1867\u20131947), Published by Ambroise Vollard; Printed by Auguste Clot. Lithograph; sheet: 40.7 x 53.4 cm (16 x 21 in.); image: 30.4 x 34 cm (11 15/16 x 13 3/8 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1948.156.8", "current_location": null, "title": "The Costermonger", "series": "Some Scenes of Parisian Life", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "cream (1) chinese paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 40.7 x 53.4 cm (16 x 21 in.); Image: 30.4 x 34 cm (11 15/16 x 13 3/8 in.)", "dimensions": {"sheet": {"height": 0.407, "width": 0.534}, "image": {"height": 0.304, "width": 0.34}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309886, "title": "Printing in Color", "description": "<i>Printing in Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10-November 17, 1985).", "opening_date": "1985-09-10T04:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "Kleeman Galleries", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1948.163"], "did_you_know": "The costermonger seen here sold fruits and vegetables from a cart on Paris's streets.", "description": "This suite of color lithographs collected Pierre Bonnard\u2019s observations of city life, ranging from animated street scenes to distant observations glimpsed from the artist\u2019s Montmartre studio window. Rather than memorializing the famous monuments of Paris, Bonnard preferred to depict small neighborhood scenes populated by urbanites shopping and strolling and by vendors selling their wares. The setting for one of the prints is the second-largest public park in Paris, the Bois de Boulogne, which was a popular place for families to relax, stroll, and enjoy carriage rides around the lakes. Two prints are nocturnal scenes in which gaslight emanating from shop windows is reflected on the wet streets, creating passages of bright yellow in the otherwise dark compositions. Bonnard\u2019s favorite subjects, such as the Parisienne\u2014a young, fashionable, modern woman\u2014as well as children and dogs, appear repeatedly throughout the prints in the suite.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79905076"], "internet_archive": ["https://archive.org/details/clevelandart-1948.156.8-the-costermonger"]}, "citations": [{"citation": "Francis, Henry. \"The Art of Pierre Bonnard.\"<em> The Bulletin of the Cleveland Museum of Art </em>37, no. 1 (January 1950): 5-8.", "page_number": "Mentioned: p. 5; Reproduced: p. 19", "url": "https://www.jstor.org/stable/25141599"}, {"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 232; Reproduced: P. 255, no. 172", "url": ""}], "catalogue_raisonne": "Bouvet 65", "url": "https://clevelandart.org/art/1948.156.8", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1948.156.8/1948.156.8_web.jpg", "width": "1023", "height": "893", "filesize": "637553", "filename": "1948.156.8_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1948.156.8/1948.156.8_print.jpg", "width": "3400", "height": "2967", "filesize": "7154339", "filename": "1948.156.8_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1948.156.8/1948.156.8_full.tif", "width": "4236", "height": "3697", "filesize": "47015136", "filename": "1948.156.8_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 125929, "creators": [{"id": 1733, "description": "Pierre Bonnard (French, 1867\u20131947)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Bonnard was a law student when he began his artistic training in 1887 at the Acad\u00e9mie Julian in Paris, where he met Paul S\u00e9rusier (1864-1927) and the theorist and painter Maurice Denis (1870-1943). Both would be influential in his artistic career and become Bonnard's lifelong friends. In 1889, the year he obtained his law degree, he saw the exhibition at Caf\u00e9 Volpini (see Gauguin, Woman in the Waves, no. 100) and was particularly impressed with Gauguin's work. S\u00e9rusier, after having returned from studying with Gauguin in Pont-Aven, decided to form his own artistic group called the Nabis (Hebrew: prophets). The founding members of the Nabis included Denis, who wrote the manifesto for the group, \"D\u00e9finition du n\u00e9o-traditionnisme\" (published in May 1890 in Art et critique), Bonnard, Paul Ranson (1864-1909), and Henri-Gabriel Ibels (1867-1936). Their first exhibition occurred in 1891, and they were later joined by Ker-Xavier Roussel (1867-1944) and Vuillard (q.v.). Based loosely on the synthetist goals established by Gauguin and \u00c9mile Bernard, the movement was created from S\u00e9rusier's vision of an artistic brotherhood dedicated to symbolism whereby a universal language could be expressed through symbols. The Nabis were opposed to the naturalism taught at academies by artists such as Bouguereau (q.v.) and wanted to move away from didactic and moral paintings toward a more decorative style characterized by simplified drawing, flat patches of color, and heavy set contours. Bonnard's works of the 1890s were influenced by the innovations of Gauguin as well as Japanese prints, which were easily accessible in nineteenth-century Paris. His paintings took on a decorative quality, mirroring his artistic expressions in other media such as stained glass, furniture, pottery, and painted screens. Bonnard's and Vuillard's domestic interior paintings of the 1890s were often described using the term intimisme. In 1891 Bonnard also experimented with other media, including poster designs and lithographs, which inspired his friend Henri de Toulouse-Lautrec (1864-1901), whom he had met through La revue blanche, a magazine that published the Nabis' work. Around 1900 the members of the Nabis began to drift apart. Between 1905 and 1910 Bonnard and Vuillard traveled to England, Belgium, Holland, Spain, and Italy, visiting many museums. Bonnard's art began to gravitate toward impressionism, but his colors were more expressive and his compositions more overtly structured; elements of the painted interiors such as doors, windows or pieces of furniture often provided a strong compositional framework. He also worked extensively with photographs. His late works were acclaimed by fellow Parisians like Henri Matisse (1869-1954) and Paul Signac (1863-1935). After 1920 Bonnard exhibited extensively and became an internationally renowned artist, receiving much recognition in the United States, where he traveled in 1926.", "name_in_original_language": null, "birth_year": "1867", "death_year": "1947", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69023, "description": "Published by Ambroise Vollard; Printed by Auguste Clot", "extent": null, "qualifier": null, "role": "published by", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1948-06-15T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1948.156", "is_nazi_era_provenance": false, "impression": "100", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:16.051000"}, {"id": 144268, "accession_number": "1969.107", "share_license_status": "CC0", "tombstone": "Neck Pendant (Hei-tiki), 1800s. Pacific Islands, Polynesia, New Zealand, M\u0101ori people. Greenstone (pounamu) (nephrite?); overall: 16.9 x 10.2 cm (6 5/8 x 4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. James B. Wadhams in memory of Miss Helen Humphreys, 1969.107", "current_location": null, "title": "Neck Pendant (Hei-tiki)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Pacific Islands, Polynesia, New Zealand, M\u0101ori people"], "technique": "Greenstone (pounamu) (nephrite?)", "support_materials": [], "department": "Oceania", "collection": "Oceanic Art", "type": "Sculpture", "measurements": "Overall: 16.9 x 10.2 cm (6 5/8 x 4 in.)", "dimensions": {"overall": {"height": 0.169, "width": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Harry Beasley", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "John Wise", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Harry Beasley; John Wise", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": ["327.1963"], "did_you_know": "Hei-tiki may represent Hine-te-Iwaiwa, a legendary ancestress who is the exemplar of M\u0101ori womanhood.", "description": "Among the M\u0101ori, leaders are hereditary and imbued with mana, power and prestige that can be embodied and passed down in the artworks associated with them. Hei-tiki are among these treasured, mana-charged heirlooms, which connect the living to ancestors of the islands\u2019 pre-European past. They may represent Hine-te-Iwaiwa, a legendary ancestress who is the exemplar of M\u0101ori womanhood and the patron of childbirth.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921199"], "internet_archive": ["https://archive.org/details/clevelandart-1969.107-neck-pendant-hei-tik"]}, "citations": [{"citation": "Frost, Natasha. \"He Calls the Tie a 'Colonia Noose.' Now Parliament Says It's No Longer Mandatory.\" <em>The New York Times </em>(February 10, 2021).", "page_number": null, "url": "https://www.nytimes.com/2021/02/10/world/asia/new-zealand-Rawiri-Waititi-tie.html"}, {"citation": "Bergh, Susan E.  \u201cThings That Don\u2019t Fit (Here).\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 18.", "page_number": "Reproduced and Mentioned: P. 18.", "url": ""}], "url": "https://clevelandart.org/art/1969.107", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.107/1969.107_web.jpg", "width": "722", "height": "900", "filesize": "166993", "filename": "1969.107_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.107/1969.107_print.jpg", "width": "2726", "height": "3400", "filesize": "1096534", "filename": "1969.107_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.107/1969.107_full.tif", "width": "7450", "height": "9292", "filesize": "207701648", "filename": "1969.107_full.tif"}}, "alternate_images": [{"date_created": "2020-02-05T18:22:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.107/1969.107_alt0_web.jpg", "width": "779", "height": "900", "filesize": "182148"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.107/1969.107_alt0_print.jpg", "width": "2941", "height": "3400", "filesize": "1311285"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.107/1969.107_alt0_full.tif", "width": "7664", "height": "8860", "filesize": "203734736"}}], "creditline": "Gift of Mr. and Mrs. James B. Wadhams in memory of Miss Helen Humphreys", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144268, "creators": [], "legal_status": "accessioned", "accession_date": "1969-07-12T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:20.189000"}, {"id": 144804, "accession_number": "1969.58", "share_license_status": "CC0", "tombstone": "Eight-faceted Bottle (\ubc31\uc790 \ucca0\ucc44 \uc74c\uac01\ubb38 \ud314\uac01\ubcd1 (\u767d\u78c1\u9435\u5f69\u9670\u523b\u6587\u516b\u89d2\u7501)), 1800s-1900s. Korea, Joseon dynasty (1392\u20131910). Stoneware; overall: 23.2 cm (9 1/8 in.). The Cleveland Museum of Art, Cornelia Blakemore Warner Fund, 1969.58", "current_location": null, "title": "Eight-faceted Bottle", "title_in_original_language": "\ubc31\uc790 \ucca0\ucc44 \uc74c\uac01\ubb38 \ud314\uac01\ubcd1 (\u767d\u78c1\u9435\u5f69\u9670\u523b\u6587\u516b\u89d2\u7501)", "creation_date": "1800s-1900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "stoneware", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Ceramic", "measurements": "Overall: 23.2 cm (9 1/8 in.)", "dimensions": {"overall": {"height": 0.232}, "diameter of base": {"width": 0.097}, "outer diameter": {"width": 0.14}, "diameter of mouth": {"width": 0.035}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 310268, "title": "Scholar's Studio", "description": "<i>Scholar's Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19-December 17, 1989).", "opening_date": "1989-09-19T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The exquisite hue of this bottle is from iron oxide, also known as \u201cpurple oxide.\u201d", "description": "Toward the end of the 18th century, multifaceted bottles like this one became popular with the growing demand from both the elites as well as the middle class. The dark-brown iron oxide pigment makes this eight-faceted bottle earthy, yet sophisticated.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922316"], "internet_archive": ["https://archive.org/details/clevelandart-1969.58-eight-faceted-bottle"]}, "citations": [{"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 365", "url": "https://archive.org/details/CMAHandbook1978/page/n385"}], "url": "https://clevelandart.org/art/1969.58", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.58/1969.58_web.jpg", "width": "668", "height": "893", "filesize": "57100", "filename": "1969.58_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.58/1969.58_print.jpg", "width": "2542", "height": "3400", "filesize": "680745", "filename": "1969.58_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.58/1969.58_full.tif", "width": "4093", "height": "5474", "filesize": "67242036", "filename": "1969.58_full.tif"}}, "alternate_images": [{"date_created": "2012-04-17T18:42:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt0_web.jpg", "width": "679", "height": "893", "filesize": "54798"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt0_print.jpg", "width": "2584", "height": "3400", "filesize": "649226"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt0_full.tif", "width": "4207", "height": "5534", "filesize": "69872036"}}, {"date_created": "2012-04-17T18:49:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt1_web.jpg", "width": "690", "height": "893", "filesize": "54499"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt1_print.jpg", "width": "2627", "height": "3400", "filesize": "660223"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt1_full.tif", "width": "4364", "height": "5648", "filesize": "73970472"}}, {"date_created": "2012-04-17T18:56:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt2_web.jpg", "width": "700", "height": "893", "filesize": "57043"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt2_print.jpg", "width": "2666", "height": "3400", "filesize": "701321"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt2_full.tif", "width": "4283", "height": "5462", "filesize": "70207152"}}, {"date_created": "2012-04-17T19:03:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt3_web.jpg", "width": "972", "height": "893", "filesize": "106551"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt3_print.jpg", "width": "3400", "height": "3124", "filesize": "1120015"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.58/1969.58_alt3_full.tif", "width": "3881", "height": "3567", "filesize": "41555888"}}], "creditline": "Cornelia Blakemore Warner Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144804, "creators": [], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s-1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:47.022000"}, {"id": 149662, "accession_number": "1979.54", "share_license_status": "CC0", "tombstone": "Rain-coming Pavilion by the Stone Bridge at Mt. Tiantai (\u5929\u53f0\u77f3\u6881, \u96e8\u4f86\u4ead\u5716), 1848. Dai Xi (Chinese, 1801\u20131860). Handscroll, ink on paper; image: 34.5 x 142.6 cm (13 9/16 x 56 1/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1979.54", "current_location": null, "title": "Rain-coming Pavilion by the Stone Bridge at Mt. Tiantai", "title_in_original_language": "\u5929\u53f0\u77f3\u6881, \u96e8\u4f86\u4ead\u5716", "creation_date": "1848", "creation_date_earliest": 1848, "creation_date_latest": 1848, "artists_tags": ["male"], "culture": ["China, Qing dynasty (1644-1911)"], "technique": "handscroll, ink on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Handscroll", "type": "Painting", "measurements": "Image: 34.5 x 142.6 cm (13 9/16 x 56 1/8 in.)", "dimensions": {"image": {"height": 0.345, "width": 1.426}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's inscription, signature, and 2 seals: \n\nPainting of Rain-Coming Pavilion by the Stone Bridge at Mount Tiantai. In the twenty-eighth year of the Daoguang era [1848], the third lunar month, requested by and painted for Pan Gongfu \u6f58\u529f\u752b [Pan Zengyi \u6f58\u66fe\u6c82], a senior family friend. [signed] Your junior, Dai Xi from Qiantang. \n[seal] Hebi jian Dai \u4f55\u5fc5\u898b\u6234. \n[seal, lower right corner] Shih-ping yeh.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Title on frontispiece and 3 seals of Ruan Yuan (1764-1849). 1 colophon and 10 additional seals: 1 colophon, dated 1838, and 8 seals of Pan Zengyi (1792-1853); 2 seals unidentified.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Colophon by Pan Zengyi:\nThe T'anhua [a flower that blooms only momentarily in semi-tropical areas] Pavilion near Shiliang [the natural stone bridge] was built by the Grand Chancellor Jia. It lasted over seven hundred years. After it was destroyed this year, I happened to be there, so I suggested it be reconstructed. Among the six poems commemorating my visit, one reads:\n\nThe career of the Prime Minister may be as great as the rivers and lakes,/\nUnaware himself of the fact there is leaking./\nI had been all over the seventy-two peaks of P'eng-lai mountains/\nWhen the timely rain came to T'an-hua Pavilion.\n\n\tIt had not been raining for a long time there, then unexpectedly, the rain came simultaneously with my arrival; the old monk there asked me to change the name to Rain-Coming Pavilion, in order to record the joy. The hilly fields at Mt. Tiantai have suffered by droughts. If, from this year on, they have the timely rain to bring along bountiful harvests and make people happy - so may this pavilion be our witness.\n\tHsiao-fu shan-jen, Pan Zengyi recorded this on the first day of the twelfth lunar month in the wuxu year [1838]. Chiang Yung-ching copied respectfully on the first day of the sixth lunar month in the wushen year [1848].\n\ntrans. LYSL/WKH", "inscription_translation": null, "inscription_remark": "The notorious Grand Chancellor Jia Sidao \u8cc8\u4f3c\u9053 (1213-1275) served during the reigns of Emperor Lizong and Emperor Duzong before the end of the Southern Song Dynasty.", "sortorder": null}], "exhibitions": {"current": [{"id": 304412, "title": "Year in Review: 1979", "description": "<i>Year in Review: 1979</i>. The Cleveland Museum of Art (organizer) (February 13-March 9, 1980).", "opening_date": "1980-02-13T05:00:00"}], "legacy": [{"description": "<em>Eight Dynasties of Chinese Painting</em>. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 10-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982).", "opening_date": "1981-02-10T00:00:00"}]}, "provenance": [{"description": "Wan-go H. C. Weng \u7fc1\u842c\u6208 [1918\u20132020], Lyme, NH, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131979", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1979\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Dai Xi actively resisted the Taiping rebels and drowned himself after their 1860 capture of his hometown, Hangzhou. For this loyal deed, Dai was posthumously rewarded with a temple built in his name.", "description": "The subject is not just Mount Tiantai in Zhejiang Province, the ancient seat of the most powerful Buddhist sect of Sui and Tang dynasties, but records a specific occasion in 1838 when an official visited Tiantai and began the reconstruction of a historic pavilion. As this coincided with the end of a long drought, the building was auspiciously renamed the Yulai (Rain-Coming \u96e8\u4f86) Pavilion. Ten years later, Dai Xi painted this handscroll to commemorate the occasion.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474040"], "internet_archive": ["https://archive.org/details/clevelandart-1979.54-rain-coming-pavilion"]}, "citations": [{"citation": "Lee, Sherman E. \"The Year in Review for 1979.\" <em>The Bulletin of the Cleveland Museum of Art</em> 67, no. 3 (1980): 58-99.", "page_number": "Reproduced: cat. no. 122, p. 87", "url": "https://www.jstor.org/stable/25159667"}, {"citation": "Ho, Wai-kam, Sherman E. Lee, Laurence Sickman, and Marc F. Wilson. <em>Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, in cooperation with Indiana University Press, 1980.", "page_number": "Reproduced: cat. no. 282, pp. 382-383", "url": null}], "url": "https://clevelandart.org/art/1979.54", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1979.54/1979.54_web.jpg", "width": "900", "height": "101", "filesize": "111936", "filename": "1979.54_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1979.54/1979.54_print.jpg", "width": "3400", "height": "383", "filesize": "350351", "filename": "1979.54_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1979.54/1979.54_full.tif", "width": "12000", "height": "1350", "filesize": "48621900", "filename": "1979.54_full.tif"}}, "alternate_images": [{"date_created": "2004-04-14T12:39:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt0_web.jpg", "width": "1263", "height": "430", "filesize": "296726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt0_print.jpg", "width": "3400", "height": "1157", "filesize": "2094684"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt0_full.tif", "width": "5000", "height": "1702", "filesize": "25551100"}}, {"date_created": "2004-04-14T12:38:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt1_web.jpg", "width": "1263", "height": "430", "filesize": "327599"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt1_print.jpg", "width": "3400", "height": "1157", "filesize": "2260113"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt1_full.tif", "width": "5000", "height": "1702", "filesize": "25551100"}}, {"date_created": "2004-04-14T12:36:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt2_web.jpg", "width": "1263", "height": "434", "filesize": "442972"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt2_print.jpg", "width": "3400", "height": "1168", "filesize": "3111461"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt2_full.tif", "width": "5000", "height": "1718", "filesize": "25791100"}}, {"date_created": "2004-04-14T12:34:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt3_web.jpg", "width": "1263", "height": "490", "filesize": "337224"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt3_print.jpg", "width": "3400", "height": "1320", "filesize": "2509407"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1979.54/1979.54_alt3_full.tif", "width": "5000", "height": "1942", "filesize": "29151100"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 149662, "creators": [{"id": 31374, "description": "Dai Xi (Chinese, 1801\u20131860)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6234\u7199", "birth_year": "1801", "death_year": "1860", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1979-08-17T00:00:00", "sortable_date": 1848, "date_added_to_oa": null, "date_text": "1848", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Rain-coming Pavilion by the Stone Bridge at Mt. T'ien-t'ai", "T'ien-t'ai Shih-liang, Y\u00fc-lai-t'ing t'u"], "is_highlight": false, "updated_at": "2026-03-27 00:05:20.155000"}, {"id": 150051, "accession_number": "1980.262", "share_license_status": "CC0", "tombstone": "Alpine Landscape:  The Handegg, Switzerland, 1850s. Jean-L\u00e9on G\u00e9r\u00f4me (French, 1824\u20131904). Oil on fabric; framed: 36 x 47 x 5.5 cm (14 3/16 x 18 1/2 x 2 3/16 in.); unframed: 26.8 x 37 cm (10 9/16 x 14 9/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.262", "current_location": null, "title": "Alpine Landscape:  The Handegg, Switzerland", "creation_date": "1850s", "creation_date_earliest": 1850, "creation_date_latest": 1859, "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: 36 x 47 x 5.5 cm (14 3/16 x 18 1/2 x 2 3/16 in.); Unframed: 26.8 x 37 cm (10 9/16 x 14 9/16 in.)", "dimensions": {"framed": {"height": 0.36, "width": 0.47, "depth": 0.055}, "unframed": {"height": 0.268, "width": 0.37}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Mme Chantal Chanuot, Paris, France", "citations": [], "footnotes": [], "date": null, "sortorder": null}, {"description": "(Tanagra Gallery, Paris, France)", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Noah L. Butkin [1918-1980] Cleveland, OH by bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1978-1980", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1851, G\u00e9r\u00f4me decorated a vase for Emperor Napoleon III of France which was offered to Prince Albert of England and is now part of the Royal Collection at St. James\u2019s Palace, London.", "description": "This painting depicts a mountain peak near Handegg, a village just south of Lucerne, Switzerland. Tall fir trees reach upward from the dark foreground toward the light, which illuminates the sky and snowcapped mountains. Rising like church steeples, the trees almost touch the top of the canvas, conveying a feeling of spiritual striving. This expression of romantic, almost religious sentiment inspired by the power and beauty of nature is surprising for G\u00e9r\u00f4me, one of the leading artists of academic realism, a style distinguished by firm, precise drawing\u00ad.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474584"], "internet_archive": ["https://archive.org/details/clevelandart-1980.262-alpine-landscape-the"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: p. 212, no. 52", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 288-289, Vol. I, no. 103", "url": ""}], "url": "https://clevelandart.org/art/1980.262", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.262/1980.262_web.jpg", "width": "900", "height": "649", "filesize": "306379", "filename": "1980.262_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.262/1980.262_print.jpg", "width": "3400", "height": "2453", "filesize": "3396844", "filename": "1980.262_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.262/1980.262_full.tif", "width": "12226", "height": "8821", "filesize": "323563552", "filename": "1980.262_full.tif"}}, "alternate_images": [{"date_created": "2013-08-13T11:45:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt0_web.jpg", "width": "1263", "height": "881", "filesize": "198066"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt0_print.jpg", "width": "3400", "height": "2373", "filesize": "1429344"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt0_full.tif", "width": "7143", "height": "4986", "filesize": "106868888"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt1_web.jpg", "width": "1263", "height": "890", "filesize": "870833"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt1_print.jpg", "width": "2048", "height": "1443", "filesize": "2333731"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt1_full.tif", "width": "2048", "height": "1443", "filesize": "8868860"}}, {"date_created": "2021-01-08T12:54:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt2_web.jpg", "width": "900", "height": "656", "filesize": "312111"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt2_print.jpg", "width": "3400", "height": "2478", "filesize": "3930753"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt2_full.tif", "width": "12810", "height": "9335", "filesize": "358771264"}}, {"date_created": "2021-01-08T12:55:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt3_web.jpg", "width": "900", "height": "660", "filesize": "257389"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt3_print.jpg", "width": "3400", "height": "2495", "filesize": "3112977"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt3_full.tif", "width": "12795", "height": "9391", "filesize": "360499580"}}, {"date_created": "2020-12-31T16:06:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt4_web.jpg", "width": "900", "height": "743", "filesize": "302464"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt4_print.jpg", "width": "3400", "height": "2805", "filesize": "2979292"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.262/1980.262_alt4_full.tif", "width": "10353", "height": "8540", "filesize": "265271044"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150051, "creators": [{"id": 1694, "description": "Jean-L\u00e9on G\u00e9r\u00f4me (French, 1824\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Vesoul near the Swiss border, Jean-L\u00e9on G\u00e9r\u00f4me grew up in comfort. His goldsmith father approved of his decision to become an artist and supported his study in Paris with Delaroche (q.v.) during the early 1840s. Delaroche's interest in historical reconstruction, precise detail, and smooth picture surface had a significant effect on the young student. After failing to win the Prix de Rome in 1846, which his father pressured him to enter, G\u00e9r\u00f4me decided to make his name at the Salons. His debut there in 1847 with A Cock Fight (Mus\u00e9e d'Orsay, Paris) was a huge success and brought him and his fellow neo-Grecs, as they were called, much attention. Several important commissions and purchases followed, including church decoration and the huge historical picture The Age of Augustus (Mus\u00e9e d'Orsay, Paris) that emulated the kind of classicizing panorama of Delaroche in the hemicycle for the \u00c9cole des Beaux-Arts. G\u00e9r\u00f4me also studied briefly with Charles Gleyre (1808-1874) after Delaroche closed his studio in 1842. Gleyre's travel and sketches from the Near and Middle East may also have played a critical role in introducing the young artist to another major interest of his career, orientalist subject matter. With the twenty thousand francs paid for The Age of Augustus, the artist treated himself to a trip to Constantinople with his actor-friend Edmond Got. Further travels to the Middle East followed, and G\u00e9r\u00f4me exhibited his first Egyptian themes in the 1857 Salon. \r\nIn the 1878 Universal Exposition in Paris, he exhibited his first attempts at sculpture, which corresponded closely with his painted works, first following their themes, then serving as models for his canvases, especially the Pygmalion pictures. During the 1880s he was, like several other artists, drawn to incorporate polychromy and various precious and semi-precious materials into his sculpture; this was known to be a widespread practice among ancient sculptors, and it heightened the illusion of lifelikeness as well as the decorative aspect of these works. \r\nAlthough he had not succeeded at the \u00c9cole des Beaux-Arts, G\u00e9r\u00f4me received one of three prestigious professorships in 1863 following the somewhat controversial reforms of the fine arts institutions in Paris. His official rather than academic achievements made him a good candidate to lead the new generation of French painters out of the decadence into which many believed French art had fallen. He taught hundreds of students in his atelier at the \u00c9cole as well as at his independent studio and had an especially strong impact on his American students, such as Thomas Eakins (1844-1916) and Frederick Arthur Bridgman (1847-1928). Although the majority of G\u00e9r\u00f4me's students remember him as an exacting but fair master, he showed intractable resistance to the new modes of impressionism and symbolism and campaigned against the acceptance of Gustave Caillebotte's (1843-1893) bequest of such art to the French state. \r\nIn 1863 G\u00e9r\u00f4me married Marie Goupil, the daughter of well-known international art dealer Adolphe Goupil, who became the exclusive representative of his work. Goupil not only sold his son-in-law's pictures through his branches in Europe and New York, but he also disseminated their reputation through photographic reproductions.1 G\u00e9r\u00f4me received all the highest honors awarded to nineteenth-century artists and achieved considerable financial success.\r\n1. See Linda Whiteley, \"Goupil, (Jean-Michel-) Adolphe,\" Dictionary of Art (London, 1996), 13:228; and Mus\u00e9e Goupil, Conservatoire de L'image Industrielle Bordeaux, \u00c9tat des lieux 1 (Bordeaux, 1994), esp. 9-36.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "1850s", "collapse_artists": false, "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": "2026-03-27 00:06:10.026000"}, {"id": 150687, "accession_number": "1982.119", "share_license_status": "CC0", "tombstone": "Juggler, c. 1840. India, Company School, Lucknow or Patna, 19th century. Ink and gouache on paper; overall: 17.2 x 12.7 cm (6 3/4 x 5 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. William E. Ward, 1982.119", "current_location": null, "title": "Juggler", "creation_date": "c. 1840", "creation_date_earliest": 1835, "creation_date_latest": 1845, "artists_tags": [], "culture": ["India, Company School, Lucknow or Patna, 19th century"], "technique": "ink and gouache on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 17.2 x 12.7 cm (6 3/4 x 5 in.)", "dimensions": {"overall": {"height": 0.172, "width": 0.127}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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": 299790, "title": "Indian Gallery 242b Rotation \u2013 November 2017-April 2018", "description": "<i>Indian Gallery 242b Rotation \u2013 November 2017-April 2018</i>. The Cleveland Museum of Art (organizer) (November 10, 2017-April 16, 2018).", "opening_date": "2017-11-10T05:00:00"}], "legacy": []}, "provenance": [{"description": "William E. Ward [1922\u20132004] and Ellen Svec Ward [1921\u20131989], Solon, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131982", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1982\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Cowrie shells, in front of him, were used as money.", "description": "A page from a book of paintings that would have included images of various entertainments in India, this painting is rendered in a European style for British consumption. The label <em>Juggler</em> is written in a Victorian-era hand in the margin below. The main figure is seated on the ground with his knees drawn tightly up under his chin, reinforcing a Western stereotype that all Indian people can do physical feats with their bodies, like yogis. On display are his talents of manipulating balls on a two-stringed bow, called \u201cjuggling\u201d by the British owner of the painting for lack of a better moniker. His performance was intended to create a spectacle for entertainment and income. This painting would have been made for sale too, in the new economy under British dominance in which Indian artists made documentary pictures for foreign overlords.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474833"], "internet_archive": ["https://archive.org/details/clevelandart-1982.119-juggler"]}, "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. 33; Mentioned: p. 54, no. 111", "url": "http://www.jstor.org/stable/25159799"}, {"citation": "Leach, Linda York. <em>Indian Miniature Paintings and Drawings</em>. Cleveland, OH: Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "Mentioned and Reproduced: cat. no. 57", "url": ""}], "url": "https://clevelandart.org/art/1982.119", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.119/1982.119_web.jpg", "width": "752", "height": "900", "filesize": "232439", "filename": "1982.119_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.119/1982.119_print.jpg", "width": "2841", "height": "3400", "filesize": "2728357", "filename": "1982.119_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.119/1982.119_full.tif", "width": "4848", "height": "5801", "filesize": "84401508", "filename": "1982.119_full.tif"}}, "alternate_images": [{"date_created": "2014-03-24T13:39:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.119/1982.119_alt0_web.jpg", "width": "706", "height": "900", "filesize": "202181"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.119/1982.119_alt0_print.jpg", "width": "2666", "height": "3400", "filesize": "2441860"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.119/1982.119_alt0_full.tif", "width": "4613", "height": "5882", "filesize": "81432744"}}], "creditline": "Gift of Mr. and Mrs. William E. Ward", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150687, "creators": [], "legal_status": "accessioned", "accession_date": "1982-07-19T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "c. 1840", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:09.316000"}, {"id": 152164, "accession_number": "1985.1082", "share_license_status": "CC0", "tombstone": "Mask (mbap mteng): Elephant (aka), early 1900s. Africa, Central Africa, Cameroon, Grassfields region, Bamileke-style maker. Cotton, burlap, glass beads, twine, leather, and wood; overall: 139.7 x 50.8 x 19.1 cm (55 x 20 x 7 1/2 in.). The Cleveland Museum of Art, The Harold T. Clark Educational Extension Fund, 1985.1082", "current_location": null, "title": "Mask (mbap mteng): Elephant (aka)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Cameroon, Grassfields region, Bamileke-style maker"], "technique": "Cotton, burlap, glass beads, twine, leather, and wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 139.7 x 50.8 x 19.1 cm (55 x 20 x 7 1/2 in.)", "dimensions": {"overall": {"height": 1.397, "width": 0.508, "depth": 0.191}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 192823, "title": "Object in Focus: Elephant Mask (Bamileke People-Cameroon)", "description": "<i>Object in Focus: Elephant Mask (Bamileke People-Cameroon)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 1, 1998-January 31, 1999).", "opening_date": "1998-12-01T00:00:00"}], "legacy": [{"description": "<em>African art rotation</em>. The Cleveland Museum of Art, Cleveland, OH (June 20, 2011\u2013October 28, 2013),", "opening_date": "2011-06-20T04:00:00Z"}]}, "provenance": [{"description": "L. Kahan Gallery Inc., New York.", "citations": [], "footnotes": [], "date": "?\u20131985", "sortorder": null}, {"description": "The Cleveland Museum of Art by purchase", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Performers wore elephant masks with indigo-dyed robes, red feather headdresses, and leopard pelts. Leopards and elephants symbolized royal power.", "description": "The name given to masks like this, <em>mbap mteng</em>, means \"animal with huge ears.\" In the Cameroon Grassfields kingdoms, the elephant signifies power, authority, prestige, and leadership. The colorful glass beads that decorate the mask\u2019s surface were imported from Venice and Bohemia (in Europe) and signal wealth and prosperity. Its geometric patterns include triangles that evoke the leopard, another animal linked with royal power. Members of <em>Kuosi</em>, an elite male society, wore such elephant masks for ritual dances and funerary ceremonies. This mask would have been worn with a costume that included a feather headdress", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1985.1082-mask-mbap-mteng-elep"]}, "citations": [{"citation": "Dr. Kristen Laciste, \"Elephant Mask (Bamileke Peoples),\" in <em>Smarthistory</em>, June 7, 2023, <a href=\"https://smarthistory.org/elephant-mask-kuosi-society-bamileke-peoples-cameroon/\">https://smarthistory.org/elephant-mask-kuosi-society-bamileke-peoples-cameroon/</a>.", "page_number": "", "url": "https://smarthistory.org/elephant-mask-kuosi-society-bamileke-peoples-cameroon/"}, {"citation": "\"African Dress.\" <em>HALI </em>224 (Summer 2025): 38-41.", "page_number": "Mentioned and Reproduced: p. 39, fig. 5", "url": ""}], "url": "https://clevelandart.org/art/1985.1082", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.1082/1985.1082_web.jpg", "width": "512", "height": "893", "filesize": 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"https://openaccess-cdn.clevelandart.org/alternate/1985.1082/1985.1082_alt6_web.jpg", "width": "1259", "height": "893", "filesize": "788346"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.1082/1985.1082_alt6_print.jpg", "width": "3400", "height": "2412", "filesize": "5271006"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.1082/1985.1082_alt6_full.tif", "width": "6547", "height": "4646", "filesize": "91282192"}}, {"date_created": "2010-01-26T19:55:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.1082/1985.1082_alt7_web.jpg", "width": "668", "height": "893", "filesize": "385180"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.1082/1985.1082_alt7_print.jpg", "width": "2545", "height": "3400", "filesize": "5557013"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1985.1082/1985.1082_alt7_full.tif", "width": "4992", "height": "6668", "filesize": "99889264"}}], "creditline": "The Harold T. Clark Educational Extension Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152164, "creators": [], "legal_status": "accessioned", "accession_date": "1986-04-02T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:04:39.263000"}, {"id": 152413, "accession_number": "1985.251", "share_license_status": "CC0", "tombstone": "Copy of Zhai Dakun's Landscapes in the Styles of Old Masters, 1847. Tsubaki Chinzan (Japanese, 1801\u20131854). Album of 10 leaves; ink and color on silk; overall: 47.7 x 34.6 cm (18 3/4 x 13 5/8 in.); painting only: 41 x 31.5 cm (16 1/8 x 12 3/8 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.251", "current_location": null, "title": "Copy of Zhai Dakun's Landscapes in the Styles of Old Masters", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "album of 10 leaves; ink and color on silk", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Portfolio", "measurements": "Overall: 47.7 x 34.6 cm (18 3/4 x 13 5/8 in.); Painting only: 41 x 31.5 cm (16 1/8 x 12 3/8 in.)", "dimensions": {"overall": {"height": 0.477, "width": 0.346}, "painting only": {"height": 0.41, "width": 0.315}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Tsubaki Chinzan inscribed each leaf with the same inscription that Zhai Dakun wrote on his album leaves.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 311446, "title": "Asian Autumn: Masterpieces from the Collection", "description": "<i>Asian Autumn: Masterpieces from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17, 1991-January 5, 1992).", "opening_date": "1991-09-17T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Katsuhiko Kobayashi, Tokyo, Japan, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["160.1981"], "did_you_know": "The album that inspired Tsubaki Chinzan is also in the collection of the Cleveland Museum of Art, <a href=\"https://www.clevelandart.org/art/1986.49\"><u>1986.49</u></a>.", "description": "As the title of this album suggests, Tsubaki Chinzan painted each of the landscapes included in the album after interpretations of the styles of old masters by Chinese painter Zhai Dakun (\u7fdf\u5927\u5764, active 1730\u20131804). In addition to the painted compositions, he also copied the inscriptions on Zhai Dakun's paintings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475511"], "internet_archive": ["https://archive.org/details/clevelandart-1985.251-copy-of-zhai-dakun-s"]}, "citations": [{"citation": "Yamanouchi, Cho\u0304zo\u0304 \u5c71\u5167\u9577\u4e09. <em>Nihon nangashi </em>\u65e5\u672c\u5357\u753b\u53f2 [The history of Japanese nanga painting]. To\u0304kyo\u0304: \u7460\u7483\u66f8\u623f: \u767a\u58f2 \u516d\u8208\u51fa\u7248, 1981.", "page_number": "Reproduced: pp. 471\u2013473", "url": ""}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.251", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.251/1985.251_web.jpg", "width": "663", "height": "900", "filesize": "339477", "filename": "1985.251_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.251/1985.251_print.jpg", "width": "2506", "height": "3400", "filesize": "4704861", "filename": "1985.251_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.251/1985.251_full.tif", "width": "5695", "height": "7727", "filesize": "132048472", "filename": "1985.251_full.tif"}}, "alternate_images": [], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152413, "creators": [{"id": 34613, "description": "Tsubaki Chinzan (Japanese, 1801\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u693f \u693f\u5c71", "birth_year": "1801", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:32.612000"}, {"id": 152505, "accession_number": "1985.326", "share_license_status": "CC0", "tombstone": " (\u767e\u4eba\u4e00\u9996\u4e73\u6bcd\u304c\u7d75\u89e3\u304d): Poem by Emperor Sanjo, from the series One Hundred Poems by One Hundred Poets Explained by an Old Nurse (\u4e09\u689d\u9662), 1835\u201336. Katsushika Hokusai (Japanese, 1760\u20131849). Color woodblock print; overall: 25.6 x 37.3 cm (10 1/16 x 14 11/16 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1985.326", "current_location": null, "title": "Poem by Emperor Sanjo, from the series One Hundred Poems by One Hundred Poets Explained by an Old Nurse", "title_in_original_language": "\u4e09\u689d\u9662", "series_in_original_language": "\u767e\u4eba\u4e00\u9996\u4e73\u6bcd\u304c\u7d75\u89e3\u304d", "creation_date": "1835\u201336", "creation_date_earliest": 1835, "creation_date_latest": 1836, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Overall: 25.6 x 37.3 cm (10 1/16 x 14 11/16 in.)", "dimensions": {"overall": {"height": 0.256, "width": 0.373}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Kokoro ni mo / arade uki yo ni / nagaraeba / koishikarubeki / yowa no tsuki kana", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 306045, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (July 11, 2018-January 7, 2019).", "opening_date": "2018-07-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "(R. E. Lewis, Inc., California, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": null, "date": "1977-?", "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH,  given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899-1998] to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["200.1983"], "did_you_know": "This series by Hokusai was originally meant to have 100 prints, but only 27 were completed.", "description": "A priest raises a <em>gohei</em>, a ritual implement with zig-zag strips of white paper attached to a staff, while the surrounding figures reverentially bow in a moonlit ceremony honoring Emperor Sanjo (976\u20131017, reigned 1012\u201316).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755678"], "internet_archive": ["https://archive.org/details/clevelandart-1985.326-poem-by-emperor-sanj"]}, "citations": [{"citation": "\"Checklist of the Kelvin Smith Bequest.\" <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (1988): 292-95.", "page_number": "p. 292", "url": "http://www.jstor.org/stable/25160040"}, {"citation": "Morse, Peter, Hokusai Katsushika, and Clay MacCauley. <em>Hokusai, One Hundred Poets</em>. New York: G. Braziller, 1989.", "page_number": "Reproduced: cat. no. 68, pp. 142-143", "url": null}], "url": "https://clevelandart.org/art/1985.326", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.326/1985.326_web.jpg", "width": "900", "height": "613", "filesize": "214108", "filename": "1985.326_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.326/1985.326_print.jpg", "width": "3400", "height": "2315", "filesize": "3010331", "filename": "1985.326_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.326/1985.326_full.tif", "width": "7599", "height": "5174", "filesize": "117982076", "filename": "1985.326_full.tif"}}, "alternate_images": [], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152505, "creators": [{"id": 23328, "description": "Katsushika Hokusai (Japanese, 1760\u20131849)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u845b\u98fe \u5317\u658e", "birth_year": "1760", "death_year": "1849", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1835, "date_added_to_oa": null, "date_text": "1835\u201336", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Court Ritual:  Illustration of a poem by Emperor Sanjoin (reigned 1012-1015)  (from the series One Hundred Poems Explained by an Old Nurse)"], "is_highlight": false, "updated_at": "2026-03-27 00:05:02.441000"}, {"id": 157225, "accession_number": "1994.103", "share_license_status": "CC0", "tombstone": "Bust of a Woman, Seen from Behind, 1893. Adolph von Menzel (German, 1815\u20131905). Graphite (carpenter's pencil), with stumping; sheet: 41.4 x 28.9 cm (16 5/16 x 11 3/8 in.); secondary support: 53.3 x 39.2 cm (21 x 15 7/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1994.103", "current_location": null, "title": "Bust of a Woman, Seen from Behind", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "graphite (carpenter's pencil), with stumping", "support_materials": [{"description": "cream(2) wove paper perimeter mounted to a false margin of cream(2) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 41.4 x 28.9 cm (16 5/16 x 11 3/8 in.); Secondary Support: 53.3 x 39.2 cm (21 x 15 7/16 in.)", "dimensions": {"sheet": {"height": 0.414, "width": 0.289}, "secondary support": {"height": 0.533, "width": 0.392}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, center left, in graphite: a.m. [underlined] / 93.\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}], "legacy": [{"description": "<em>European Master Drawings.</em> Hazlitt, Gooden &amp; Fox, New York, NY (May, 1994); Hazlitt, Gooden &amp; Fox, Paris (June, 1994); Hazlitt, Gooden &amp; Fox, London (July, 1994).", "opening_date": "1994-05-01T00:00:00"}]}, "provenance": [{"description": "with Hazlitt, Gooden & Fox, New York", "citations": [], "footnotes": [], "date": "1994", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1994-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Adolph Menzel drew continuously and had a special coat made with deep pockets to hold his sketchpad, pencils, shading stumps, and gum eraser.", "description": "Adolph Menzel left more than 5,000 drawings created during a long and successful career that spanned the 19th century. Near the end of his life, when this drawing was made, he used a carpenter's pencil--a broad, flat-pointed lead pencil made of soft graphite--and stumping (rubbing with bits of tightly rolled paper or leather) to created numerous studies of heads of models that he considered independent works of art. In this drawing of a woman seen from behind from the shoulders up, the virtuosity of Menzel's stumping creates the effect of tangible surfaces and light falling on them, especially on the woman's face and hat. While he used the width of the pencil vigorously to indicate grainy black shadows in the folds of the coat and seat back, he used the sharp point for fine lines describing hair and facial features. The immediacy of the image--drawn in close proximity and capturing her mouth slightly open--suggests Menzel's focus on a fleeting moment. He wrote of drawings such as this as \"true to nature\" yet without \"being copied from nature with fearful exactitude.\"", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79947709"], "internet_archive": ["https://archive.org/details/clevelandart-1994.103-bust-of-a-woman-seen"]}, "citations": [{"citation": "Hazlitt, Gooden &amp; Fox, Kunsthandel Bellinger, and Galerie de Bayser. <em>European Master Drawings. </em>New York: Hazlitt, Gooden &amp; Fox, 1994.", "page_number": "Reproduced: cat. no. 39", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 66, p. 11, pp.162-163; p.293; Reproduced; p. 63", "url": null}], "url": "https://clevelandart.org/art/1994.103", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1994.103/1994.103_web.jpg", "width": "625", "height": "893", "filesize": "105782", "filename": "1994.103_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1994.103/1994.103_print.jpg", "width": "2381", "height": "3400", "filesize": "1801755", "filename": "1994.103_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1994.103/1994.103_full.tif", "width": "4303", "height": "6142", "filesize": "79311340", "filename": "1994.103_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 157225, "creators": [{"id": 11961, "description": "Adolph von Menzel (German, 1815\u20131905)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1815", "death_year": "1905", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1994-09-07T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "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": ["Profile of a Young Woman"], "is_highlight": false, "updated_at": "2026-03-27 00:10:35.993000"}, {"id": 160091, "accession_number": "1997.6", "share_license_status": "CC0", "tombstone": "On the Harlem River, 1855. William Rickarby Miller (American, 1818\u20131893). Watercolor with gouache, over graphite, framing lines in graphite; sheet: 37.8 x 51.4 cm (14 7/8 x 20 1/4 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1997.6", "current_location": null, "title": "On the Harlem River", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor with gouache, over graphite, framing lines in graphite", "support_materials": [{"description": "moderately thick beige (1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 37.8 x 51.4 cm (14 7/8 x 20 1/4 in.)", "dimensions": {"sheet": {"height": 0.378, "width": 0.514}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in brown ink: W. R. Miller. Morrisania N Y. Octr 31t. 1855.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in brown ink, lower center: On the Harlem River / nr the High Bridge. Westchester CoY.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in graphite in lower left above framing line: 41", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in graphite, mount 26 x 20 for Folio 2.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "upper center: View on the Harlem River. 19 x 13.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in graphite, lower left: Tree not Yellow enough to [Sun?]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "in black ballpoint pen, lower right: 2 x 2_ [regu?] glass '_ cracked Gold [cream?] mat", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 191183, "title": "American Drawings from the Permanent Collection", "description": "<i>American Drawings from the Permanent Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 19-July 12, 1998).", "opening_date": "1998-04-19T00:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "Private Collection, New Jersey.", "citations": [], "footnotes": null, "date": "? (after 1855)-1997", "sortorder": 1}, {"description": "(Mary Lublin Fine Arts, New York, NY)", "citations": [], "footnotes": null, "date": "?-1997", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH.", "citations": [], "footnotes": null, "date": "March 4, 1997", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The tall trees at the center of Miller\u2019s composition appear to be American sycamores, deciduous trees with creamy bark and spiky round fruit that grow in moist soil near streams and riverbanks.", "description": "When William Rickarby Miller arrived in America from England in 1845, he found watercolor painting in a dismal state\u2014\u201ca branch of Painting scarcely at all cultivated here.\u201d Nonetheless, Miller made his living producing watercolors for print publications, depicting picturesque American woodlands with the staid British technique of his training. In <em>On the Harlem</em> <em>River, </em>Miller overlays delicate graphite line work with tints of luminous watercolor and dense gouache, capturing the color and light effects of a crisp autumn day. His meticulous transcription of individual leaves, branches, and stones displays his technical finesse, as well as his interest in documenting the particularities of nature. He shared this preoccupation with the Hudson River School, a mid-century American landscape painting movement whose members used detailed, on-site drawings of natural subjects as aids in making oil paintings. Miller\u2019s great innovation was to marry the Hudson River manner to the medium of watercolor, anticipating the landscapes of American watercolorists in the decades to follow.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980744"], "internet_archive": ["https://archive.org/details/clevelandart-1997.6-on-the-harlem-river"]}, "citations": [{"citation": "The Cleveland Museum of Art, <em>Annual Report 1997</em>, September 25, 1998.", "page_number": "Mentioned: p. 44", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: cat. no. 84. pp. 204-5, p. 295; Reproduced: p. 205", "url": null}], "url": "https://clevelandart.org/art/1997.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.6/1997.6_web.jpg", "width": "1195", "height": "893", "filesize": "872767", "filename": "1997.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.6/1997.6_print.jpg", "width": "3400", "height": "2540", "filesize": "6712361", "filename": "1997.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.6/1997.6_full.tif", "width": "6170", "height": "4609", "filesize": "85342472", "filename": "1997.6_full.tif"}}, "alternate_images": [{"date_created": "2012-12-04T19:09:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.6/1997.6_alt0_web.jpg", "width": "1200", "height": "893", "filesize": "236491"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.6/1997.6_alt0_print.jpg", "width": "3400", "height": "2531", "filesize": "1793936"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.6/1997.6_alt0_full.tif", "width": "7571", "height": "5636", "filesize": "128032520"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160091, "creators": [{"id": 6680, "description": "William Rickarby Miller (American, 1818\u20131893)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1818", "death_year": "1893", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:15.022000"}, {"id": 166638, "accession_number": "2008.359", "share_license_status": "CC0", "tombstone": "Notre-Dame de Paris, c. 1881. Luc-Olivier Merson (French, 1846\u20131920). Pen and black ink, brush and black wash, white gouache and graphite on paper; sheet: 32.6 x 21.7 cm (12 13/16 x 8 9/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.359", "current_location": null, "title": "Notre-Dame de Paris", "creation_date": "c. 1881", "creation_date_earliest": 1876, "creation_date_latest": 1886, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pen and black ink, brush and black wash, white gouache and graphite on paper", "support_materials": [{"description": "light brown wove paper (a multi-ply board)", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 32.6 x 21.7 cm (12 13/16 x 8 9/16 in.)", "dimensions": {"sheet": {"height": 0.326, "width": 0.217}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in black ink: Luc Olivier Merson; verso, lower center, in graphite: [S Fauti?] J [Dumoni?] 4; lower center, in graphite: [torchon?] / [illegible] Bristol blanc style ancien; lower center, in graphite: 56 - 42 Cadre", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}, {"id": 543573, "title": "Fairy Tales and Fables: Illustration and Storytelling in Art", "description": "<i>Fairy Tales and Fables: Illustration and Storytelling in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-September 8, 2024).", "opening_date": "2024-05-04T04:00:00"}], "legacy": []}, "provenance": [{"description": "(sale, H\u00f4tel Georges V, Paris, June 25, 1975, no. 106)", "citations": [], "footnotes": ["<div><!--block-->As <em>Les Tours de Notre-Dame</em>.</div>"], "date": "1975", "sortorder": 1}, {"description": "(sale, Parke-Bernet, New York, May 14, 1976, no. 263, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": ["<div><!--block-->As <em>Gargoyles and Ravens.</em></div>"], "date": "1976", "sortorder": 2}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1976-2008", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2008-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "After creating this drawing, Luc-Olivier Merson went on to illustrate an important 1889 edition of <em>Notre-Dame de Paris</em>, one of the major projects of his career.", "description": "Victor Hugo's celebrated 1831 novel <em>Notre-Dame de Paris </em>tells the story of Quasimodo, a disfigured orphan raised by the archdeacon of Notre Dame cathedral in Paris. Hugo's novel became an important influence on many artists and helped to define a poetic view of the medieval period and of Gothic architecture that lasted well into the second half of the century. This drawing by Luc-Olivier Merson was reproduced as a wood engraving in an illustrated tribute to Hugo published in 1881.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997171"], "internet_archive": ["https://archive.org/details/clevelandart-2008.359-notre-dame-de-paris"]}, "citations": [{"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: pp. 122-23, 143-44, no. 56; Reproduced: p. 123", "url": null}, {"citation": "<em>Dessins et aquarelles du XIXe si\u00e8cle. </em>Paris: Galerie La Nouvelle Ath\u00e8nes, 2021.", "page_number": "Reproduced: under no. 42", "url": ""}], "url": "https://clevelandart.org/art/2008.359", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.359/2008.359_web.jpg", "width": "602", "height": "893", "filesize": "432590", "filename": "2008.359_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.359/2008.359_print.jpg", "width": "2292", "height": "3400", "filesize": "5773935", "filename": "2008.359_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.359/2008.359_full.tif", "width": "3370", "height": "5000", "filesize": "50570972", "filename": "2008.359_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166638, "creators": [{"id": 9567, "description": "Luc-Olivier Merson (French, 1846\u20131920)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1846", "death_year": "1920", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1876, "date_added_to_oa": null, "date_text": "c. 1881", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:29.189000"}, {"id": 168428, "accession_number": "2010.207", "share_license_status": "CC0", "tombstone": "Neckpiece with panel (umphapheni), 1800s\u20131900s. Africa, Southern African, South Africa, Southeast Cape Region, Northern Nguni (Zulu)-style maker. Glass beads, plant fiber, copper alloy, and iron; overall: 68.6 cm (27 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.207", "current_location": null, "title": "Neckpiece with panel (umphapheni)", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern African, South Africa, Southeast Cape Region, Northern Nguni (Zulu)-style maker"], "technique": "Glass beads, plant fiber, copper alloy, and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 68.6 cm (27 in.)", "dimensions": {"overall": {"width": 0.686}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 71", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Private collection, United Kingdom", "citations": [], "footnotes": null, "date": "2005", "sortorder": null}, {"description": "(Jacaranda Tribal LLC, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The seed beads that make up this neckpiece were imported to southern Africa by European traders who tailored their wares to local tastes and color preferences; beads came first from Venice and Murano, and later from Bohemia in the twentieth century.", "description": "Consisting of a tasseled length attached to a rectangular panel joined by metal buttons, this neckpiece (<em>umphapheni</em>) was likely worn along with waistbands and headpieces with the same color scheme and patterns. Joined together using stitches and zig-zag patterns popular around the turn of the 20th century, glass beadwork was heavy to wear. The fringe\u2014typical of Zulu-style Northern Nguni beadwork\u2014added additional weight. The imported glass beads testify to centuries of trade connections between southern Africa and Europe, while the brass buttons\u2014probably drawn from a British soldier\u2019s uniform\u2014allude to the Anglo-Zulu conflicts of the 1800s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60761109"], "internet_archive": ["https://archive.org/details/clevelandart-2010.207-neckpiece-with-panel"]}, "citations": [{"citation": "Pemberton, John, III. African Beaded Art\" Power and Adornment, exh. cat. Northampton, Massachusetts: Smith College Museum of Art, 2008, cat. 101", "page_number": "", "url": ""}, {"citation": "\u201cExhibitions through November 2022.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 62, no. 3 (September 2022): 13.", "page_number": "Reproduced: P. 13.", "url": ""}], "url": "https://clevelandart.org/art/2010.207", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.207/2010.207_web.jpg", "width": "778", "height": "893", "filesize": "445068", "filename": "2010.207_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.207/2010.207_print.jpg", "width": "2962", "height": "3400", "filesize": "7170692", "filename": "2010.207_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.207/2010.207_full.tif", "width": "4696", "height": "5390", "filesize": "75962988", "filename": "2010.207_full.tif"}}, "alternate_images": [{"date_created": "2010-08-25T15:04:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.207/2010.207_alt0_web.jpg", "width": "738", "height": "893", "filesize": "423585"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.207/2010.207_alt0_print.jpg", "width": "2809", "height": "3400", "filesize": "6854835"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.207/2010.207_alt0_full.tif", "width": "4539", "height": "5493", "filesize": "74826700"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168428, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Neckpiece"], "is_highlight": false, "updated_at": "2026-03-27 00:02:32.186000"}, {"id": 168755, "accession_number": "2010.457", "share_license_status": "CC0", "tombstone": "Half-Figure, late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of the Congo, probably Kusu-style maker. Wood and iron; overall: 20 x 6.8 x 8.5 cm (7 7/8 x 2 11/16 x 3 3/8 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.457", "current_location": null, "title": "Half-Figure", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo, probably Kusu-style maker"], "technique": "Wood and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 20 x 6.8 x 8.5 cm (7 7/8 x 2 11/16 x 3 3/8 in.)", "dimensions": {"overall": {"height": 0.2, "width": 0.068, "depth": 0.085}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}, {"id": 301531, "title": "Striking Iron: The Art of African Blacksmiths", "description": "<i>Striking Iron: The Art of African Blacksmiths</i>. Fowler Museum at UCLA, Los Angeles, CA (organizer) (June 3-December 30, 2018); National Museum of African Art, Washington, DC (February 10-October 20, 2019); Mus\u00e9e du quai Branly, Paris, France (November 10, 2019-August 16, 2020).", "opening_date": "2018-06-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Marcel Dumoulin, Brussels, BE, before 1967, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": null, "date": "?-1967", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1967-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This figure would have been used in a powerful association known as Bugabo, specializing in healing, hunting, and fighting crime.", "description": "Iron tacks inserted into the lobes of the hairdo indicate that this sculpture was originally empowered with magical and medicinal substances. Thus charged, the figure would have been used in divination and was related to a powerful association known as Bugabo. Members specialized in healing, hunting, and fighting crime.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075137"], "internet_archive": ["https://archive.org/details/clevelandart-2010.457-half-figure"]}, "citations": [{"citation": "Debbaut, Jan, Dominique Favart, G. van Geertruyen, and Palais des beaux-arts (Brussels, Belgium). 1988. <em>Utotombo : L\u2019art D\u2019afrique Noire Dans Les Collections Prive\u0301es Belges : Socie\u0301te\u0301 Des Expositions Du Palais Des Beaux-Arts, Bruxelles, 25 Mars-5 Juin 1988</em> Ed. franc\u0327aise ed. Bruxelles: Palais des beaux-arts, p. 239, cat. 235.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 84.", "page_number": "Mentioned: pp. 81, 114; reproduced: p. 85, cat. 29", "url": null}], "url": "https://clevelandart.org/art/2010.457", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.457/2010.457_web.jpg", "width": "791", "height": "893", "filesize": "359326", "filename": "2010.457_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.457/2010.457_print.jpg", "width": "3010", "height": "3400", "filesize": "6464495", "filename": "2010.457_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.457/2010.457_full.tif", "width": "3076", "height": "3474", "filesize": "32090988", "filename": "2010.457_full.tif"}}, "alternate_images": [{"date_created": "2011-05-24T12:44:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt0_web.jpg", "width": "770", "height": "893", "filesize": "348653"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt0_print.jpg", "width": "2932", "height": "3400", "filesize": "6238714"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt0_full.tif", "width": "2957", "height": "3428", "filesize": "30441948"}}, {"date_created": "2011-05-24T12:20:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt1_web.jpg", "width": "831", "height": "893", "filesize": "384500"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt1_print.jpg", "width": "3163", "height": "3400", "filesize": "6932784"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt1_full.tif", "width": "3076", "height": "3306", "filesize": "30541600"}}, {"date_created": "2011-05-24T12:29:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt2_web.jpg", "width": "762", "height": "893", "filesize": "342704"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt2_print.jpg", "width": "2902", "height": "3400", "filesize": "6105641"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt2_full.tif", "width": "2943", "height": "3448", "filesize": "30471956"}}, {"date_created": "2011-05-23T18:03:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt3_web.jpg", "width": "772", "height": "893", "filesize": "340048"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt3_print.jpg", "width": "2938", "height": "3400", "filesize": "6206155"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt3_full.tif", "width": "3076", "height": "3559", "filesize": "32873244"}}, {"date_created": "2011-05-24T12:53:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt4_web.jpg", "width": "756", "height": "893", "filesize": "338208"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt4_print.jpg", "width": "2878", "height": "3400", "filesize": "6128670"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.457/2010.457_alt4_full.tif", "width": "2959", "height": "3495", "filesize": "31056644"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168755, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:39.245000"}, {"id": 170713, "accession_number": "2013.238", "share_license_status": "CC0", "tombstone": "Barnaby Rudge Helping Lead the Gordon Riots, 1884. Charles Green (British, 1840\u20131898). Watercolor with traces of graphite; sheet: 25.4 x 17.6 cm (10 x 6 15/16 in.). The Cleveland Museum of Art, Gift in memory of Helen Borowitz, 2013.238", "current_location": null, "title": "Barnaby Rudge Helping Lead the Gordon Riots", "creation_date": "1884", "creation_date_earliest": 1884, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with traces of graphite", "support_materials": [{"description": "sturdy-weight, blued-white, moderately textured, wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 25.4 x 17.6 cm (10 x 6 15/16 in.)", "dimensions": {"sheet": {"height": 0.254, "width": 0.176}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "initialed and dated, in brown ink, at lower right: CG / 1884", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": [{"description": "<em>Victorian Era Exhibition, Historical and Commemorative Sections</em>. Earl's Court, London (August 1897).", "opening_date": null}]}, "provenance": [{"description": "William Lockwood, Nottingham", "citations": [], "footnotes": [], "date": "?-?", "sortorder": null}, {"description": "(Ramiel M. Howitt, London)", "citations": [], "footnotes": null, "date": "1979", "sortorder": 2}, {"description": "Helen and Albert Borowitz, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "after 1979-2013", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was never published as an illustration, but the character of Barnaby appeared in Charles Green's design for a title page for an edition of Dickens's collected works.", "description": "Charles Green was one of the most successful black-and-white illustrators in Victorian England, known especially for his images related to the novels of Charles Dickens. The subject of this drawing relates to the writer's historical novel <em>Barnaby Rudge: A Tale of the Riots of 'Eighty</em>, based on the Gordon Riots. Here, Green depicted participants in an anti-Catholic protest against the Papists' Act of 1778, the most violent outpouring of religious hatred in 18th-century Britain.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80079792"], "internet_archive": ["https://archive.org/details/clevelandart-2013.238-barnaby-rudge-helpin"]}, "citations": [{"citation": "<em>Victorian Era Exhibition, 1897: Catalogue, Historical and Commemorative Sections</em>. Exh. Cat. London: Earl's Court, 1897.", "page_number": "Mentioned: p. 33, no. 69", "url": "https://hdl.handle.net/2027/gri.ark:/13960/t2r55jj4h"}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 128-29, 146, no. 43; Reproduced: p. 129", "url": null}], "url": "https://clevelandart.org/art/2013.238", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.238/2013.238_web.jpg", "width": "626", "height": "900", "filesize": "228150", "filename": "2013.238_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.238/2013.238_print.jpg", "width": "2366", "height": "3400", "filesize": "2639731", "filename": "2013.238_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.238/2013.238_full.tif", "width": "4388", "height": "6305", "filesize": "83026924", "filename": "2013.238_full.tif"}}, "alternate_images": [], "creditline": "Gift in memory of Helen Borowitz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170713, "creators": [{"id": 60587, "description": "Charles Green (British, 1840\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1840", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1884, "date_added_to_oa": null, "date_text": "1884", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:08.261000"}, {"id": 89176, "accession_number": "2020.159", "share_license_status": "CC0", "tombstone": "Interior with a Screen, c. 1893. \u00c9douard Vuillard (French, 1868\u20131940). Lithograph on buff wove paper; image: 25 x 31 cm (9 13/16 x 12 3/16 in.); sheet: 27.7 x 38.1 cm (10 7/8 x 15 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.159", "current_location": null, "title": "Interior with a Screen", "creation_date": "c. 1893", "creation_date_earliest": 1888, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["France, late 19th - 20th century"], "technique": "lithograph on buff wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 25 x 31 cm (9 13/16 x 12 3/16 in.); Sheet: 27.7 x 38.1 cm (10 7/8 x 15 in.)", "dimensions": {"sheet": {"height": 0.277, "width": 0.381}, "image": {"height": 0.25, "width": 0.31}}, "state_of_the_work": "I/I", "edition_of_the_work": "Edition of approximately 20", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}, {"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": []}, "provenance": [{"description": "Samuel Josefowitz, Lausanne", "citations": [], "footnotes": null, "date": "?-by 2007", "sortorder": 1}, {"description": "(R.M. Light & Co., Santa Barbara, CA, sold to Nancy F. and Joseph P. Keithley, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "?-2007", "sortorder": 2}, {"description": "Nancy F. and Joseph P. Keithley, Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007-2020", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is one of several published by the prestigious art dealer Ambroise Vollard, who became a supporter of \u00c9douard Vuillard's work during the 1890s.", "description": "During the 1890s, when \u00c9douard Vuillard made this print, his work focused on intimate domestic scenes. Here, the artist depicted the apartment that he shared with his mother and sister, who worked as seamstresses from home. Although the women are seen going about their daily activities, Vuillard used patterning and scale to suggest a subtle sense of unease and make the everyday seem unfamiliar.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481026"], "internet_archive": ["https://archive.org/details/clevelandart-2020.159-interior-with-a-scre"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 48; Reproduced: P. 70, no. 14", "url": ""}, {"citation": "Groom, Gloria. \"Edouard Vuillard.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 76-101. Cleveland, OH: The Cleveland Museum of Art, 2022.", "page_number": "Mentioned and reproduced: p. 78-79; Mentioned: p. 273-274", "url": ""}], "catalogue_raisonne": "Roger-Marx 8", "url": "https://clevelandart.org/art/2020.159", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.159/2020.159_web.jpg", "width": "900", "height": "670", "filesize": "320354", "filename": "2020.159_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.159/2020.159_print.jpg", "width": "3400", "height": "2530", "filesize": "3953726", "filename": "2020.159_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.159/2020.159_full.tif", "width": "10106", "height": "7519", "filesize": "227991248", "filename": "2020.159_full.tif"}}, "alternate_images": [{"date_created": "2020-02-19T15:47:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.159/2020.159_alt0_web.jpg", "width": "900", "height": "670", "filesize": "342883"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.159/2020.159_alt0_print.jpg", "width": "3400", "height": "2530", "filesize": "4583303"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.159/2020.159_alt0_full.tif", "width": "10106", "height": "7519", "filesize": "227991112"}}], "creditline": "Nancy F. and Joseph P. Keithley Collection Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 89176, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67382, "description": "Edward Ancourt (French, 1841\u20131898?)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1841", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "c. 1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:04:17.743000"}, {"id": 299431, "accession_number": "2022.199", "share_license_status": "CC0", "tombstone": "Flower Vase with Phoenix in Paulownia, 1897\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with molded and carved design and underglaze color; overall: 20.6 cm (8 1/8 in.); diameter: 15.9 cm (6 1/4 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.199", "current_location": null, "title": "Flower Vase with Phoenix in Paulownia", "creation_date": "1897\u20131914", "creation_date_earliest": 1897, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with molded and carved design and underglaze color", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Overall: 20.6 cm (8 1/8 in.); Diameter: 15.9 cm (6 1/4 in.)", "dimensions": {"overall": {"height": 0.206}, "stand": {"height": 0.048, "width": 0.121}, "height with stand": {"height": 0.254}, "diameter": {"width": 0.159}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\u201cSeif\u016b\u201d inscribed on the base", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u6e05\u98a8", "inscription_translation": "Round seal on the top of the box lid: \u201cSeif\u016b\"", "inscription_remark": "Storage box is inscribed and impressed with seals.", "sortorder": 2}, {"inscription": "\u6e05\u98a8", "inscription_translation": "Gourd-shaped seal on the bottom of the box lid: \u201cSeif\u016b\"", "inscription_remark": null, "sortorder": 3}], "exhibitions": {"current": [{"id": 295705, "title": "Japanese Gallery 235 Rotation - July 2017-January 2018", "description": "<i>Japanese Gallery 235 Rotation - July 2017-January 2018</i>. The Cleveland Museum of Art (organizer) (July 15, 2017-January 2, 2018).", "opening_date": "2017-07-15T04:00:00"}, {"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "James and Christine Heusinger, Berea, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1893, Seif\u016b Yohei III became the first ceramist to be appointed as an Imperial Household Artist under a system introduced by the Japanese government in 1890.", "description": "The phoenix\u2019s commanding presence on this vase was created by adding clay to the surface of the white clay body and then intricately molding and carving it. Then cobalt blue was used to paint the paulownia tree upon which the phoenix perches. Yohei III used a masking technique, covering the phoenix with paper before adding pink color to the area surrounding it. Firing with an allover transparent glaze created a glossy surface, with the phoenix standing out boldly from the background. The mythical bird\u2019s long tail sweeps majestically around the vessel so that one must move around it to see the eyespots in its plumes. A symbol of imperial power in both China and Japan, the phoenix is said to alight only in the paulownia tree. Upon close inspection of its face, one can see that the phoenix\u2019s eye is in yellow under the glaze. The scene is set off at the bottom with a double band of underglaze blue above an incised ring of cloud.<br> <br>Once Yohei III had created his creamy translucent <em>taihakuji</em> glaze, he began applying it over the entire surface of an ivory clay body with motifs in low relief to achieve a creamy white-on-white design. He then began using the combination of gradated pink around raised motifs on a typical white porcelain clay body like the one for this vase. He masked his low-relief designs with paper before sprinkling diluted iron oxide glaze onto the surrounding areas through a net with a brush. These unpigmented elements stand out as starkly white against the gentle pink blush color that surrounds them. Still later, he added pink to the translucent creamy glaze he used in <em>kanpakuji</em> works and used it over motifs in relief on an ivory clay body for an overall pink-tinged cream effect (see <a href=\"http://www.clevelandart.org/art/2022.198\">CMA 2022.198</a>).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117716947"], "internet_archive": ["https://archive.org/details/clevelandart-2022.199-flower-vase-with-pho"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 55, pp. 137\u2013139", "url": ""}, {"citation": "Goodall, Hollis. \"Seif\u016b Yohei III: Master of Finesse.\" <em>Impressions: The Journal of the Japanese Art Society of America</em> 45, part 2 (2024): 178-193.", "page_number": "Mentioned: p. 186; Reproduced: p. 190 (fig. 8)", "url": ""}], "url": "https://clevelandart.org/art/2022.199", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.199/2022.199_web.jpg", "width": "790", "height": "900", "filesize": "168178", "filename": "2022.199_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.199/2022.199_print.jpg", "width": "2986", "height": "3400", "filesize": "884189", "filename": "2022.199_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.199/2022.199_full.tif", "width": "8314", "height": "9467", "filesize": "236154008", "filename": 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The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "James and Christine Heusinger, Berea, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Seif\u016b Yohei III drew inspiration from Qing dynasty Chinese wares but experimented widely with new glazing techniques.", "description": "The petals of the large, white peonies on this jar were made by applying molded clay to the body and incising the clay with lines for definition. The flowers\u2019 centers were then painted with yellow, along with the leaves in cobalt blue line and wash. A subtle blue gradation was also added all around the flowers using a masking method. The lid, with its treasured jewel-shaped finial, was also decorated with foliate motifs in underglaze cobalt blue. Finally, a transparent glaze was applied over the entire body of both the jar and lid. It is a special demonstration of Yohei III\u2019s use of precision and control to create a completely balanced composition.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117716949"], "internet_archive": ["https://archive.org/details/clevelandart-2022.200-lidded-jar-with-peon"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with cobalt blue glaze, overglaze color enamel, and silver painting overlay; height: 8.3 cm (3 1/4 in.); diameter: 18.3 cm (7 3/16 in.). 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The Cleveland Museum of Art (organizer) (July 15, 2017-January 2, 2018).", "opening_date": "2017-07-15T04:00:00"}, {"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Inside the bowl is an auspicious, mythical deerlike creature called <em>kirin </em>in Japanese (\u9e92\u9e9f or <em>qilin </em>in Chinese).", "description": "The complex design of this bowl is also technically sophisticated in its execution. On the interior, Yohei III has placed a mythical beast called a <em>kirin</em> (Chinese, <em>qilin</em>) within a double-banded circle painted in cobalt blue under the glaze. Around the interior of the mouth, bordered at top and bottom with underglaze blue under a brown iron oxide painted rim, he has painted a continuous coin pattern with a red wash and green color enamels. The pattern is further defined and embellished with black iron outlining the green- and gold-painted diamonds over the diluted red. The inside is otherwise left white. On the exterior, the body has a dark blue glaze and an overlaid silver design of <em>reishi</em> with incised lines for detail.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117793508"], "internet_archive": ["https://archive.org/details/clevelandart-2022.241-bowl-with-numinous-f"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 99, pp. 190\u2013191", "url": ""}, {"citation": "\"Colours of Kyoto, Ceramics From the Yohei Studio.\" <em>The Asian Art Newspaper: Monthly for Collectors, Dealers, Museums and Galleries </em>27, no. 1 (November 2023): 8", "page_number": "Mentioned and Reproduced: p. 8", "url": ""}], "url": "https://clevelandart.org/art/2022.241", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.241/2022.241_web.jpg", "width": "900", "height": "561", "filesize": "161539", "filename": "2022.241_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.241/2022.241_print.jpg", "width": "3400", "height": "2118", "filesize": "932180", "filename": "2022.241_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.241/2022.241_full.tif", "width": "10598", "height": "6602", "filesize": "209931548", "filename": "2022.241_full.tif"}}, 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null, "athena_id": 299433, "creators": [{"id": 299428, "description": "Seif\u016b Yohei III (Japanese, 1851\u20131914)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u4e09\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1851", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u20131900", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:18.145000"}, {"id": 93945, "accession_number": "1914.533", "share_license_status": "CC0", "tombstone": "Torchon Bobbin Lace Pillow, 1800s. Spain. Lace, bobbin; overall: 18.5 x 72.5 x 24 cm (7 5/16 x 28 9/16 x 9 7/16 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1914.533", "current_location": null, "title": "Torchon Bobbin Lace Pillow", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Spain"], "technique": "lace, bobbin", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Lace", "measurements": "Overall: 18.5 x 72.5 x 24 cm (7 5/16 x 28 9/16 x 9 7/16 in.)", "dimensions": {"overall": {"height": 0.185, "width": 0.725, "depth": 0.24}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302358, "title": "Fiberworks: Tradition and Technique", "description": "<i>Fiberworks: Tradition and Technique</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 5-November 11, 1977).", "opening_date": "1977-10-05T04:00:00"}, {"id": 310027, "title": "Lace: Italy, Flanders, France", "description": "<i>Lace: Italy, Flanders, France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 3-July 9, 1987).", "opening_date": "1987-03-03T05:00:00"}], "legacy": [{"description": "Exhibition of African Arts, Chicago Historical Society, Chicago, IL (May 1953).", "opening_date": "1953-05-01T04:00:00Z"}]}, "provenance": [{"description": "Thomas Wilson Lace Collection.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The boxwood bobbins are handmade. At one point, these boxwood bobbins were cut off, perhaps to use them for another piece of lace, and have since been reknotted to the linen thread on this bobbin lace pillow.", "description": "Spanish bobbin lace is made on a cylindrical straw-stuffed bolster pillow of a size and shape like this one. Further evidence of a Spanish origin is the shape and materials of the handmade bobbins (boxwood in this case). The lace maker would have sat with one short end of the pillow (the end with the bobbins) in her lap and the other end propped against a table. A pattern (pricking) on red card stock is pinned to the pillow around the perimeter. Linen thread is wound on the boxwood bobbins. To create this Torchon lace edging, the thread on the bobbins is crossed and twisted to create a connection. A pin is then placed in the pillow to correctly space each connection. Once complete, the pins are removed, and the bobbin lace separated from the pillow. The 15.2 cm (6-inch) wide piece of Torchon lace edging created on this pillow is a common type of lace, easy and fast to make. It has leaf-shaped tallies. The foot side (straight edge) of the Torchon lace edging on this pillow would have been sewn to the edge of a garment or a furnishing fabric. The scalloped edge is referred to as the headside of this Torchon lace.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79473715"], "internet_archive": ["https://archive.org/details/clevelandart-1914.533-bobbin-lace-pillow", "https://archive.org/details/clevelandart-1914.533-torchon-bobbin-lace"]}, "citations": [], "url": "https://clevelandart.org/art/1914.533", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1914.533/1914.533_web.jpg", "width": "900", "height": "397", "filesize": "220258", "filename": "1914.533_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1914.533/1914.533_print.jpg", "width": "3400", "height": "1501", "filesize": "1767850", "filename": "1914.533_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1914.533/1914.533_full.tif", "width": "12902", "height": "5695", "filesize": "220458336", "filename": "1914.533_full.tif"}}, "alternate_images": [], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93945, "creators": [], "legal_status": "accessioned", "accession_date": "1914-06-15T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:08.385000"}, {"id": 95449, "accession_number": "1916.119", "share_license_status": "CC0", "tombstone": "Pendant with Matsya (fish incarnation of Vishnu) defeating Hayagriva, 1800s. Northwestern India, Rajasthan Pratapgarh. Gold, enamel, emeralds, and pearls; overall: 11.8 x 5.8 cm (4 5/8 x 2 5/16 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.119", "current_location": null, "title": "Pendant with Matsya (fish incarnation of Vishnu) defeating Hayagriva", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Northwestern India, Rajasthan Pratapgarh"], "technique": "gold, enamel, emeralds, and pearls", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Jewelry", "measurements": "Overall: 11.8 x 5.8 cm (4 5/8 x 2 5/16 in.)", "dimensions": {"overall": {"height": 0.118, "width": 0.058}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 535998, "title": "Nature Supernatural", "description": "<i>Nature Supernatural</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}, {"id": 665205, "title": "Carpets and Canopies in Mughal India\u200b (Indian art rotation)", "description": "<i>Carpets and Canopies in Mughal India\u200b (Indian art rotation)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 22-September 8, 2024).", "opening_date": "2024-03-22T04:00:00"}, {"id": 674335, "title": "Temples and Worship in South Asia", "description": "<i>Temples and Worship in South Asia</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14, 2024-March 9, 2025).", "opening_date": "2024-09-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "Jeptha Homer Wade II [1857\u20131926] and Ellen Garretson Wade [1857\u20131917], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In Matsya\u2019s upper hands he holds two of Vishnu\u2019s implements: the mace and the lotus.", "description": "Three emeralds and many pearls surround the central part of this pendant, which features a scene from the life of Matsya at the center. The fish incarnation of the preserver god Vishnu, Matsya appears in the middle, defeating the demon Hayagriva, who emerges from a shell, grasping him by the hair. Encircling the battle are plants, flowers, and designs indicative of ocean waves. The four-headed god Brahma also watches from the left side. Below the main scene, two smaller teardrop-shaped ornaments hang down. They feature scenes of predator birds, which may allude to the courtly falcon hunts of rulers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79476916"], "internet_archive": ["https://archive.org/details/clevelandart-1916.119-pendant", "https://archive.org/details/clevelandart-1916.119-pendant-with-matsya"]}, "citations": [], "url": "https://clevelandart.org/art/1916.119", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.119/1916.119_web.jpg", "width": "629", "height": "900", "filesize": "137046", "filename": "1916.119_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.119/1916.119_print.jpg", "width": "2375", "height": "3400", "filesize": "1247142", "filename": "1916.119_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.119/1916.119_full.tif", "width": "5186", "height": "7424", "filesize": "115531328", "filename": "1916.119_full.tif"}}, "alternate_images": [{"date_created": "2013-12-09T09:10:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.119/1916.119_alt0_web.jpg", "width": "670", "height": "900", "filesize": "118106"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.119/1916.119_alt0_print.jpg", "width": "2531", "height": "3400", "filesize": "1031976"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.119/1916.119_alt0_full.tif", "width": "5559", "height": "7467", "filesize": "124555356"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95449, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Pendant"], "is_highlight": false, "updated_at": "2026-03-27 00:00:32.395000"}, {"id": 104013, "accession_number": "1922.186", "share_license_status": "CC0", "tombstone": "Olympia, 1867. \u00c9douard Manet (French, 1832\u20131883). Etching. The Cleveland Museum of Art, Gift of Ralph King, 1922.186", "current_location": null, "title": "Olympia", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "etching", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309654, "title": "The Lessons of the Academy", "description": "<i>The Lessons of the Academy</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 8-May 29, 1983).", "opening_date": "1983-02-08T05:00:00"}, {"id": 309884, "title": "Urban Vicissitudes", "description": "<i>Urban Vicissitudes</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 2-September 29, 1985).", "opening_date": "1985-07-02T04:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Manet's model, Victorine Meurent, was herself a successful painter who showed her work at Paris's salon.", "description": "When Edouard Manet\u2019s painting Olympia was exhibited in Paris in 1865, it was met by the critics and general public with jeers, laughter, criticism, and distain. Manet had depicted his model, Victorine Meurent, as a modern day courtesan, confrontational rather than seductive. Manet\u2019s depiction of a prostitute\u2019s body in a contemporary setting was a radical rejection of the idealized beauty of the traditional female nude. Olympia forced recognition of troubled and contradictory attitudes toward prostitution in the mid-19th century, much to the discomfort of contemporary audiences. The artist made this etching to reproduce his controversial painting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79510229"], "internet_archive": ["https://archive.org/details/clevelandart-1922.186-olympia"]}, "citations": [], "catalogue_raisonne": "Harris 53", "url": "https://clevelandart.org/art/1922.186", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1922.186/1922.186_web.jpg", "width": "1263", "height": "664", "filesize": "720099", "filename": "1922.186_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1922.186/1922.186_print.jpg", "width": "3400", "height": "1787", "filesize": "4759328", "filename": "1922.186_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1922.186/1922.186_full.tif", "width": "5665", "height": "2977", "filesize": "50625276", "filename": "1922.186_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 104013, "creators": [{"id": 1796, "description": "\u00c9douard Manet (French, 1832\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1922-08-15T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:51.490000"}, {"id": 107212, "accession_number": "1925.1204.10", "share_license_status": "CC0", "tombstone": "Elles: Elles: Woman In a Corset, 1896. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph. The Cleveland Museum of Art, Gift of Ralph King, 1925.1204.10", "current_location": null, "title": "Elles: Woman In a Corset", "series": "Elles", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "W. I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309882, "title": "Prints by Toulouse-Lautrec and Bonnard", "description": "<i>Prints by Toulouse-Lautrec and Bonnard</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 3, 1985-March 2, 1986).", "opening_date": "1985-12-03T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": [{"description": "CMA 1996: Sets and Series: Five Centuries of Master Prints, February 20-May 5, 1996, no cat.", "opening_date": "1996-02-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1925.1208"], "did_you_know": "This print belongs to a portfolio published by the dealer Gustave Pellet, who created a special luxury paper that featured a watermark of his initials.", "description": "Like Cassatt, Toulouse-Lautrec also made a series of color prints depicting the daily lives of women, but instead of portraying bourgeois wives and mothers, his subjects were prostitutes. His series of twelve lithographs entitled Elles boldly confronted the reality of late 19th-century Parisian brothels on the rue de Moulins and the rue de Richelieu, in which rich men's pursuit of pleasure with the daughters of the poor was legal and accepted. Although not portraits of classic beauty, his depictions of Parisian prostitutes embrace the poignancy of human experience. Here, a prostitute unhooks her corset in the presence of a client, her face sympathetically averted from the viewer's gaze.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894748"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204.10-elles-woman-in-a-cor"]}, "citations": [], "catalogue_raisonne": "Wittrock Vol.I.164 ; Delteil 188", "url": "https://clevelandart.org/art/1925.1204.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.10/1925.1204.10_web.jpg", "width": "702", "height": "900", "filesize": "201109", "filename": "1925.1204.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.10/1925.1204.10_print.jpg", "width": "2653", "height": "3400", "filesize": "2292683", "filename": "1925.1204.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.10/1925.1204.10_full.tif", "width": "4550", "height": "5832", "filesize": "79637760", "filename": "1925.1204.10_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107212, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1925.1204", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:13.097000"}, {"id": 112826, "accession_number": "1931.434", "share_license_status": "CC0", "tombstone": "The Drinking Customs of Society or Worship of Bacchus, 1864. George Cruikshank (British, 1792\u20131878), and Charles Mottram (British, 1807\u20131876). Steel engraving; image: 55.9 x 99.1 cm (22 x 39 in.); platemark: 68.6 x 108.3 cm (27 x 42 5/8 in.); sheet: 73.7 x 112.6 cm (29 x 44 5/16 in.); matted: 76.2 x 113.7 cm (30 x 44 3/4 in.). The Cleveland Museum of Art, Gift of Mrs. Coburn Haskell, 1931.434", "current_location": null, "title": "The Drinking Customs of Society or Worship of Bacchus", "creation_date": "1864", "creation_date_earliest": 1864, "creation_date_latest": 1864, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "steel engraving", "support_materials": [], "department": "Prints", "collection": "PR - Steel engraving", "type": "Print", "measurements": "Image: 55.9 x 99.1 cm (22 x 39 in.); Platemark: 68.6 x 108.3 cm (27 x 42 5/8 in.); Sheet: 73.7 x 112.6 cm (29 x 44 5/16 in.); Matted: 76.2 x 113.7 cm (30 x 44 3/4 in.)", "dimensions": {"image": {"height": 0.559, "width": 0.991}, "platemark": {"height": 0.686, "width": 1.083}, "sheet": {"height": 0.737, "width": 1.126}, "matted": {"height": 0.762, "width": 1.137}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 357204, "title": "Humor in Prints", "description": "<i>Humor in Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 13-October 28, 1934).", "opening_date": "1934-09-13T04:00:00"}, {"id": 309853, "title": "Two Hundred Years of British Prints", "description": "<i>Two Hundred Years of British Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 1984-February 3, 1985).", "opening_date": "1984-10-09T04:00:00"}, {"id": 683420, "title": "In Vino Veritas (In Wine, Truth)", "description": "<i>In Vino Veritas (In Wine, Truth)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 7, 2025-January 11, 2026).", "opening_date": "2025-09-07T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Coburn Haskell, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131931", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "November 25, 1931\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gin became available in England in the early 1700s. Unlike more expensive spirits, gin was popular with people of all classes, leading to a moral panic that persisted throughout the 1800s.", "description": "Made during the Victorian era in England (1837\u20131901), this grandly scaled print utilizes the imagery of a Roman bacchanalia<em>\u2014</em>an ancient wine-fueled festival dedicated to Bacchus\u2014to convey a frenzy of activities related to alcohol and its role in society. Bacchus, Silenus (his teacher), and a bacchant (a follower) appear as sculptures in the center, while widows and orphans, whose husbands and fathers have succumbed to alcohol, appear below. Foreground vignettes featuring a religious service, social gathering, marriage feast, christening, birthday party, and funeral demonstrate alcohol\u2019s ubiquity in middle-class society. George Cruikshank was part of a movement in England that promoted moderation\u2014or even complete abstinence\u2014in the consumption of alcohol.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80005256"], "internet_archive": ["https://archive.org/details/clevelandart-1931.434-the-drinking-customs"]}, "citations": [], "url": "https://clevelandart.org/art/1931.434", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.434/1931.434_web.jpg", "width": "900", "height": "582", "filesize": "297911", "filename": "1931.434_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.434/1931.434_print.jpg", "width": "3400", "height": "2199", "filesize": "3592632", "filename": "1931.434_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.434/1931.434_full.tif", "width": "11140", "height": "7204", "filesize": "240786272", "filename": "1931.434_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. Coburn Haskell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112826, "creators": [{"id": 1542, "description": "George Cruikshank (British, 1792\u20131878)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1792", "death_year": "1878", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 33859, "description": "Charles Mottram (British, 1807\u20131876)", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1807", "death_year": "1876", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1931-11-25T00:00:00", "sortable_date": 1864, "date_added_to_oa": null, "date_text": "1864", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:50.045000"}, {"id": 113499, "accession_number": "1932.50", "share_license_status": "CC0", "tombstone": "Hair-Pipe Necklace, early 1900s. Native North America, Plains, Nakota (Yankton or Yanktonai Sioux)?. Cow-bone hair pipes, glass beads, brass beads, silk ribbon, metal coin, Native-tanned hide or rawhide stringing, vegetable-tanned hide separators; overall: 236.2 cm (93 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1932.50", "current_location": null, "title": "Hair-Pipe Necklace", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Native North America, Plains, Nakota (Yankton or Yanktonai Sioux)?"], "technique": "Cow-bone hair pipes, glass beads, brass beads, silk ribbon, metal coin, Native-tanned hide or rawhide stringing, vegetable-tanned hide separators", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Jewelry", "measurements": "Overall: 236.2 cm (93 in.)", "dimensions": {"overall": {"length": 2.362}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348303, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2014-July 29, 2015).", "opening_date": "2014-08-26T04:00:00"}, {"id": 343666, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27, 2019-November 9, 2020).", "opening_date": "2019-08-27T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [{"description": "Purchased from Mrs. M.W. Olivenbaum.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Among the most spectacular of Plains ornaments are men\u2019s breastplates and women\u2019s necklaces made of cylindrical beads.", "description": "Among the most recognizable of Plains accouterments of the later 1800s are women\u2019s necklaces and men\u2019s breastplates made of so-called hair pipes, tubular beads originally made of shell. These prestigious chest ornaments became popular with the introduction of sturdier cow-bone pipes, nearly all manufactured by a mill in New Jersey and traded widely on the Plains. Bone pipes were made into many kinds of ornaments, the most elaborate being the necklaces and breastplates, today indispensable as powwow regalia. (The term \u201chair pipe\u201d may stem from Native Americans\u2019 use of smaller tubular beads as hair ornaments.)", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80006110"], "internet_archive": ["https://archive.org/details/clevelandart-1932.50-hair-pipe-necklace"]}, "citations": [], "url": "https://clevelandart.org/art/1932.50", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1932.50/1932.50_web.jpg", "width": "394", "height": "900", "filesize": "97809", "filename": "1932.50_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1932.50/1932.50_print.jpg", "width": "1487", "height": "3400", "filesize": "755566", "filename": "1932.50_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1932.50/1932.50_full.tif", "width": "3394", "height": "7759", "filesize": "79031868", "filename": "1932.50_full.tif"}}, "alternate_images": [{"date_created": "2012-04-09T13:38:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt0_web.jpg", "width": "260", "height": "893", "filesize": "53157"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt0_print.jpg", "width": "990", "height": "3400", "filesize": "609316"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt0_full.tif", "width": "1789", "height": "6144", "filesize": "33012828"}}, {"date_created": "2015-07-29T13:56:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt1_web.jpg", "width": "450", "height": "900", "filesize": "81585"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt1_print.jpg", "width": "1700", "height": "3400", "filesize": "796197"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt1_full.tif", "width": "3957", "height": "7913", "filesize": "93964256"}}, {"date_created": "2015-07-29T14:18:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt2_web.jpg", "width": "675", "height": "900", "filesize": "216794"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "1972094"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144033084"}}, {"date_created": "2015-07-29T14:14:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt3_web.jpg", "width": "396", "height": "900", "filesize": "132704"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt3_print.jpg", "width": "1496", "height": "3400", "filesize": "1023425"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt3_full.tif", "width": "1576", "height": "3583", "filesize": "16969584"}}, {"date_created": "2015-07-29T14:24:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt4_web.jpg", "width": "675", "height": "900", "filesize": "142158"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt4_print.jpg", "width": "2550", "height": "3400", "filesize": "982881"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt4_full.tif", "width": "6000", "height": "8000", "filesize": "144032032"}}, {"date_created": "2015-07-29T14:30:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt5_web.jpg", "width": "406", "height": "900", "filesize": "84691"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt5_print.jpg", "width": "1533", "height": "3400", "filesize": "471601"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1932.50/1932.50_alt5_full.tif", "width": "2992", "height": "6634", "filesize": "59576976"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 113499, "creators": [], "legal_status": "accessioned", "accession_date": "1932-05-24T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:13.156000"}, {"id": 133662, "accession_number": "1956.280", "share_license_status": "CC0", "tombstone": "L'Estampe Originale: Tiger in the Jungle, 1893. Paul Elie Ranson (French, 1862\u20131909). Color lithograph; sheet: 58.6 x 41.4 cm (23 1/16 x 16 5/16 in.); image: 36.5 x 28.2 cm (14 3/8 x 11 1/8 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1956.280", "current_location": null, "title": "Tiger in the Jungle", "series": "L'Estampe Originale", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["Nabis", "male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 58.6 x 41.4 cm (23 1/16 x 16 5/16 in.); Image: 36.5 x 28.2 cm (14 3/8 x 11 1/8 in.)", "dimensions": {"sheet": {"height": 0.586, "width": 0.414}, "image": {"height": 0.365, "width": 0.282}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302106, "title": "Japonisme: Japanese Influence on French Art, 1854 - 1910", "description": "<i>Japonisme: Japanese Influence on French Art, 1854 - 1910</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 9-August 31, 1975); Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ (October 4-November 16, 1975); Walters Art Gallery, Baltimore, MD (December 10, 1975-January 26, 1976).", "opening_date": "1975-07-09T04:00:00"}, {"id": 304384, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (March 1-September 1, 1979).", "opening_date": "1979-03-01T05:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Peter H. Deitsch, New York, NY, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1956", "sortorder": 1}, {"description": "Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1956", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1956-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Although it may look like the artist used colored paper, the bold yellow in this work is actually printed.", "description": "Paul Ranson used curving, wavelike forms to depict a stylized tiger in this lithograph. The artist was influenced by the calligraphic forms and heavy outlines that characterized Japanese prints, adopting these qualities in his own work. The print was created for <em>L'Estampe Originale</em>,<em> </em>a publication issued during the 1890s that presented a curated selection of original prints by contemporary artists to collectors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80026037"], "internet_archive": ["https://archive.org/details/clevelandart-1956.280-tiger-in-the-jungle"]}, "citations": [], "catalogue_raisonne": "Bitker 113", "url": "https://clevelandart.org/art/1956.280", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1956.280/1956.280_web.jpg", "width": "672", "height": "893", "filesize": "652591", "filename": "1956.280_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.280/1956.280_print.jpg", "width": "2559", "height": "3400", "filesize": "7185056", "filename": "1956.280_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.280/1956.280_full.tif", "width": "3768", "height": "5006", "filesize": "56628808", "filename": "1956.280_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133662, "creators": [{"id": 29566, "description": "Paul Elie Ranson (French, 1862\u20131909)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1862", "death_year": "1909", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67385, "description": "Andre Marty (French, b. 1857)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "birth_year": "1857", "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1956-08-23T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:16.811000"}, {"id": 133681, "accession_number": "1956.298", "share_license_status": "CC0", "tombstone": "Christ, 1887. Odilon Redon (French, 1840\u20131916), printed by Lemercier & Cie.. Lithograph; sheet: 42.9 x 36.1 cm (16 7/8 x 14 3/16 in.); image: 33.4 x 27.3 cm (13 1/8 x 10 3/4 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1956.298", "current_location": null, "title": "Christ", "creation_date": "1887", "creation_date_earliest": 1887, "creation_date_latest": 1887, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 42.9 x 36.1 cm (16 7/8 x 14 3/16 in.); Image: 33.4 x 27.3 cm (13 1/8 x 10 3/4 in.)", "dimensions": {"sheet": {"height": 0.429, "width": 0.361}, "image": {"height": 0.334, "width": 0.273}}, "state_of_the_work": "II/II", "edition_of_the_work": "edition of 25", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304282, "title": "Charles Meryon, Odilon Redon, and Rodolphe Bresdin", "description": "<i>Charles Meryon, Odilon Redon, and Rodolphe Bresdin</i>. The Cleveland Museum of Art, Cleveland, OH (October 1, 1978-April 1, 1979).", "opening_date": "1978-10-01T04:00:00"}, {"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}, {"id": 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": "(Ferdinand Roten, Baltimore, MD, sold to the Print Club of Cleveland, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1956", "sortorder": 1}, {"description": "The Print Club of Cleveland, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1956", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1956-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Odilon Redon believed that black was an agent of the spirit and created nearly 200 monochromatic lithographs that evoke a mysterious and dreamlike world.", "description": "Odilon Redon's unusual depiction of a melancholy, beardless <em>Christ</em> uses the dramatic tonality of lithography to convey the figure's suffering. Redon drew parallel lines with a lithographic crayon and then scraped some of the material away to depict the angular forms of an oversized crown of thorns and the surrounding dreamlike space. Redon experimented with lithography and preferred it for its ability to produce the rich and evocative black seen here.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80026083"], "internet_archive": ["https://archive.org/details/clevelandart-1956.298-christ"]}, "citations": [], "catalogue_raisonne": "Mellerio 71", "url": "https://clevelandart.org/art/1956.298", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1956.298/1956.298_web.jpg", "width": "734", "height": "893", "filesize": "532563", "filename": "1956.298_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.298/1956.298_print.jpg", "width": "2796", "height": "3400", "filesize": "8551692", "filename": "1956.298_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.298/1956.298_full.tif", "width": "4308", "height": "5238", "filesize": "67729900", "filename": "1956.298_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 133681, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "1956-08-23T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:44.881000"}, {"id": 138431, "accession_number": "1962.350", "share_license_status": "CC0", "tombstone": "Door Lintel (Pare), 1800s. Pacific Islands, Polynesia, New Zealand, M\u0101ori people. Wood, pigment; overall: 35 x 75.6 cm (13 3/4 x 29 3/4 in.). The Cleveland Museum of Art, The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken, 1962.350", "current_location": null, "title": "Door Lintel (Pare)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Pacific Islands, Polynesia, New Zealand, M\u0101ori people"], "technique": "wood, pigment", "support_materials": [], "department": "Oceania", "collection": "Oceanic Art", "type": "Sculpture", "measurements": "Overall: 35 x 75.6 cm (13 3/4 x 29 3/4 in.)", "dimensions": {"overall": {"height": 0.35, "width": 0.756}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304258, "title": "Year in Review (1963)", "description": "<i>Year in Review (1963)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 27, 1963-January 5, 1964).", "opening_date": "1963-11-27T05:00:00"}, {"id": 517623, "title": "Polynesian Sculpture", "description": "<i>Polynesian Sculpture</i>. The Art Institute of Chicago, Chicago, IL (organizer) (November 15, 1967-January 1, 1968); The Museum of Primitive Art, New York, NY (February 14-May 14, 1968).", "opening_date": "1967-11-15T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Harry Beasley", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "Harry Beasley", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Two guardian spirits (manaia) flank the central deity figure of this lintel (pare).", "description": "In the past, a lintel (pare) was placed over the entryway of M\u0101ori meeting houses, which are sacred structures. Thus, the visitor passed under the lintel\u2019s central deity figure, often a female but here of unclear sex. To either side is an animal-like guardian spirit (manaia) shown in profile and facing outward; look for the feet grasping the lintel\u2019s borders.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80034261"], "internet_archive": ["https://archive.org/details/clevelandart-1962.350-door-lintel-pare"]}, "citations": [], "url": "https://clevelandart.org/art/1962.350", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1962.350/1962.350_web.jpg", "width": "900", "height": "554", "filesize": "212840", "filename": "1962.350_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1962.350/1962.350_print.jpg", "width": "3400", "height": "2093", "filesize": "1743673", "filename": "1962.350_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1962.350/1962.350_full.tif", "width": "12986", "height": "7993", "filesize": "311417204", "filename": "1962.350_full.tif"}}, "alternate_images": [{"date_created": "2020-02-05T16:39:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.350/1962.350_alt0_web.jpg", "width": "900", "height": "540", "filesize": "231905"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.350/1962.350_alt0_print.jpg", "width": "3400", "height": "2041", "filesize": "1955067"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1962.350/1962.350_alt0_full.tif", "width": "12319", "height": "7396", "filesize": "273360716"}}], "creditline": "The Mary Spedding Milliken Memorial Collection, Gift of William Mathewson Milliken", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 138431, "creators": [], "legal_status": "accessioned", "accession_date": "1963-02-09T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:37.051000"}, {"id": 140326, "accession_number": "1964.28.a", "share_license_status": "CC0", "tombstone": "Sheet of Sketches (recto), 1819. Th\u00e9odore G\u00e9ricault (French, 1791\u20131824). Pen and ink; sheet: 22.8 x 35 cm (9 x 13 3/4 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1964.28.a", "current_location": null, "title": "Sheet of Sketches (recto)", "creation_date": "1819", "creation_date_earliest": 1819, "creation_date_latest": 1819, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pen and ink", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 22.8 x 35 cm (9 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.228, "width": 0.35}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 193792, "title": "Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900", "description": "<i>Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-May 23, 1999).", "opening_date": "1999-03-14T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "G\u00e9ricault died at a young age and had a professional career lasting only just over a decade.", "description": "The inscription at the upper left of the sheet states that G\u00e9ricault executed these studies at the spring of the Magdelaine, near the forest of Fontainebleau, which he visited in 1819. The male figures closely resemble the earlier studies he made while in Italy of peasants during horse races at annual Roman carnivals. Here, men struggle to keep control of their unseen animals during the moments before the race. The verso female figures, visible though the paper, derive directly from Pompeiian paintings of bacchanals, or revelers participating in festivals honoring Bacchus, the god of wine.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80038405"], "internet_archive": ["https://archive.org/details/clevelandart-1964.28.a-sheet-of-sketches-re"]}, "citations": [], "url": "https://clevelandart.org/art/1964.28.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.28.a/1964.28.a_web.jpg", "width": "1263", "height": "841", "filesize": "858710", "filename": "1964.28.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.28.a/1964.28.a_print.jpg", "width": "3400", "height": "2263", "filesize": "6906493", "filename": "1964.28.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.28.a/1964.28.a_full.tif", "width": "6314", "height": "4203", "filesize": "79643452", "filename": "1964.28.a_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140326, "creators": [{"id": 11643, "description": "Th\u00e9odore G\u00e9ricault (French, 1791\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-02-22T00:00:00", "sortable_date": 1819, "date_added_to_oa": null, "date_text": "1819", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1964.28", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:17.320000"}, {"id": 144815, "accession_number": "1969.59", "share_license_status": "CC0", "tombstone": "Writing Box (Suzuribako) with Europeans (\u8494\u7d75\u5357\u86ee\u4eba\u56f3\u786f\u7bb1), 1800s. Japan, Edo period (1615\u20131868). Lacquered wood with gold maki-e, silver inlay and red lacquer on black ground; 23 x 20.2 cm (9 1/16 x 7 15/16 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1969.59", "current_location": null, "title": "Writing Box (Suzuribako) with Europeans", "title_in_original_language": "\u8494\u7d75\u5357\u86ee\u4eba\u56f3\u786f\u7bb1", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "lacquered wood with gold maki-e, silver inlay and red lacquer on black ground", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Lacquer", "measurements": "23 x 20.2 cm (9 1/16 x 7 15/16 in.)", "dimensions": {"No Extent Specified": {"height": 0.23, "width": 0.202}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}, {"id": 310241, "title": "Autumn Grasses: Arts of the Momoyama Period (1573-1615)", "description": "<i>Autumn Grasses: Arts of the Momoyama Period (1573-1615)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4-December 11, 1988).", "opening_date": "1988-10-04T04:00:00"}, {"id": 185596, "title": "Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art", "description": "<i>Unfolding Beauty:  Japanese Screens from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 15-September 16, 2001).", "opening_date": "2001-07-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Robert Rousset [1901\u20131982], New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131965", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1965\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The Japanese term <em>nanban</em> \u5357\u86ee is used to describe designs like the one on this box.", "description": "The two people on the left of this box lid's design are Portuguese traders, identifiable by their balloon-shaped pants. Facing them is a Jesuit priest in a long robe. Portuguese ships arrived in Japan in the 1540s. Imagery first made to document the appearance of the foreigners survived as decoration on later objects like this one.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79922320"], "internet_archive": ["https://archive.org/details/clevelandart-1969.59-writing-box-suzuriba"]}, "citations": [], "url": "https://clevelandart.org/art/1969.59", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.59/1969.59_web.jpg", "width": "900", "height": "566", "filesize": "154306", "filename": "1969.59_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.59/1969.59_print.jpg", "width": "3400", "height": "2139", "filesize": "1167611", "filename": "1969.59_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.59/1969.59_full.tif", "width": "5801", "height": "3649", "filesize": "63528012", "filename": "1969.59_full.tif"}}, "alternate_images": [{"date_created": "2012-05-14T14:21:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt0_web.jpg", "width": "861", "height": "893", "filesize": "102226"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt0_print.jpg", "width": "3279", "height": "3400", "filesize": "1570438"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt0_full.tif", "width": "4745", "height": "4919", "filesize": "70048644"}}, {"date_created": "2012-05-14T13:43:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt1_web.jpg", "width": "871", "height": "893", "filesize": "98100"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt1_print.jpg", "width": "3318", "height": "3400", "filesize": "1519019"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt1_full.tif", "width": "4755", "height": "4872", "filesize": "69534840"}}, {"date_created": "2012-05-14T14:45:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt2_web.jpg", "width": "1263", "height": "837", "filesize": "124196"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt2_print.jpg", "width": "3400", "height": "2254", "filesize": "1082731"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.59/1969.59_alt2_full.tif", "width": "5973", "height": "3960", "filesize": "70984764"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144815, "creators": [], "legal_status": "accessioned", "accession_date": "1969-05-10T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Writing Box with Decoration of Foreigners (\"Southern Barbarians')"], "is_highlight": false, "updated_at": "2026-03-27 00:01:17.185000"}, {"id": 146878, "accession_number": "1972.285", "share_license_status": "CC0", "tombstone": "Green Parrot, c. 1820. India, East India Company School. Gum tempera on paper; overall: 38.5 x 28.6 cm (15 3/16 x 11 1/4 in.). The Cleveland Museum of Art, Bequest of Edgar A. Hahn, 1972.285", "current_location": null, "title": "Green Parrot", "creation_date": "c. 1820", "creation_date_earliest": 1815, "creation_date_latest": 1825, "artists_tags": [], "culture": ["India, East India Company School"], "technique": "Gum tempera on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 38.5 x 28.6 cm (15 3/16 x 11 1/4 in.)", "dimensions": {"overall": {"height": 0.385, "width": 0.286}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "recto, lower right in persian: Cagilah", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 203111, "title": "Art and Stories from Mughal India", "description": "<i>Art and Stories from Mughal India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 31-October 23, 2016).", "opening_date": "2016-07-31T04:00:00"}, {"id": 395247, "title": "Animal Fables of Mughal India", "description": "<i>Animal Fables of Mughal India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 12-August 29, 2021).", "opening_date": "2021-03-12T05:00:00"}], "legacy": []}, "provenance": [{"description": "Edgar A. Hahn [1882-1970], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1972", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1972-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting was owned by a founding partner of Cleveland law firm Hahn Loeser &amp; Parks.", "description": "Made by an Indian artist for a British civil servant working in Calcutta (now Kolkata), this bird is portrayed with precision and brilliant color. It appears to be of the same type as Tuti, the protagonist of the early Mughal <em>Tuti-nama </em>(Tales of a Parrot) manuscript. This example, however, has a black beak, indicating she is female, while the male Tuti has a red beak. Though loosely translated as \u201cparrot,\u201d Tuti is technically a Lord Derby\u2019s parakeet. Because of its ability to talk, the parrot often appears in Indo-Iranian tales as a messenger of moral wisdom.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472267"], "internet_archive": ["https://archive.org/details/clevelandart-1972.285-green-parrot"]}, "citations": [], "url": "https://clevelandart.org/art/1972.285", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.285/1972.285_web.jpg", "width": "692", "height": "900", "filesize": "160858", "filename": "1972.285_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.285/1972.285_print.jpg", "width": "2616", "height": "3400", "filesize": "2010393", "filename": "1972.285_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.285/1972.285_full.tif", "width": "5428", "height": "7054", "filesize": "114898708", "filename": "1972.285_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Edgar A. Hahn", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146878, "creators": [], "legal_status": "accessioned", "accession_date": "1972-12-05T00:00:00", "sortable_date": 1815, "date_added_to_oa": null, "date_text": "c. 1820", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:50.850000"}, {"id": 152502, "accession_number": "1985.323", "share_license_status": "CC0", "tombstone": "Nissaka: The Night-Weeping Stone at Sayo no Nakayama, from the series The Fifty-Three Stations of the T\u014dkaid\u014d, c. 1848\u201350. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; sheet: 22 x 34.7 cm (8 11/16 x 13 11/16 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.323", "current_location": null, "title": "Nissaka: The Night-Weeping Stone at Sayo no Nakayama, from the series The Fifty-Three Stations of the T\u014dkaid\u014d", "creation_date": "c. 1848\u201350", "creation_date_earliest": 1843, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Sheet: 22 x 34.7 cm (8 11/16 x 13 11/16 in.)", "dimensions": {"sheet": {"height": 0.22, "width": 0.347}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga\r\nPublisher: Maruya Seibei\r\nCensorship Seal: Mera, Watanabe", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}, {"id": 300223, "title": "Japanese Gallery 235 Rotation", "description": "<i>Japanese Gallery 235 Rotation</i>. The Cleveland Museum of Art (organizer) (January 2-July 9, 2018).", "opening_date": "2018-01-02T05:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Gallery Rotation (Gallery 113). </em>The Cleveland Museum of Art, Cleveland, OH (February 20-May 6, 2003).", "opening_date": "2003-02-20T00:00:00"}]}, "provenance": [{"description": "(R. E. Lewis, Inc., California, sold to Kelvin and Eleanor Smith)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899-1998] to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1985-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["300.1979"], "did_you_know": "This print belongs to a series known colloquially as the \u201cFormal Script T\u014dkaid\u014d\u201d because of the style of text in which the name of the series is printed.", "description": "This print is an image of a mountain pass in Nissaka, one of the stops along the T\u014dkaid\u014d, a road running from Kyoto to Edo (present-day Tokyo). This scene alludes to a legend in which bandits murdered a pregnant woman on that stretch of road, and her blood fell upon a stone. Shown in the foreground, the stone is said to contain the woman\u2019s spirit, and so it weeps each night. In some versions of the story, the stone\u2019s cry alerts a passing monk (really the disguised bodhisattva Kannon) to the presence of her infant, who survived the attack. The monk takes the child from the deceased mother\u2019s body, and raises it as his own. The child goes on to avenge its mother.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79937301"], "internet_archive": ["https://archive.org/details/clevelandart-1985.323-nissaka-the-night-we"]}, "citations": [], "url": "https://clevelandart.org/art/1985.323", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.323/1985.323_web.jpg", "width": "900", "height": "583", "filesize": "194653", "filename": "1985.323_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.323/1985.323_print.jpg", "width": "3400", "height": "2202", "filesize": "2563150", "filename": "1985.323_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.323/1985.323_full.tif", "width": "7337", "height": "4752", "filesize": "104626336", "filename": "1985.323_full.tif"}}, "alternate_images": [], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152502, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1843, "date_added_to_oa": null, "date_text": "c. 1848\u201350", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["The Night-Weeping Stone at Sayononakayama near Nissaka (Station 26) from the series Fifty-Three Stations of the Tokaido"], "is_highlight": false, "updated_at": "2026-03-27 00:10:33.012000"}, {"id": 161865, "accession_number": "2001.152", "share_license_status": "CC0", "tombstone": "Hoyshaleshvara Temple Sculpture, Halebidu (Halebeedu), 1856\u201357. Richard Banner Oakeley (British, 1834\u20131914). Albumenized salt print from waxed paper negative; image: 27.2 x 29.2 cm (10 11/16 x 11 1/2 in.); mounted: 35.3 x 44.4 cm (13 7/8 x 17 1/2 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, John L. Severance Fund, 2001.152", "current_location": null, "title": "Hoyshaleshvara Temple Sculpture, Halebidu (Halebeedu)", "creation_date": "1856\u201357", "creation_date_earliest": 1856, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "albumenized salt print from waxed paper negative", "support_materials": [], "department": "Photography", "collection": "PH - British 19th Century", "type": "Photograph", "measurements": "Image: 27.2 x 29.2 cm (10 11/16 x 11 1/2 in.); Mounted: 35.3 x 44.4 cm (13 7/8 x 17 1/2 in.); Matted: 50.8 x 61 cm (20 x 24 in.)", "dimensions": {"image": {"height": 0.272, "width": 0.292}, "mounted": {"height": 0.353, "width": 0.444}, "matted": {"height": 0.508, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in pencil on recto of mount: \"Q1437\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 184303, "title": "Travel Photography: Early Images of India", "description": "<i>Travel Photography: Early Images of India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 2-July 17, 2002).", "opening_date": "2002-03-02T00:00:00"}, {"id": 299790, "title": "Indian Gallery 242b Rotation \u2013 November 2017-April 2018", "description": "<i>Indian Gallery 242b Rotation \u2013 November 2017-April 2018</i>. The Cleveland Museum of Art (organizer) (November 10, 2017-April 16, 2018).", "opening_date": "2017-11-10T05:00:00"}, {"id": 674335, "title": "Temples and Worship in South Asia", "description": "<i>Temples and Worship in South Asia</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14, 2024-March 9, 2025).", "opening_date": "2024-09-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Charles Isaacs Photographs, Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20132001", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2001\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Holysaleswara Temple is a magnificent example of Hindu architecture and sculpture begun during the first half of the 12th century.", "description": "On the recommendation of a friend, Oakeley marched 20 days along treacherous country roads to locate the Hoyshaleshvara Temple in southwestern India. Finding it more beautiful than any other building he had seen in southern India, he framed his subject to capture a sense of the lavish number of vivid sculptures that enliven the temple's walls. <br><br>At the right is the Hindu god Shiva with his wife, the goddess Parvati, seated on his mount, the bull Nandi. At the left, Shiva and Parvati are seated on Mount Kailasha, which a multiarmed demon is attempting to dislodge.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79985166"], "internet_archive": ["https://archive.org/details/clevelandart-2001.152-hoysalesvara-temple", "https://archive.org/details/clevelandart-2001.152-hoyshaleshvara-templ"]}, "citations": [], "url": "https://clevelandart.org/art/2001.152", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2001.152/2001.152_web.jpg", "width": "1171", "height": "893", "filesize": "912636", "filename": "2001.152_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2001.152/2001.152_print.jpg", "width": "3400", "height": "2592", "filesize": "6424979", "filename": "2001.152_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2001.152/2001.152_full.tif", "width": "5000", "height": "3812", "filesize": "57200572", "filename": "2001.152_full.tif"}}, "alternate_images": [], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161865, "creators": [{"id": 41229, "description": "Richard Banner Oakeley (British, 1834\u20131914)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-12-03T00:00:00", "sortable_date": 1856, "date_added_to_oa": null, "date_text": "1856\u201357", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hoysalesvara Temple Sculpture, Halebid"], "is_highlight": false, "updated_at": "2026-03-27 00:10:00.299000"}, {"id": 162450, "accession_number": "2003.113.b", "share_license_status": "CC0", "tombstone": "Krishna quells the serpent Kaliya (verso), from a Kalighat album, c. 1890. Eastern India, Bengal, Kolkata, Kalighat. Gum tempera, graphite, and ink on paper; secondary support: 48.1 x 29.7 cm (18 15/16 x 11 11/16 in.); painting only: 25 x 20 cm (9 13/16 x 7 7/8 in.). The Cleveland Museum of Art, Gift of William E. Ward in memory of his wife, Evelyn Svec Ward, 2003.113.b", "current_location": null, "title": "Krishna quells the serpent Kaliya (verso), from a Kalighat album", "creation_date": "c. 1890", "creation_date_earliest": 1880, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Eastern India, Bengal, Kolkata, Kalighat"], "technique": "Gum tempera, graphite, and ink on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Secondary Support: 48.1 x 29.7 cm (18 15/16 x 11 11/16 in.); Painting only: 25 x 20 cm (9 13/16 x 7 7/8 in.)", "dimensions": {"secondary support": {"height": 0.481, "width": 0.297}, "painting only": {"height": 0.25, "width": 0.2}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200105, "title": "Indian Kalighat Paintings", "description": "<i>Indian Kalighat Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-September 18, 2011).", "opening_date": "2011-05-01T00:00:00"}, {"id": 379162, "title": "Life and Exploits of Krishna in Indian Paintings", "description": "<i>Life and Exploits of Krishna in Indian Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2021-February 6, 2022).", "opening_date": "2021-09-01T04:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (5/1/11-9/18/11); \"Indian Kalighat Paintings\"", "opening_date": "2011-05-01T00:00:00"}]}, "provenance": [{"description": "William E. Ward [1922-2004], Solon, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-2003", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2003-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kaliya is one of the few foes whom Krishna did not kill, but permitted him to relocate to an island in the ocean.", "description": "The serpent Kaliya was poisoning the water of the Yamuna River near the residence of the cowherding community, where Krishna spent his youth. The animals were dying of the toxins. Krishna wrestled the mighty serpent then emerged from the water to dance on his head. Pleading with Krishna to set him free, Kaliya\u2019s wives are shown like mermaids.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478846"], "internet_archive": ["https://archive.org/details/clevelandart-2003.113.b-krishna-quells-the-s"]}, "citations": [], "url": "https://clevelandart.org/art/2003.113.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.113.b/2003.113.b_web.jpg", "width": "742", "height": "900", "filesize": "208753", "filename": "2003.113.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.113.b/2003.113.b_print.jpg", "width": "2802", "height": "3400", "filesize": "2080572", "filename": "2003.113.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.113.b/2003.113.b_full.tif", "width": "3212", "height": "3898", "filesize": "37593752", "filename": "2003.113.b_full.tif"}}, "alternate_images": [], "creditline": "Gift of William E. Ward in memory of his wife, Evelyn Svec Ward", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162450, "creators": [], "legal_status": "accessioned", "accession_date": "2003-09-02T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2003.113", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Krishna as Kali Worshipped by Radha (verso)"], "is_highlight": false, "updated_at": "2026-03-26 23:59:45.645000"}, {"id": 150022, "accession_number": "1980.238", "share_license_status": "CC0", "tombstone": "Arion on a Sea Horse and Bacchante on a Panther (pair), 1855. William Adolphe Bouguereau (French, 1825\u20131905). Oil on fabric; framed: 87.3 x 127 x 5.4 cm (34 3/8 x 50 x 2 1/8 in.); unframed: 71.3 x 111.8 cm (28 1/16 x 44 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.238", "current_location": "201 French Neoclassical Painting & Sculpture", "title": "Arion on a Sea Horse and Bacchante on a Panther (pair)", "creation_date": "1855", "creation_date_earliest": 1855, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 87.3 x 127 x 5.4 cm (34 3/8 x 50 x 2 1/8 in.); Unframed: 71.3 x 111.8 cm (28 1/16 x 44 in.)", "dimensions": {"framed": {"height": 0.873, "width": 1.27, "depth": 0.054}, "unframed": {"height": 0.713, "width": 1.118}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: wb [in monogram] / 1855\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Commissioned by Anatole Bartholoni, Paris. Paris sale, Drouot, 27 April 1933 (lot 32), Arion chevauchant un monstre marin (lot 33), Bacchante sur une panth\u00e8re (repr.), Shepherd Gallery, New York, 1972. Christopher Gibbs Ltd., London, 1973. London sale, Sotheby's, 30 November 1977 (lot 208), Arion sur un dauphin; Bacchante sur une panth\u00e8re (repr.), \u00a36500. Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "These paintings are from a series of eight works that Bouguereau painted for a Parisian home decorated in the style inspired by ancient Roman wall paintings found at Pompeii. The ancient Greek poet Arion escaped pirates by fleeing on the back of a sea creature attracted by the poet's singing. In the companion picture, a bacchante, a female follower of the Roman god Bacchus, rides a panther and carries a pinecone-tipped spear called a thyrsus. The figures are silhouetted against a gold honeycomb\u2013patterned background evoking ancient Roman mosaics Bouguereau had studied in Italy. The soft, waxy flesh tones and glimmering gold leaf were calculated to come to life when viewed under the mansion's gas lighting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474448"], "internet_archive": ["https://archive.org/details/clevelandart-1980.238-arion-on-a-sea-horse"]}, "citations": [{"citation": "Weeda, Eddy, Joop Schamine\u0301e and Nils van Rooijen. Botanische meesterwerken: bij het 170-jarig bestaan van de Koninklijke Nederlandse Botanische Vereniging. 2016.", "page_number": null, "url": null}, {"citation": "Jullian, Philippe. \"The Symbolists.\" <em>Architectural Digest </em>31 (January/February 1975): 58-63.", "page_number": "Reproduced: P. 59", "url": ""}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: P. 182, 211, nos. 27 & 28", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Wissman, Fronia E. <em>Bouguereau</em>. San Francisco: Pomegranate Artbooks, 1996.", "page_number": "Mentioned and reproduced: P. 22-24, pls. 4 & 5", "url": ""}, {"citation": "Argencourt, Louise d', 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: P. 76-79, Vol. I, cat. nos. 29, 30", "url": ""}, {"citation": "Bartoli, Damien, and Frederick C. Ross. <em>William Bouguereau.</em> Woodbridge Suffolk: Antique Collectors' Club in cooperation with the Art Renewal Center, 2010.", "page_number": "Mentioned and reproduced: Vol. II, p. 41, nos. 1855/03A, 1855/03B", "url": ""}], "url": "https://clevelandart.org/art/1980.238", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.238/1980.238_web.jpg", "width": "707", "height": "900", "filesize": "289548", "filename": "1980.238_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.238/1980.238_print.jpg", "width": "2669", "height": "3400", "filesize": "2633825", "filename": "1980.238_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.238/1980.238_full.tif", "width": "6310", "height": "8037", "filesize": "152167712", "filename": "1980.238_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Sarah S. and Alexander M. Cutler Gallery", "athena_id": 150022, "creators": [{"id": 1571, "description": "William Adolphe Bouguereau (French, 1825\u20131905)", "extent": null, "qualifier": null, "role": "artist", "biography": "William Adolphe Bouguereau started drawing at an early age but did not take lessons until 1834, his first year in college in Pons, where his instructor was Louis Sage, who had been a pupil of Ingres (q.v.). In 1841 Bouguereau's father, a wine merchant, moved the family to Bordeaux. The following year he was allowed to attend the \u00c9cole Municipale de Dessin et de Peinture, where he studied under Jean-Paul Alaux. Bouguereau became a bookkeeper for another wine merchant in order to meet the cost of the school. By 1844 he had won the first prize for figure painting, which further encouraged him to pursue his art career. He lived with his uncle in Mortagne from 1845 until 1846, painted portraits of the local landowners, and saved enough money to move to Paris. In 1846 he entered the \u00c9cole des Beaux-Arts and studied under Fran\u00e7ois-\u00c9douard Picot (1786-1868). After several attempts, he finally won the Premier Grand Prix de Rome in 1850. He lived at the Villa Medici in Rome and studied Raphael, Andrea del Sarto, Giotto's Paduan frescos, and those at San Francesco in Assisi. The impact of these works appeared in Bouguereau's oeuvre in the form of classical poses, restraint, and a high degree of finish. After his return to France, Bouguereau exhibited regularly at the Salon, concentrating on classical, genre, and religious themes. In 1858 he was commissioned to decorate his first public building-the Chapel of St. Louis in St. Clotilde Church in Paris. Other public commissions followed, including the chapels of St. Pierre-Paul and St. Jean-Baptiste at St. Augustin Church in Paris, the cupola decorations in the cathedral in La Rochelle, and the ceiling of the Grand Theater of Bordeaux. Bouguereau remained in France during the Franco-Prussian War (1870-71), fighting in the National Guard. Afterward he taught at the Acad\u00e9mie Julian in Paris. In 1876 he fulfilled a lifelong goal, being elected to the Acad\u00e9mie des Beaux-Arts de l'Institut de France. He received the Legion of Honor in 1878 and was a professor at the \u00c9cole des Beaux-Arts in Paris in 1888. Bouguereau's support of the academy and his interest in classicism caused a fall in his popularity at the end of his life. Nevertheless, he died a successful, wealthy artist.", "name_in_original_language": null, "birth_year": "1825", "death_year": "1905", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1855, "date_added_to_oa": null, "date_text": "1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:22.557000"}, {"id": 130159, "accession_number": "1952.538", "share_license_status": "Copyrighted", "tombstone": "Fifth Avenue Nocturne, c. 1895. Childe Hassam (American, 1859\u20131935). Oil on canvas; framed: 75.6 x 66 x 7.6 cm (29 3/4 x 26 x 3 in.); unframed: 61.2 x 51 cm (24 1/8 x 20 1/16 in.). The Cleveland Museum of Art, Anonymous Gift, 1952.538", "current_location": null, "title": "Fifth Avenue Nocturne", "creation_date": "c. 1895", "creation_date_earliest": 1890, "creation_date_latest": 1900, "artists_tags": ["male"], "culture": ["America, late 19th Century"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 75.6 x 66 x 7.6 cm (29 3/4 x 26 x 3 in.); Unframed: 61.2 x 51 cm (24 1/8 x 20 1/16 in.)", "dimensions": {"framed": {"height": 0.756, "width": 0.66, "depth": 0.076}, "unframed": {"height": 0.612, "width": 0.51}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right:  Childe Hassam", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 520810, "title": "Impressionism and its Roots", "description": "<i>Impressionism and its Roots</i>. University of Iowa Museum of Art, Iowa City, IA (organizer) (November 8-December 6, 1964).", "opening_date": "1964-11-08T05:00:00"}, {"id": 445532, "title": "The Color of Mood: American Tonalism 1880 - 1910", "description": "<i>The Color of Mood: American Tonalism 1880 - 1910</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (January 15-April 2, 1972).", "opening_date": "1972-01-15T05:00:00"}, {"id": 224230, "title": "After Whistler: The Artist and His Influence on American Painting", "description": "<i>After Whistler: The Artist and His Influence on American Painting</i>. High Museum of Art, Atlanta, GA (organizer) (November 22, 2003-February 8, 2004); The Detroit Institute of Arts, Detroit, MI (March 13-June 6, 2004).", "opening_date": "2003-11-15T00:00:00"}], "legacy": [{"description": "Cleveland, The Cleveland Museum of Art, Exhibition of American Painting from 1860 Until Today (23 June-4 October 1937), cat. no. 83.", "opening_date": "1937-06-23T00:00:00"}, {"description": "San Francisco, The California Palace of the Legion of Honor, The Color of Mood: American Tonalism 1880-1910 (22 January-2 April 1972), cat. no. 17, not illus.", "opening_date": "1972-01-22T00:00:00"}, {"description": "Cincinnati, The Taft Museum, Night Lights: 19th and 20th Century American Nocturne Paintings (2 May-30 June 1985), illus. p. 12, not numbered.", "opening_date": "1985-05-02T00:00:00"}, {"description": "Cleveland, The Cleveland Museum of Art, Fraternit\u00e9: Artistic Relations Between France and America (21 July-18 October 1987), Gallery A; no cat.", "opening_date": "1987-07-21T00:00:00"}, {"description": "Columbus, Columbus Museum of Art, A Nation's Legacy: 150 Years of American Art from Ohio Collections (19 January-15 March 1992); traveled to Tokyo, The Isetan Museum (9 April-5 May 1992); to Yamaguchi, The Yamaguchi Prefectural Museum of Art (12 May-21 June 1992); to Fukushima, The Fukushima Prefectural Museum of Art (27 June-2 August 1992); to Takamatsu, The Takamatsu City Museum of Art (7 August-6 September 1992); to Osaka, Daimaru Museum Umeda (23 September-5 October 1992); cat. no. 38, illus. p. 65.", "opening_date": "1992-01-19T00:00:00"}, {"description": "High Museum of Art (11/15/2003 - 2/8/2004) and Detroit Institute of Arts (3/6/2004 - 5/30/2004): \"After Whistler\" exh. cat no. 43, p. 194-195.", "opening_date": "2003-11-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["2237.37"], "did_you_know": "The artist was nicknamed \"Muley\" for his stubbornly held opinions.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60516107"], "internet_archive": []}, "citations": [{"citation": "Valance, H\u00e9l\u00e8ne. <em>Nocturne : Night in American Art, 1890-1917. </em>Translated by Jane Marie Todd. New Haven: Yale University Press, 2018.", "page_number": "Mentioned, pp. 179, 182-83; reproduced, p. 180.", "url": ""}, {"citation": "Davis, John, Jennifer A. Greenhill, and Jason David LaFountain, eds. A Companion to American Art. Chichester, West Sussex, UK: Wiley Blackwell, 2015.", "page_number": "Mentioned, p. 568.", "url": ""}, {"citation": "The Cleveland Museum of Art. <em>The Cleveland Museum of Art Handbook.</em> Cleveland, OH: The Cleveland Museum of Art, 1958.", "page_number": "Mentioned and Reproduced: cat. no. 545", "url": "https://archive.org/details/CMAHandbook1958/page/n101"}, {"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. 189", "url": "https://archive.org/details/CMAHandbook1966/page/n213"}, {"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. 189", "url": "https://archive.org/details/CMAHandbook1969/page/n213"}, {"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. 234", "url": "https://archive.org/details/CMAHandbook1978/page/n254"}, {"citation": "Valance, He\u0301le\u0300ne. <em>Nuits ame\u0301ricaines: l'art du nocturne aux E\u0301tats-Unis, 1890-1917</em>. Paris: PUPS, 2015.", "page_number": "Reproduced: p. 282, fig. 126", "url": null}, {"citation": "Clayson, Hollis. <em>Illuminated Paris: Essays on Art and Lighting in the Belle E\u0301poque</em>. Chicago: The University of Chicago Press, 2019.", "page_number": "Mentioned and reproduced: P. 151, fig. 5.15", "url": null}], "url": "https://clevelandart.org/art/1952.538", "images": {}, "alternate_images": [], "creditline": "Anonymous Gift", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 130159, "creators": [{"id": 3110, "description": "Childe Hassam (American, 1859\u20131935)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1859", "death_year": "1935", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1952-12-26T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "c. 1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:24.097000"}, {"id": 143221, "accession_number": "1967.18", "share_license_status": "CC0", "tombstone": "The Devil and Tom Walker, 1856. John Quidor (American, 1801\u20131881). Oil on canvas; framed: 84 x 104 x 8.5 cm (33 1/16 x 40 15/16 x 3 3/8 in.); unframed: 68.8 x 86.6 cm (27 1/16 x 34 1/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1967.18", "current_location": null, "title": "The Devil and Tom Walker", "creation_date": "1856", "creation_date_earliest": 1856, "creation_date_latest": 1856, "artists_tags": ["male"], "culture": ["America"], "technique": "oil on canvas", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Painting", "measurements": "Framed: 84 x 104 x 8.5 cm (33 1/16 x 40 15/16 x 3 3/8 in.); Unframed: 68.8 x 86.6 cm (27 1/16 x 34 1/8 in.)", "dimensions": {"framed": {"height": 0.84, "width": 1.04, "depth": 0.085}, "unframed": {"height": 0.688, "width": 0.866}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower center: \"J. Quidor / N.Y. 1856\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}], "legacy": [{"description": "New York, American Art Association, Hon. Thomas B. Carroll Sale (1895) cat. no. 321.", "opening_date": null}, {"description": "Brooklyn, NY, Brooklyn Museum, Opening Exhibition (1897) cat. no. 551.", "opening_date": null}, {"description": "New York, Anderson Galleries Henry T. Chapman Sale (1913) cat. no. 57.", "opening_date": "1913-01-01T00:00:00"}, {"description": "Brooklyn, NY, Brooklyn Museum, Brooklyn Institute of Arts and Sciences, John Quidor, 1801-1881 (23 January-8 March 1942) listed cat. no. 12, p. 52 as Rip Van Winkle Reaches the Gnomes; not illus.", "opening_date": "1942-01-23T00:00:00"}, {"description": "Montclair, NJ, Montclair Art Museum, Art in New Jersey from 1776-1876 (1945) cat. no. 37.", "opening_date": "1945-01-01T00:00:00"}, {"description": "Detroit, MI, Detroit Institute of Arts, Collection in Progress: Selections from the Lawrence and Barbara Fleischman Collection of American Art (1955) illus. cat. no. 6, p. 12.", "opening_date": "1955-01-01T00:00:00"}, {"description": "U.S.I.A. Tour of South America (1957-58) no. 7.", "opening_date": "1957-01-01T00:00:00"}, {"description": "U.S.I.A. Tour of Greece and Israel (1958) cat. no. 10, p. 9.", "opening_date": "1958-01-01T00:00:00"}, {"description": "Milwaukee, WI, Milwaukee Art Center, American Painting 1760-1960 (3 March-3 April1960) illus. p. 62.", "opening_date": "1960-01-01T00:00:00"}, {"description": "Tucson, AZ, University of Arizona Art Gallery, Selections from the Lawrence A. and Barbara Fleischman Collection of American Painting 1765-1963 (1 February-29 March 1964) illus. cat. no. 82, illus. p. 66.", "opening_date": "1964-02-01T00:00:00"}, {"description": "Utica, NY, Munson-Williams-Proctor Institute, John Quidor (19 December 1965-January 23 1966); traveled to New York, Whitney Museum (2 November-5 December 1965); to Rochester, Rochester Memorial Art Gallery (6 February-6 March 1966); Albany, Albany Institute of History and Art (20 March-24 April 1966) illus. cat. no.13, p. 43; listed p. 42.", "opening_date": "1966-01-23T00:00:00"}]}, "provenance": [{"description": "Thomas B. Carroll (New York sale 1895); Henry T. Chapman, (1895 New York sale 1913); Douthitt Gallery; Albert Duveen, New York, 1943; Joseph Katz, Baltimore; M. Knoedler & Co., New York, 1954; L.A. Fleishman, Detroit; Kennedy Galleries, New York", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "An eccentric and cantankerous man, John Quidor achieved fame in his lifetime for paintings of banners and fire engines, none of which survive. Today he is remembered for a series of fantastic, grotesque paintings based on the stories of Washington Irving (1783-1859)-a series whose exuberant style differs from the general run of American genre paintings, which tend to be more understated in mood and realistic in style. The Devil and Tom Walker belongs to this curious group of works. It portrays a scene from Irving's Tales of a Traveler (1824), in which Tom Walker, who was \"not a man to be troubled with any fears,\" encounters the Devil while on an evening outing.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60469759"], "internet_archive": ["https://archive.org/details/clevelandart-1967.18-the-devil-and-tom-wa"]}, "citations": [{"citation": "\u201cYear in Review.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 54, no. 10 (December 1967): 302\u2013346.", "page_number": "Reproduced: p. 320; Mentioned: p. 343, no. 61", "url": "http://www.jstor.org/stable/25152183"}, {"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. 184", "url": "https://archive.org/details/CMAHandbook1969/page/n208"}, {"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. 230", "url": "https://archive.org/details/CMAHandbook1978/page/n250"}], "url": "https://clevelandart.org/art/1967.18", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1967.18/1967.18_web.jpg", "width": "1168", "height": "893", "filesize": "832501", "filename": "1967.18_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1967.18/1967.18_print.jpg", "width": "3400", "height": "2600", "filesize": "7576305", "filename": "1967.18_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1967.18/1967.18_full.tif", "width": "5808", "height": "4442", "filesize": "77424412", "filename": "1967.18_full.tif"}}, "alternate_images": [{"date_created": "2010-12-10T18:26:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.18/1967.18_alt0_web.jpg", "width": "1129", "height": "893", "filesize": "860490"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.18/1967.18_alt0_print.jpg", "width": "3400", "height": "2689", "filesize": "7920426"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1967.18/1967.18_alt0_full.tif", "width": "6032", "height": "4772", "filesize": "86381660"}}], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 143221, "creators": [{"id": 2712, "description": "John Quidor (American, 1801\u20131881)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1801", "death_year": "1881", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1967-01-30T00:00:00", "sortable_date": 1856, "date_added_to_oa": null, "date_text": "1856", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:23.037000"}, {"id": 153753, "accession_number": "1987.54", "share_license_status": "CC0", "tombstone": "An Effect of the Sun, Normandy, c. 1856. Gustave Le Gray (French, 1820\u20131884). Albumen print from wet collodion negative; image: 32 x 41.8 cm (12 5/8 x 16 7/16 in.); matted: 55.9 x 71.1 cm (22 x 28 in.). The Cleveland Museum of Art, Andrew R. and Martha Holden Jennings Fund, 1987.54", "current_location": null, "title": "An Effect of the Sun, Normandy", "creation_date": "c. 1856", "creation_date_earliest": 1851, "creation_date_latest": 1861, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "albumen print from wet collodion negative", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 32 x 41.8 cm (12 5/8 x 16 7/16 in.); Matted: 55.9 x 71.1 cm (22 x 28 in.)", "dimensions": {"image": {"height": 0.32, "width": 0.418}, "matted": {"height": 0.559, "width": 0.711}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Written in red ink on recto: \"Gustave Le Gray\"; on label on recto: \"All titles Effet du [sic] Soleil Ocean No. 23\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 310231, "title": "The Year in Review for 1987", "description": "<i>The Year in Review for 1987</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).", "opening_date": "1988-02-24T05:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}, {"id": 311875, "title": "Legacy of Light: Master Photographs from the Cleveland Museum of Art", "description": "<i>Legacy of Light: Master Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 24, 1996-February 2, 1997).", "opening_date": "1996-11-24T05:00:00"}, {"id": 178867, "title": "Drawn with Light: Pioneering French Photography from the Cleveland Museum of Art", "description": "<i>Drawn with Light: Pioneering French Photography from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 26-June 16, 2005).", "opening_date": "2005-02-26T00:00:00"}, {"id": 197576, "title": "France at the Dawn of Photography", "description": "<i>France at the Dawn of Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 24, 2010).", "opening_date": "2009-10-04T00:00:00"}], "legacy": [{"description": "Philadelphia Museum of Art, Nov. 17 - Dec. 28, 1969: \"French Primitive Photography.\" Exhibition catalogue p. 47, repr. p. 47.", "opening_date": "1969-11-17T00:00:00"}, {"description": "CMA, February 24 - April 17, 1988: \"Year in Review 1987,\" CMA Bulletin, 75 (February 1988), p. 67, no. 66, repr. p. 58-59.", "opening_date": "1988-02-24T00:00:00"}, {"description": "CMA, June 29 - August 26, 1990: \"The World Seen Anew: English and French Photographs of the 1850's,\" Gallery D, no exhibition catalogue.", "opening_date": "1990-06-29T00:00:00"}, {"description": "CMA, June 7 - September 8, 1991: \"Object Lessons: Cleveland Creates an Art Museum.\"", "opening_date": "1991-06-07T00:00:00"}, {"description": "CMA, November 20,1996 - February 2, 1997: \"Legacy of Light: Master Photographs from the Cleveland Museum of Art.\"", "opening_date": "1997-02-02T00:00:00"}, {"description": "Galeries Mansart and Mazarine, Richelieu, France, March 19 - June 16, 2002: \"Gustave Le Gray, 1820-1884.\" Aubenas, Sylvie. Gustave Le Gray, 1820-1884 (Gallimard: Biblioth\u00e8que nationale de France, 2002). (Also exhibited at The Getty Museum, Los Angeles, July 9 - Sept. 29, 2002). Catalogue no. 130. p. 110.", "opening_date": "2002-03-19T00:00:00"}, {"description": "Cleveland, Ohio:  The Cleveland Museum of Art; February 26 - June 16, 2005 . \"Drawn with Light: Pioneering French Photography from the Cleveland Museum of Art\".", "opening_date": "2005-02-26T00:00:00"}, {"description": "The Cleveland Museum of Art (10/04/2009 - 01/24/2010); \"France at the Dawn of Photography\"", "opening_date": "2009-10-04T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Exploring the dramatic effects of sunlight, clouds, and water, Gustave Le Gray gained immediate recognition for his landmark photographs of the Mediterranean Sea and the English Channel taken between 1856 and 1858. At this time photographic emulsions were not equally sensitive to all colors of the spectrum, making it impossible to achieve a proper exposure for both sea and sky in a single image. Thus, for may of his seascapes Le Gray printed two negatives on a single sheet of paper, a technique called combination printing. One negative was taken of the water and the other of the sky. The overlap often apparent in such multiple negative images is not visible in this skillfully executed print.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757406"], "internet_archive": ["https://archive.org/details/clevelandart-1987.54-an-effect-of-the-sun"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1987.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 2 (February 1988): 30\u201371.", "page_number": "Reproduced: p. 58; Mentioned: p. 67, no. 66", "url": "http://www.jstor.org/stable/25160017"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 221", "url": ""}], "url": "https://clevelandart.org/art/1987.54", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.54/1987.54_web.jpg", "width": "1165", "height": "893", "filesize": "622306", "filename": "1987.54_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.54/1987.54_print.jpg", "width": "3400", "height": "2606", "filesize": "5150857", "filename": "1987.54_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.54/1987.54_full.tif", "width": "5000", "height": "3832", "filesize": "57511368", "filename": "1987.54_full.tif"}}, "alternate_images": [{"date_created": "2005-02-14T17:05:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.54/1987.54_alt0_web.jpg", "width": "1169", "height": "893", "filesize": "685138"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.54/1987.54_alt0_print.jpg", "width": "3400", "height": "2598", "filesize": "5648318"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.54/1987.54_alt0_full.tif", "width": "5000", "height": "3821", "filesize": "57332164"}}], "creditline": "Andrew R. and Martha Holden Jennings Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153753, "creators": [{"id": 568, "description": "Gustave Le Gray (French, 1820\u20131884)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gustave Le Gray French, 1820-1884\r\n\r\nA master both technically and aesthetically, Gustave Le Gray (born in Villiers-le-Bel) was one of the most important figures in 19th-century French photography, bringing to the medium artistic integrity and visual imagination. Le Gray, trained as a painter, was exhibiting his work in the Paris Salons in the late 1840s and early 1850s when he became interested in photography. Along with Henri Le Secq and Charles N\u00e8gre, he was a student of Paul Delaroche, a painter of considerable reputation and ability who was one of the first to grasp the importance of photography.\r\n\tIn 1851 Le Gray announced his invention of a waxed paper negative, a significant improvement over earlier paper methods that was later adopted by Louis de Clercq, Dr. August Jakob Lorent, and others. That same year the Commission des Monuments historiques named him as one of five photographers of the Mission h\u00e9liographique, for which he produced well-known studies of army maneuvers at Chalons. Le Gray also worked with Fran\u00e7ois Arago, the scientist and champion of Louis-Jacques-Mand\u00e9 Daguerre, and later proposed a new method of toning prints, among other innovations.\r\n\tLe Gray was perhaps most admired for the effects he achieved with water and sky. To capture the subtle qualities of cloud patterns in some of his seascapes, he employed two negatives to produce the final image. His commissioned studies of historic monuments are classic examples of early architectural photography. In the early 1850s he worked in the Barbizon tradition at Fontainebleau and, in 1860, documented the uprising against Fran\u00e7ois II in Palermo. He was a founding member of the Soci\u00e9t\u00e9 h\u00e9liographique and the Soci\u00e9t\u00e9 fran\u00e7aise de photographie. Despite his influence and artistic success, Le Gray left Paris in 1865 to become a professor of design at the \u00c9cole Polytechnique in Cairo. He died in Egypt. T.W.F.", "name_in_original_language": null, "birth_year": "1820", "death_year": "1884", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-06-19T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "c. 1856", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:35.935000"}, {"id": 106968, "accession_number": "1924.971", "share_license_status": "CC0", "tombstone": "Meguro Drum Bridge and Sunset Hill, from One Hundred Views of Famous Places in Edo (\u540d\u6240\u6c5f\u6238\u767e\u666f\u3000\u76ee\u9ed2\u592a\u9f13\u6a4b\u5915\u65e5\u306e\u5ca1), 1857. Utagawa Hiroshige (Japanese, 1797\u20131858). Color woodblock print; sheet: 23.2 x 36.1 cm (9 1/8 x 14 3/16 in.). The Cleveland Museum of Art, Gift of Mrs. Francis F. Prentiss for the Dudley P. Allen Collection, 1924.971", "current_location": "235A Japanese", "title": "Meguro Drum Bridge and Sunset Hill, from One Hundred Views of Famous Places in Edo", "title_in_original_language": "\u540d\u6240\u6c5f\u6238\u767e\u666f\u3000\u76ee\u9ed2\u592a\u9f13\u6a4b\u5915\u65e5\u306e\u5ca1", "creation_date": "1857", "creation_date_earliest": 1857, "creation_date_latest": 1857, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "color woodblock print", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Print", "measurements": "Sheet: 23.2 x 36.1 cm (9 1/8 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.232, "width": 0.361}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signature: Hiroshige ga.\nPublisher: Uoya Eikichi (trimmed).\nCensorship Seal: aratame (trimmed).", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 357023, "title": "Japanese Prints from the Museum Collection", "description": "<i>Japanese Prints from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 5-October 28, 1934).", "opening_date": "1934-09-05T04:00:00"}, {"id": 698362, "title": "Highlights of Japanese Art", "description": "<i>Highlights of Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 7, 2025-June 14, 2026).", "opening_date": "2025-12-07T05:00:00"}], "legacy": [{"description": "<em>Later Japanese Art Rotation (Gallery 113)</em>. The Cleveland Museum of Art, Cleveland, OH (December 4, 2003-March 18, 2004).", "opening_date": "2003-12-04T05:00:00Z"}]}, "provenance": [{"description": "Mrs. Francis F. [Elisabeth Severance Allen] Prentiss [1865\u20131944], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131924", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1924\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The arched stone bridge over the Meguro River in Edo (now Tokyo) was known as the Drum Bridge for its resemblance to the rounded profile of a drum. This print shows people shielding themselves from the snow with hats and umbrellas as they cross it. In the foreground on the lower right, behind the artist\u2019s signature, is the roof of a shop called Sh\u014dgatsu-ya that served <em>shiruko mochi</em>\u2014a sweet red-bean soup with rice cakes that is a winter treat. Sunset Hill lies on the other side of the bridge and was once known for its red maple leaves in autumn.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894105"], "internet_archive": ["https://archive.org/details/clevelandart-1924.971-picture-of-twilight"]}, "citations": [], "url": "https://clevelandart.org/art/1924.971", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1924.971/1924.971_web.jpg", "width": "587", "height": "900", "filesize": "298673", "filename": "1924.971_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1924.971/1924.971_print.jpg", "width": "2216", "height": "3400", "filesize": "3635993", "filename": "1924.971_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1924.971/1924.971_full.tif", "width": "7332", "height": "11250", "filesize": "247487152", "filename": "1924.971_full.tif"}}, "alternate_images": [{"date_created": "2014-07-16T10:10:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.971/1924.971_alt0_web.jpg", "width": "586", "height": "900", "filesize": "240881"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.971/1924.971_alt0_print.jpg", "width": "2212", "height": "3400", "filesize": "2897698"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1924.971/1924.971_alt0_full.tif", "width": "4885", "height": "7507", "filesize": "110045888"}}], "creditline": "Gift of Mrs. Francis F. Prentiss for the Dudley P. Allen Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 106968, "creators": [{"id": 50381, "description": "Utagawa Hiroshige (Japanese, 1797\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u6b4c\u5ddd \u5e83\u91cd", "birth_year": "1797", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1924-11-26T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "1857", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Picture of Twilight at the Drum Bridge in Meguro (from the series 100 Views of Famous Places in Edo)"], "is_highlight": false, "updated_at": "2026-04-01 14:33:37.849000"}, {"id": 107039, "accession_number": "1925.1036", "share_license_status": "CC0", "tombstone": "The Drawing Lesson (Berthe Morisot Drawing with Her Daughter), 1889. Berthe Morisot (French, 1841\u20131895). Drypoint. The Cleveland Museum of Art, Dudley P. Allen Fund, 1925.1036", "current_location": "004 Special Exhibition Gallery", "title": "The Drawing Lesson (Berthe Morisot Drawing with Her Daughter)", "creation_date": "1889", "creation_date_earliest": 1889, "creation_date_latest": 1889, "artists_tags": ["female"], "culture": ["France, 19th century"], "technique": "drypoint", "support_materials": [], "department": "Prints", "collection": "PR - Drypoint", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Encouraged by the Impressionist Mary Cassatt and the poet St\u00e9phane Mallarm\u00e9, Morisot experimented with printmaking between 1887 and 1889. In this drypoint, a technique in which a sharp tool is used to scratch lines onto a copper plate, Morisot looks directly at the viewer\u2014as if drawing our portrait\u2014while 11-year-old Julie observes her mother at work.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894287"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1036-the-drawing-lesson-b"]}, "citations": [], "url": "https://clevelandart.org/art/1925.1036", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1036/1925.1036_web.jpg", "width": "686", "height": "893", "filesize": "398927", "filename": "1925.1036_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1036/1925.1036_print.jpg", "width": "2611", "height": "3400", "filesize": "5741913", "filename": "1925.1036_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1036/1925.1036_full.tif", "width": "3839", "height": "5000", "filesize": "57599280", "filename": "1925.1036_full.tif"}}, "alternate_images": [{"date_created": "2006-02-10T18:25:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1036/1925.1036_alt0_web.jpg", "width": "673", "height": "893", "filesize": "402193"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1036/1925.1036_alt0_print.jpg", "width": "2561", "height": "3400", "filesize": "5250349"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1036/1925.1036_alt0_full.tif", "width": "3410", "height": "4528", "filesize": "46350956"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 107039, "creators": [{"id": 1865, "description": "Berthe Morisot (French, 1841\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a prosperous family, Berthe Morisot was encouraged at an early age to become an amateur artist. Along with her sister Edma, she began her studies with Geoffroy-Alphonse Chocarne (act. 1838-1857), a painter trained in the neoclassical tradition. In 1858 the sisters entered the studio of Joseph-Beno\u00eet Guichard (1806-1880), a student of Ingres (q.v.) and Delacroix (q.v.). Through Guichard they met Corot (q.v.) in 1861, under whose encouragement they began to paint out of doors near Pontoise as well as in Normandy and Brittany. Berthe Morisot exhibited at the Salon from 1864 until 1873. Fantin-Latour (q.v.) introduced her to Manet (q.v.) around 1867. They developed a close friendship, and Morisot modeled for him many times (see Manet, Berthe Morisot, no. 141). In 1874 she married his brother, Eug\u00e8ne, and that same year began participating in the impressionist exhibitions, never to show at the Salon again. Four years after their marriage, the couple's only child, Julie, was born on 14 November 1878 and would become a main source of artistic inspiration. Morisot matured as a central member of the group of impressionists. Her home became a meeting place for painters and writers alike, including Renoir (q.v.), Degas (q.v.), Mary Cassatt (1845-1926), and St\u00e9phane Mallarm\u00e9. She participated in the Drouot sale of 1875, where the artists were ridiculed extensively. Her paintings, however, fetched slightly higher prices than those of Renoir, Monet (q.v.), and Sisley (q.v.). Morisot made pastels and watercolors as well as oil paintings, and during the final years of her life she experimented with lithography and drypoint etching.", "name_in_original_language": null, "birth_year": "1841", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1889, "date_added_to_oa": null, "date_text": "1889", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Sketching"], "is_highlight": false, "updated_at": "2026-04-09 17:31:58.576000"}, {"id": 136511, "accession_number": "1960.82", "share_license_status": "CC0", "tombstone": "Head of Beethoven, 1891. Emile Antoine Bourdelle (French, 1861\u20131929). Bronze; overall: 59.2 x 42 x 52.1 cm (23 5/16 x 16 9/16 x 20 1/2 in.). The Cleveland Museum of Art, Gift of Carrie Moss Halle in memory of Salmon Portland Halle, 1960.82", "current_location": "218 European Sculpture", "title": "Head of Beethoven", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 59.2 x 42 x 52.1 cm (23 5/16 x 16 9/16 x 20 1/2 in.)", "dimensions": {"overall": {"height": 0.592, "width": 0.42, "depth": 0.521}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed left side: \"Bourdelle / Sculpt.\"; inscribed right side: \"FONRIENATLE DES BRONZES / J PETERMANN: ST GILLES BRUXELLES\"; inscribed on front: \"Mon domaine c'est l'air / quand le vent, se leve / mon \u00e2me tourbillonne / Beethoven\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 300794, "title": "Year in Review: 1965", "description": "<i>Year in Review: 1965</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27-November 14, 1965).", "opening_date": "1965-10-27T04:00:00"}, {"id": 311444, "title": "Object Lessons: Cleveland Creates an Art Museum", "description": "<i>Object Lessons: Cleveland Creates an Art Museum</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 7-September 8, 1991).", "opening_date": "1991-06-07T04:00:00"}], "legacy": [{"description": "CMA 1965: \"Year in Review,\" Bulletin LII (November 1965), p. 152, repr. 140", "opening_date": "1965-11-01T00:00:00"}]}, "provenance": [{"description": "Carrie Moss Halle [1871\u20131965], Shaker Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1960", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1960\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A pioneer of modern sculpture, Antoine Bourdelle studied at the \u00c9cole des Beaux-Arts in Paris and worked as an assistant to Augustin Rodin, who greatly admired the younger artist\u2019s work. In 1888 Bourdelle produced the first of a series of sculptural portraits of Ludwig van Beethoven, in which the artist orchestrated powerful billowing shapes to convey the creative spirit or genius of the composer. The artist inscribed a quote from Beethoven in the lower left: \u201cMy domain is the air; when the wind rises my soul swirls.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781259"], "internet_archive": ["https://archive.org/details/clevelandart-1960.82-head-of-beethoven"]}, "citations": [], "url": "https://clevelandart.org/art/1960.82", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1960.82/1960.82_web.jpg", "width": "803", "height": "900", "filesize": "167920", "filename": "1960.82_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1960.82/1960.82_print.jpg", "width": "3035", "height": "3400", "filesize": "1759830", "filename": "1960.82_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1960.82/1960.82_full.tif", "width": "5736", "height": "6425", "filesize": "110591132", "filename": "1960.82_full.tif"}}, "alternate_images": [{"date_created": "2013-11-29T12:32:23", 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"https://openaccess-cdn.clevelandart.org/alternate/1960.82/1960.82_alt7_print.jpg", "width": "3400", "height": "1871", "filesize": "1932153"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1960.82/1960.82_alt7_full.tif", "width": "4787", "height": "2634", "filesize": "37854752"}}], "creditline": "Gift of Carrie Moss Halle in memory of Salmon Portland Halle", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Betty T. and David M. Schneider Gallery", "athena_id": 136511, "creators": [{"id": 18938, "description": "Emile Antoine Bourdelle (French, 1861\u20131929)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1861", "death_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1960-04-25T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:23.950000"}, {"id": 148362, "accession_number": "1975.75", "share_license_status": "CC0", "tombstone": "Dream Journey to Mt. Tiantai (\u5922\u904a\u5929\u53f0\u5716), 1814. Qian Du (Chinese, 1763\u20131844). Handscroll; ink on paper; overall: 29.8 x 72 cm (11 3/4 x 28 3/8 in.). The Cleveland Museum of Art, Gift of Jean-Pierre Dubosc, 1975.75", "current_location": null, "title": "Dream Journey to Mt. Tiantai", "title_in_original_language": "\u5922\u904a\u5929\u53f0\u5716", "creation_date": "1814", "creation_date_earliest": 1814, "creation_date_latest": 1814, "artists_tags": ["male"], "culture": ["China, Qing dynasty (1644-1911), Jiaqing reign (1796-1820)"], "technique": "handscroll; ink on paper", "support_materials": [], "department": "Chinese Art", "collection": "ASIAN - Handscroll", "type": "Painting", "measurements": "Overall: 29.8 x 72 cm (11 3/4 x 28 3/8 in.)", "dimensions": {"overall": {"height": 0.298, "width": 0.72}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5922\u6e38\u5929\u53f0\u5716.\n\u4f59\u820a\u85cf\u5b50\u754f\u8d64\u57ce\u4ed9\u9928\u5377\u5b50\uff0c\u50c5\u5c3a\u9918\u800c\u5177\u5343\u5dd6\u842c\u58d1\u4e4b\u52e2\u3002\u7532\u620c\u4e09\u6708\uff0c\u6232\u70ba\u96f2\u4f2f\u81e8\u4f5c\u884c\u770b\u5b50\u3002\u9322\u53d4\u7f8e\u5e76\u8b58\u3002[\u5370]\u58fa\u516c", "inscription_translation": "Artist's inscription, signature, and seal: \n\nDream Journey to Mt. Tiantai.\nIn the past, I had Ziwei\u2019s [Tang Yin] scroll The Daoist Lodge of the Vermilion Citadel in my collection. Though it was little more than a foot in length, the landscape embodied a magnificent view of thousands of cliffs and myriad valleys. In the third month of the year jiaxu [1814], I playfully copied it as a small handscroll as a gift for Yunbo [Chen Wenshu]. Thus inscribed, Qian Shumei. [Seal]: Hugong.", "inscription_remark": null, "sortorder": null}, {"inscription": "\u4eca\u5e74\u6625\u70ba\u96f2\u4f2f\u4f5c\u5922\u6e38\u5929\u53f0\u5716\uff0c\u96f2\u4f2f\u88dd\u6dc7\u6210\u5377\u3002\u79cb\u4e03\u6708\uff0c\u4f59\u4f86\u5433\u4e2d\u6842\u8449\u66f8\u5802\uff0c\u5c55\u73a9\u7adf\u65e5\u5f8c\uff0c\u70ba\u5176\u66f8\u7d00\u820a\u4f5c\u65bc\u5377\u5f8c\u3002\u96f2\u4f2f\u8a69\u7a7a\u9748\u51fa\u6773\uff0c\u6050\u65af\u5716\u4e0d\u80fd\u50b3\u5beb\u842c\u4e00\u3002\u6642\u79cb\u6691\u71be\u751a\uff0c\u63ee\u6c57\u70ba\u4e4b\uff0c\u8155\u529b\u5fa9\u5f31\uff0c\u66f8\u53c8\u52a3\u65bc\u756b\uff0c\u592b\u5948\u4f55\u3002\u53d4\u7f8e\u5e76\u8a18\u3002[\u5370]\u53d4\u7f8e [\u5370, \u53f3\u4e0b]\u9322\u53d4\u7f8e", "inscription_translation": "Artist's colophon: \n\nIn the spring of this year, I painted the Dream Journey to Mt. Tiantai for Yunbo [Chen Wenshu].  [Afterward], he had it mounted in a scroll format. In the autumn, the seventh month, I returned to the Guiye Shutang [Library under Cassia Leaves; i.e., Chen Wenshu\u2019s library] in Suzhou. I looked at the scroll throughout the day and added, at the end of the scroll, his poem about the dream journey, which had been composed some time ago. Yunbo\u2019s poem can be characterized as limpid, elusive, and subtle. I am afraid that this painting cannot hope to match its [rich] meanings in any conceivable way. At the time, the autumn heat was excessive, and I wrote the poem while sweating profusely. My wrist also lacked energy, and this made the calligraphy even less desirable than the painting. What can I do? [I], Shumei inscribed this. [seal] Shumei. Artist's seal at lower right edge of painting: Qian Shumei.", "inscription_remark": null, "sortorder": null}, {"inscription": "\u5c4f\u98a8\u4e5d\u758a\u96f2\u9326\u5f35\uff0c\u5c71\u6c23\u6ec3\u96f2\u96f2\u6c23\u6dbc\u3002/\n\u8393\u82d4\u5982\u5e2d\u4e8c\u5c3a\u539a\uff0c\u6b64\u9593\u7fe0\u58c1\u975e\u77f3\u6881\u3002/\n\u73e0\u7c3e\u5012\u6302\u7d55\u58c1\u4e0b\uff0c\u842c\u659b\u9bab\u73e0\u5411\u7a7a\u7009\u3002/\n\u4ed9\u7a74\u5143\u6c23\u6c96\u7136\u901a\uff0c\u5225\u6709\u767d\u9f8d\u51fa\u5c71\u7f45\u3002/\n\u9f8d\u8d77\u6b32\u88c2\u9752\u5c71\u9752\uff0c\u62cd\u624b\u4e00\u559d\u505c\u96f2\u505c\u3002/\n\u9808\u81fe\u5fa9\u8ff8\u52e2\u66f4\u6025\uff0c\u6c34\u82b1\u5012\u6372\u6416\u74cf\u73b2\u3002/\n\u6709\u7f8e\u4e00\u4eba\u7f8e\u4e14\u980e\uff0c\u7fe0\u8896\u7368\u501a\u7d05\u95cc\u897f\u3002/\n\u9867\u6211\u76ee\u6210\u82e5\u76f8\u8b58\uff0c\u7591\u662f\u5289\u962e\u6240\u9047\u4e4b\u4ed9\u5983\u3002/\n\u74ca\u81fa\u91d1\u95d5\u6e3a\u4f55\u8655\uff0c\u80e1\u9ebb\u98ef\u719f\u6843\u82b1\u80a5\u3002/\n\u4e00\u7fc1\u98f2\u6c34\u60df\u8b80\u66f8\uff0c\u5410\u7d0d\u5c71\u7da0\u9910\u677e\u8174\u3002/\n\u66f8\u4e2d\u6240\u8a00\u4e0d\u76e1\u8b58\uff0c\u5999\u7406\u5fc5\u6709\u58fa\u516c\u58fa\u3002/\n\u5c71\u82b1\u8972\u4eba\u7d05\u850c\u850c\uff0c\u9192\u5f8c\u7ffb\u7591\u5c0b\u5922\u8f42\u3002/\n\u6ce0\u7136\u6b98\u97ff\u6eff\u7a7a\u5c71\uff0c\u6708\u75d5\u6b63\u7167\u79cb\u5c4f\u7da0\u3002", "inscription_translation": "A poem composed by Chen Wenshu \u9673\u6587\u8ff0 (1775\u20131845), transcribed by Qian Du: \n\nNine layers of nature\u2019s screens are overlaid by brocades of clouds./ \nThe mountainous vapors turn to mist, and the mist turns cool./ \nThe moss and fungi are like snow, laid on thick to a depth of two feet./ \nHere the green walls are composed not just of barren rocks./ \nA pearly curtain of waterfall hangs from a sheer cliff,/ \nSpilling ten thousand vases of pearls over the empty space./ \nThe primordial breath rushes through the Immortal\u2019s cavern,/ \nAnd a white dragon begins to appear among these cliffs./ \nThe rising dragon splits the green hills and makes them greener./ \nI clap my hands and utter a shout to still the frozen clouds./ \nSoon, the dragon reappears and gains in momentum,/ \nStirring the whirling waves and rushing streams./ \nA tall beauty makes her presence felt, her kingfisher sleeves/ \nTouching the western red balustrade,/ \nAgainst which she leans in solitude./ \nShe looks at me, as if she has known me before./ \nI suspect perhaps she was [one of] the immortal consorts/ \nWhom Liu [Chen, \u5289\u6668] and Ruan [Zhao, \u962e\u8087] had encountered./ \nFar, far are her jade terraces and golden pavilion, remote and invisible./ \nThe sesame rice is well cooked, and the peach flowers are in full bloom./ \nThere is an old man drinking water while reading./ \nAs he inhales and exhales, the mountains turn green and the pine nuts ripen./ \nI am not fully cognizant of what the book says./ \nFor the subtle truth there is of course the pot [Hu] of Hugong./ \nThe scent of wild flowers is everywhere, and their red petals have fallen./ \nAlthough awake, I still suspected I was in a dream journey./ \nA trail of limpid sounds fills the void of mountain ranges./ \nThe pale moon casts a reflection on the autumnal, verdant cliffs.", "inscription_remark": null, "sortorder": null}, {"inscription": "3 additional seals unidentified.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Titleslip by Mo Beiming \u83ab\u5317\u6e9f (active early 20th century)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Eight Dynasties of Chinese Painting</em>. The Nelson-Atkins Museum of Art (November 7, 1980-January 4, 1981); The Cleveland Museum of Art (February 10-March 29, 1981); Tokyo National Museum (October 4-November 17, 1982).", "opening_date": "1981-02-10T00:00:00"}]}, "provenance": [{"description": "Chen Wenshu \u9673\u6587\u8ff0 [1775\u20131845], Suzhou, China", "citations": [], "footnotes": ["<div><!--block-->This painting was made as a gifr for Chen Wenshu, a scholar-official and friend and patron of Qian Du. They both grew up in Qiantang (Hangzhou), and their families enjoyed a close relationship. Records indicate that Qian Du painted for Chen Wenshu on four separate occasions, and possibly more.</div>"], "date": "1814-", "sortorder": 1}, {"description": "Jean-Pierre Dubosc [1904\u20131988], Paris, France, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1975", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1975-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1.1974"], "did_you_know": "The man and woman in the pavilion likely represent Chen Wenshu and the mysterious presence he encountered on his dream journey to Mt. Tiantai.", "description": "When he painted Mt. Tiantai \u5929\u53f0\u5c71, Qian Du was a mature artist with a distinctive style that balanced refinement and \u201cstudied awkwardness.\u201d He included the site\u2019s famed features: the crescent-shaped stone bridge arching across the waterfall and surrounded by dense cliffs. Rows of pine and other vegetation appear in the crevices above and below the mountain. The twisting trunks and branches are left in outline, encased within the variegated foliage. In a pavilion at the center, a man and a woman look back to the lower right, across the ravine and toward the cascading water. Beyond and to the left, two simple mounds are backed by hills that stretch into the distance. <br><br>Qian Du left space above the hills for an inscription describing the circumstances that gave rise to the painting. Chen Wenshu, family friend and patron to Qian Du, had dreamt of a journey to Tiantai, a mountain famed for both its natural beauty and its associations with legends and myths. This short handscroll was based on Chen\u2019s description of his dream journey, on which he marveled at the scenery and encountered a goddess. Six months after the painting\u2019s completion, Qian transcribed his friend\u2019s longer poetic reminiscence on paper mounted after the painting. <br><br>The landscape of the painting was not based on the physical site, which likely neither man had visited in 1814, but rather on the mythic tradition of Tiantai. It caused turbulence in the mind of the poet and provided inspiration to the painter.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472915"], "internet_archive": ["https://archive.org/details/clevelandart-1975.75-dream-journey-to-mt"]}, "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. 60; Mentioned: p. 70, no. 154", "url": "http://www.jstor.org/stable/25152624"}, {"citation": "Ho, Wai-kam, Sherman E. Lee, Laurence Sickman, and Marc F. Wilson. <em>Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and the Cleveland Museum of Art</em>. Cleveland, OH: Cleveland Museum of Art, in cooperation with Indiana University Press, 1980.", "page_number": "Mentioned and Reproduced: cat. no. 280, p. 381", "url": null}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Mentioned and Reproduced: pp. 468", "url": null}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Mentioned and Reproduced: pp. 466-469", "url": null}, {"citation": "Chou, Ju-hsi and Anita Chung. <em>Silent poetry: Chinese paintings from the collection of the Cleveland Museum of Art</em>. Cleveland, OH: The Cleveland Museum of Art, 2015.", "page_number": "Mentioned: pp. 466-469", "url": null}], "url": "https://clevelandart.org/art/1975.75", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1975.75/1975.75_web.jpg", "width": "1263", "height": "288", "filesize": "300965", "filename": "1975.75_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1975.75/1975.75_print.jpg", "width": "3400", "height": "776", "filesize": "2150977", "filename": "1975.75_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1975.75/1975.75_full.tif", "width": "9000", "height": "2054", "filesize": "55479456", "filename": "1975.75_full.tif"}}, "alternate_images": [{"date_created": "2004-02-23T17:22:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.75/1975.75_alt0_web.jpg", "width": "1263", "height": "496", "filesize": "521972"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.75/1975.75_alt0_print.jpg", "width": "3400", "height": "1334", "filesize": "3633537"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.75/1975.75_alt0_full.tif", "width": "7000", "height": "2747", "filesize": "57710172"}}, {"date_created": "2004-02-23T17:15:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.75/1975.75_alt1_web.jpg", "width": "1263", "height": "659", "filesize": "644521"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.75/1975.75_alt1_print.jpg", "width": "3400", "height": "1775", "filesize": "4194316"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1975.75/1975.75_alt1_full.tif", "width": "6144", "height": "3208", "filesize": "59152184"}}], "creditline": "Gift of Jean-Pierre Dubosc", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148362, "creators": [{"id": 31417, "description": "Qian Du (Chinese, 1763\u20131844)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u9322\u675c", "birth_year": "1763", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-08-11T00:00:00", "sortable_date": 1814, "date_added_to_oa": null, "date_text": "1814", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Dream Journey to Mount T'ien-t'ai", "Dream Journey to Mt. Tiantai \u5922\u904a\u5929\u53f0\u5716"], "is_highlight": false, "updated_at": "2026-03-27 00:09:46.517000"}, {"id": 157107, "accession_number": "1993.239", "share_license_status": "CC0", "tombstone": "Hunting Scene (\ud638\ub835\ub3c4 [\u80e1\u7375\u5716]), 1800s. Korea, Joseon dynasty (1392\u20131910). Eight-panel folding screen; ink and color on silk; overall: 214.6 x 345.4 cm (84 1/2 x 136 in.). The Cleveland Museum of Art, Gift of Leighton R. and Rosemarie Longhi, 1993.239", "current_location": null, "title": "Hunting Scene", "title_in_original_language": "\ud638\ub835\ub3c4 [\u80e1\u7375\u5716]", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "eight-panel folding screen; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Overall: 214.6 x 345.4 cm (84 1/2 x 136 in.)", "dimensions": {"overall": {"height": 2.146, "width": 3.454}, "each screen": {"height": 1.424, "width": 0.414}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "National Museum of Korea, Seoul, South Korea (January 24-March 23, 2025).", "opening_date": "2025-01-24T05:00:00Z"}]}, "provenance": [{"description": "Leighton R. [1944\u20132024] and Rosemarie Longhi, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131993", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1993\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The theme of nomad warriors hunting became highly appreciated in the Korean royal court of the 1700s for the king's particular interests in strengthening the royal army's military prowess.", "description": "The theme of nomad warriors riding horses and hunting wild animals was first painted in the Qing imperial court in China in late 1600s. But it became favored by the Korean royal court and painted by the royal court painter in the late 1700s. The Joseon Korean ruling class members considered Qing nomad warriors to be \"barbaric,\" yet highly admired their hunting and military skills. By the late 1800s, folding screens with the hunting scene were used largely for this dynamic and exotic feature.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477023"], "internet_archive": ["https://archive.org/details/clevelandart-1993.239-hunting-scene"]}, "citations": [{"citation": "\u201c1993 Annual Report.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 81, no. 6 (July 1994): 143\u2013218.", "page_number": "Mentioned: p. 158", "url": "http://www.jstor.org/stable/25161457"}, {"citation": "Yi, Sang-guk. \"Hunting Scene Paintings in the Latter Half of the Joseon Dynasty [\uc870\uc120 \ud6c4\uae30\uc758 \ud638\ub835\ub3c4].\" <em>Hanguk minhwa </em>1 (2010): 135-173.", "page_number": null, "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE08767046"}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 196-197, no. 118", "url": ""}, {"citation": "Jang, Yeonhui. \"Rediscovering Origins: The Restoration of the Tiger Hunting Screen at the Cleveland Museum of Art, USA.\" <em>National Museum of Korea</em> vol. 69 (Autumn 2024): 28\u201329.", "page_number": "Mentioned and Reproduced: pp. 28\u201329", "url": ""}], "url": "https://clevelandart.org/art/1993.239", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1993.239/1993.239_web.jpg", "width": "900", "height": "476", "filesize": "208660", "filename": "1993.239_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1993.239/1993.239_print.jpg", "width": "3400", "height": "1799", "filesize": "2470143", "filename": "1993.239_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1993.239/1993.239_full.tif", "width": "22500", "height": "11907", 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Africa, Central Africa, Democratic Republic of Congo, Lega-style maker. Plant fibers, elephant rawhide and hair, cowrie shells, glass beads, and cord; overall: 52.1 x 21.6 x 39.4 cm (20 1/2 x 8 1/2 x 15 1/2 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 2005.56", "current_location": null, "title": "Bwami Prestige Cap (Mukuba or Nkumbu)", "creation_date": "early to mid-1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Lega-style maker"], "technique": "Plant fibers, elephant rawhide and hair, cowrie shells, glass beads, and cord", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 52.1 x 21.6 x 39.4 cm (20 1/2 x 8 1/2 x 15 1/2 in.)", "dimensions": {"overall": {"height": 0.521, "width": 0.216, "depth": 0.394}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Jacques Hautelet, La Jolla, CA, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "until 2005", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2005\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "While identified with Africa, cowrie shells were generally imported from the Indian Ocean region. 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Los Angeles, Calif: Fowler Museum of Cultural History, University of California, Los Angeles, p. 155, fig. 8.16.", "page_number": "", "url": ""}, {"citation": "Ross, Doran H, and University of California, Los Angeles Fowler Museum of Cultural History. 1992. <em>Elephant : The Animal and Its Ivory in African Culture</em>. Los Angeles, Calif., USA: Fowler Museum of Cultural History, University of California, Los Angeles, p. 294, fig. 14.1.", "page_number": "", "url": ""}, {"citation": "Petridis, Constantine. \"Good and Beautiful.\" <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>46, no. 7 (September 2006): 7-11.", "page_number": "Mentioned and reproduced: p. 8", "url": "https://archive.org/details/CMAMM2006-07/page/6/mode/2up"}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. 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Wade Fund, 2010.147", "current_location": null, "title": "A View from Moel Cynwich: Looking Over the Vale of Afon Mawddach and Toward Cader Idris", "creation_date": "c. 1850", "creation_date_earliest": 1845, "creation_date_latest": 1855, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with scratch-away, heightened with white", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 48.9 x 70.3 cm (19 1/4 x 27 11/16 in.); Secondary Support: 49.5 x 70.8 cm (19 1/2 x 27 7/8 in.)", "dimensions": {"sheet": {"height": 0.489, "width": 0.703}, "secondary support": {"height": 0.495, "width": 0.708}, "mounted": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Private collection, England", "citations": [], "footnotes": [], "date": "?-2003", "sortorder": 1}, {"description": "(Lowell Libson, London)", "citations": [], "footnotes": null, "date": "2003-2004", "sortorder": 2}, {"description": "(Lowell Libson, London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "2009-2010", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1808, William Turner was elected the then youngest member of London's Society of Painters in Water Colours.", "description": "As a young man, William Turner removed himself from the competitive London art world and returned to his native Oxford to teach and paint in solitude. This retreat may have been because he shared the same name as his contemporary Joseph Mallord William Turner, or it may have been prompted by his apparently retiring personality. He painted prolifically and traveled widely in Britain in search of subjects. This watercolor describes the dramatic mountain scenery of north Wales. The close-up view of the hillside and sheep in the left foreground juxtaposed with the sweeping vista of the mountains of Snowdonia invites a comparison of the minute with the infinite.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80073930"], "internet_archive": ["https://archive.org/details/clevelandart-2010.147-a-view-from-moel-cyn"]}, "citations": [{"citation": "Libson, Lowell. <em>Lowell Libson Ltd: The First Five Years</em>. London: Lowell Libson, 2007.", "page_number": "Mentioned: p. 108; Reproduced: p. 9", "url": null}, {"citation": "Cleveland Museum of Art, \"Cleveland Museum of Art Announces Newest Acquisitions,\" September 7, 2010, Cleveland Museum of Art Archives.", "page_number": "", "url": "https://archive.org/details/cmapr4979"}, {"citation": "Mann, C. Griffith. \"Acquisitions 2010.\" <em>Cleveland Art</em> (March-April 2011): 10-27.", "page_number": "Reproduced: pp. 9 (detail), 16", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 92-95, 149, no. 31; Reproduced: cover, pp. 93, 94-95", "url": null}, {"citation": "Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 53 no. 03, May/June 2013", "page_number": "Mentioned and reproduced: p. 3", "url": "https://archive.org/details/CMAMM2013-03/page/n1"}], "url": "https://clevelandart.org/art/2010.147", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.147/2010.147_web.jpg", "width": "1263", "height": "887", "filesize": "904315", "filename": "2010.147_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.147/2010.147_print.jpg", "width": "3400", "height": "2389", "filesize": "7101611", "filename": "2010.147_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.147/2010.147_full.tif", "width": "6325", "height": "4445", "filesize": "84372492", "filename": "2010.147_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168281, "creators": [{"id": 59244, "description": "William Turner (British, 1789\u20131862)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1789", "death_year": "1862", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-06-07T00:00:00", "sortable_date": 1845, "date_added_to_oa": null, "date_text": "c. 1850", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:13.152000"}, {"id": 171079, "accession_number": "2013.52", "share_license_status": "CC0", "tombstone": "Ceremonial Ladle (Wunkirmian or Wakemia), possibly late 1800s or early 1900s. Africa, West Africa, C\u00f4te d'Ivoire, Dan-style carver. Wood, twine, and possibly resin; overall: 56.8 x 11.2 x 7 cm (22 3/8 x 4 7/16 x 2 3/4 in.). The Cleveland Museum of Art, Severance and Greta Millikin Trust, 2013.52", "current_location": null, "title": "Ceremonial Ladle (Wunkirmian or Wakemia)", "creation_date": "possibly late 1800s or early 1900s", "creation_date_earliest": 1875, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, Dan-style carver"], "technique": "Wood, twine, and possibly resin", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 56.8 x 11.2 x 7 cm (22 3/8 x 4 7/16 x 2 3/4 in.)", "dimensions": {"overall": {"height": 0.568, "width": 0.112, "depth": 0.07}, "base": {"height": 0.006, "width": 0.137, "depth": 0.105}, "No Extent Specified": {}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 412365, "title": "The Language of Beauty in African Art", "description": "<i>The Language of Beauty in African Art</i>. Kimbell Art Museum, Fort Worth, TX (April 3-July 31, 2022) https://kimbellart.org/exhibition/language-beauty-african-art; The Art Institute of Chicago, Chicago, IL (organizer) (November 20, 2022-February 27, 2023) https://www.artic.edu/exhibitions/9344/the-language-of-beauty-in-african-art.", "opening_date": "2022-04-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "Pierre-Paul Grass\u00e9 by field-collection (inv. P.P.G.5)", "citations": [], "footnotes": [], "date": "1934-1985", "sortorder": null}, {"description": "Grass\u00e9 family, by descent", "citations": [], "footnotes": [], "date": "1985-2013", "sortorder": null}, {"description": "(Christie's, Paris, France, \"African and Oceanic Art,\" Sale 3553 Lot 94, June 19, 2013, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2013", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2013-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This ladle was a status symbol for a notable woman.", "description": "An emblem of great prestige, this human-shaped ladle would have been owned by a distinguished married woman recognized for her talents as a farmer and her exceptional generosity and hospitality. One of her responsibilities was to host a grand Feast of Merit when she, along with other highly respected women, prepared food for a large number of local and foreign guests. During the feast the women danced brandishing their rice-filled ladles while singing in strident voices.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759492"], "internet_archive": ["https://archive.org/details/clevelandart-2013.52-ceremonial-ladle-wun"]}, "citations": [{"citation": "Windmuller-Luna, Kristen. \"An Obsession with Heads: The Impact of African Arts, Anthropology, and Photography on the Works of Alberto Giacometti,\" <em>Medium </em>(May 2022).", "page_number": "", "url": "https://medium.com/cma-thinker/an-obsession-with-heads-968e8e8c2d30"}, {"citation": "Petridis, Constantine. \u201c2013 Acquisitions: African Art.\u201d  <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 22.", "page_number": "Reproduced and Mentioned: p. 22", "url": "https://archive.org/details/CMAMM2014-02"}, {"citation": "Grunne, Bernard de, Hans Himmelheber, and Eberhard Fischer. Dan: la danse des cuille\u0300res = dancing with spoons. 2019, 5-6, 78.", "page_number": "Mentioned: pp. 5-6; reproduced: p. 78, cat. 26.", "url": ""}, {"citation": "Rondeau, James, Constantijn Petridis, Yae\u0308lle Biro, Herbert M. Cole, Kassim Kone, Babatunde Lawal, Wilfried Van Damme, and Susan Mullin Vogel. <em>The language of beauty in African art.</em> 2022.", "page_number": "", "url": ""}, {"citation": "Schmuckmuseum Pforzheim. <em>Aufgetischt: Eine Kulinarische Weltreise, Zur Kultur Des Essens Und Trinkens.</em> Edited by Friederike Zobel, Katja Poljanac, and Isabel Schmidt-Mappes. Pforzheim, Stuttgart: Schmuckmuseum Pforzheim ; Arnoldsche, 2025.", "page_number": "Mentioned and reproduced: p. 218, abb. 5", "url": ""}], "url": "https://clevelandart.org/art/2013.52", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.52/2013.52_web.jpg", "width": "579", "height": "893", "filesize": "39086", "filename": "2013.52_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.52/2013.52_print.jpg", "width": "2204", "height": "3400", "filesize": "856972", "filename": "2013.52_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.52/2013.52_full.tif", "width": "4975", "height": "7675", "filesize": "114574128", "filename": "2013.52_full.tif"}}, "alternate_images": [{"date_created": "2013-10-22T13:22:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt0_web.jpg", "width": "569", "height": "893", "filesize": "36321"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt0_print.jpg", "width": "2166", "height": "3400", "filesize": "803999"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt0_full.tif", "width": "4880", "height": "7661", "filesize": "112181892"}}, {"date_created": "2013-10-22T11:58:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt1_web.jpg", "width": "556", "height": "893", "filesize": "39185"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt1_print.jpg", "width": "2118", "height": "3400", "filesize": "861571"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt1_full.tif", "width": "4650", "height": "7464", "filesize": "104147564"}}, {"date_created": "2013-10-22T11:15:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt2_web.jpg", "width": "575", "height": "893", "filesize": "32729"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt2_print.jpg", "width": "2190", "height": "3400", "filesize": "779855"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt2_full.tif", "width": "4800", "height": "7451", "filesize": "107319164"}}, {"date_created": "2013-10-22T13:57:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt3_web.jpg", "width": "564", "height": "893", "filesize": "28358"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt3_print.jpg", "width": "2149", "height": "3400", "filesize": "658516"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt3_full.tif", "width": "4901", "height": "7754", "filesize": "114031824"}}, {"date_created": "2013-10-22T14:09:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt4_web.jpg", "width": "553", "height": "893", "filesize": "27469"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt4_print.jpg", "width": "2107", "height": "3400", "filesize": "636402"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2013.52/2013.52_alt4_full.tif", "width": "4777", "height": "7709", "filesize": "110502444"}}], "creditline": "Severance and Greta Millikin Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 171079, "creators": [], "legal_status": "accessioned", "accession_date": "2013-09-03T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "possibly late 1800s or early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:35.099000"}, {"id": 287526, "accession_number": "2016.89", "share_license_status": "CC0", "tombstone": "Suzani with floral sprays, 1800\u20131850. Central Asia, South West Uzbekistan, Shakhrisyabz. Cotton: plain weave, 6 strips; silk: embroidery; filling stitch: kanda xajol, occasionally bosma; outlining stitch: ilmoq; overall: 227.3 x 177.8 cm (89 1/2 x 70 in.). The Cleveland Museum of Art, Gift of John and Fausta Eskenazi in honor of Louise W. Mackie and in celebration of the museum\u2019s centennial, 2016.89", "current_location": null, "title": "Suzani with floral sprays", "creation_date": "1800\u20131850", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": [], "culture": ["Central Asia, South West Uzbekistan, Shakhrisyabz"], "technique": "Cotton: plain weave, 6 strips; silk: embroidery; filling stitch: kanda xajol, occasionally bosma; outlining stitch: ilmoq", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Embroidery", "measurements": "Overall: 227.3 x 177.8 cm (89 1/2 x 70 in.)", "dimensions": {"overall": {"height": 2.273, "width": 1.778}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 294013, "title": "Islamic art rotation", "description": "<i>Islamic art rotation</i>. The Cleveland Museum of Art (organizer) (December 7, 2017-October 29, 2018).", "opening_date": "2017-12-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Ignazio Vok [b. 1938], Austria and Italy", "citations": [], "footnotes": null, "date": "by 1994\u20132016", "sortorder": 1}, {"description": "John and Fausta Eskenazi, London, UK, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2016", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2016\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Six narrow lengths of handwoven cotton cloth were joined and then embroidered with vibrant silk thread to make this <em>suzani</em>.", "description": "Embroidered textiles were essential items in dowries. This type, known as a <em>suzani</em> after the Persian and Tajik word for needle, <em>suzan</em>, were created by mothers and daughters who proudly displayed them during wedding festivities and special occasions. This is an especially striking example, probably embroidered in Shakhrisyabz, located south of Samarkand in Uzbekistan, during 1800\u20131850.<br> <em><br></em>Suzani were made for numerous functions including the nuptial bed, curtains for storage niches, and wrappers for various dry goods. Floral and foliate motifs generally dominate as seen here, enriched with several shades of red and enhanced by the varied light reflections and colors of the silk thread. Possibly the motifs conveyed cosmological, apotropaic, medicinal, or fertility associations especially for married life. <br><br>Patterns were drawn in black ink on several loosely joined cotton cloths by a skilled family member or a professional. The cloths were then separated, embroidered individually, and reattached, confirmed by mismatched motifs where the lengths are joined. They are generally attributed to nineteenth-century production after sericulture was introduced in the Merv area around 1800.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79870540"], "internet_archive": ["https://archive.org/details/clevelandart-2016.89-suzani-with-floral-s"]}, "citations": [{"citation": "Knorr, Thomas (editor) and Sager, Helen (editor) <em>Textilkunst Der Steppen- Und Bergvo\u0308lker Zentralasiens: Ausstellung, Gewerbemuseum Basel, 1974</em>. Basel: s.n., 1974.", "page_number": "", "url": ""}, {"citation": "Gisela Helmecke. \u201cDie \u2018Buchara\u2019-Stickereien Im Islamischen Museum Zu Berlin.\u201d <em>Forschungen Und Berichte</em> 23 (1983).", "page_number": "pp. 118\u2013129", "url": "https://doi.org/10.2307/3880946."}, {"citation": "C\u030cepeleveckaja, Galina L. <em>Susani Usbekistans: Ein Beitrag Zur Technik, Ornamentik Und Symbolik Der Usbekischen Seidenstickerei</em>. Berlin: Schletzer, 1991.", "page_number": "pp. 7-75, illustration 11", "url": ""}, {"citation": "Vok, Ignazio, and Jakob Taube. <em>Suzani: a textile art from Central Asia: Vok collection</em>. Oberhaching, Germany: Herold Verlagsauslieferung,1994.", "page_number": "Mentioned and Reproduced: cat. no 19", "url": ""}, {"citation": "Mackie, Louise. \u201cAcquisition Highlights 2016: Textiles and Islamic Art.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 57, no. 2 (March/April 2017): 16.", "page_number": "Reproduced and Mentioned: P. 16", "url": "https://archive.org/details/CMAMM2017-02/page/n7/mode/2up"}], "url": "https://clevelandart.org/art/2016.89", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2016.89/2016.89_web.jpg", "width": "692", "height": "900", "filesize": "581592", "filename": "2016.89_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2016.89/2016.89_print.jpg", "width": "2614", "height": "3400", "filesize": "5110556", "filename": "2016.89_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2016.89/2016.89_full.tif", "width": "11352", "height": "14764", "filesize": "502841796", "filename": "2016.89_full.tif"}}, "alternate_images": [{"date_created": "2016-08-11T15:31:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.89/2016.89_alt0_web.jpg", "width": "675", "height": "900", "filesize": "433928"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.89/2016.89_alt0_print.jpg", "width": "2550", "height": "3400", "filesize": "5241887"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.89/2016.89_alt0_full.tif", "width": "12000", "height": "16000", "filesize": "576037540"}}, {"date_created": "2016-08-11T15:22:19", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.89/2016.89_alt1_web.jpg", "width": "675", "height": "900", "filesize": "526592"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.89/2016.89_alt1_print.jpg", "width": "2550", "height": "3400", "filesize": "5251576"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2016.89/2016.89_alt1_full.tif", "width": "12000", "height": "16000", "filesize": "576039516"}}], "creditline": "Gift of John and Fausta Eskenazi in honor of Louise W. Mackie and in celebration of the museum\u2019s centennial", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 287526, "creators": [], "legal_status": "accessioned", "accession_date": "2016-09-06T00:00:00-04:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800\u20131850", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Embroidered Suzani with Floral Sprays"], "is_highlight": false, "updated_at": "2026-03-27 00:07:14.814000"}, {"id": 320656, "accession_number": "2018.302", "share_license_status": "CC0", "tombstone": "Cinderella, 1847. Eugen Napoleon Neureuther (German, 1806\u20131862), printed by Wendelin Wick (German, active 1842\u20131853). Etching on steel on wove paper; platemark: 72 x 54 cm (28 3/8 x 21 1/4 in.); sheet: 80 x 63 cm (31 1/2 x 24 13/16 in.). The Cleveland Museum of Art, Gift of Stephen Dull, 2018.302", "current_location": null, "title": "Cinderella", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male", "gender unknown"], "culture": ["Germany, 19th century"], "technique": "etching on steel on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Platemark: 72 x 54 cm (28 3/8 x 21 1/4 in.); Sheet: 80 x 63 cm (31 1/2 x 24 13/16 in.)", "dimensions": {"platemark": {"height": 0.72, "width": 0.54}, "sheet": {"height": 0.8, "width": 0.63}}, "state_of_the_work": "First state of two", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In plate: \u201cRheinischer Kunstverein der Verein in Darmstadt seinen Mitgliedern im Jahre 1847\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "below image; \u201cE. Neureuther inv. et exc. 1847\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "below image right; \u201cgedrukt bei Wick im M\u00fcnchen\u201d below legend", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Inscribed in graphite, verso: \u201cK3217 / RNPL/VQRT\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 543573, "title": "Fairy Tales and Fables: Illustration and Storytelling in Art", "description": "<i>Fairy Tales and Fables: Illustration and Storytelling in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 4-September 8, 2024).", "opening_date": "2024-05-04T04:00:00"}], "legacy": []}, "provenance": [{"description": "Possibly Alexander Str\u00e4huber [1814-1882], Munich, Germany", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Anton Str\u00e4huber [1877-1939], Munich, Germany", "citations": [], "footnotes": [], "date": null, "sortorder": 2}, {"description": "Hartung & Hartung, Munich, Germany", "citations": [], "footnotes": [], "date": "May 2018", "sortorder": 3}, {"description": "C.G. Boerner, New York, NY", "citations": [], "footnotes": [], "date": "2018", "sortorder": 4}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 3, 2018", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The fairy tale <em>Cinderella </em>was a German folk tale that became popular in the 19th century in Germany, well before Walt Disney!", "description": "The fairy tale <em>Cinderella </em>tells of a neglected servant girl who, aided by a fairy godmother, attends a ball and falls in love with a prince. The prince finds his true love by fitting a glass slipper on her foot. Eugen Neureuther made this elaborate etching depicting several scenes from the story during a revival of interest in folk tales in Germany in the early 19th century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874533"], "internet_archive": ["https://archive.org/details/clevelandart-2018.302-cinderella"]}, "citations": [{"citation": "Boetticher, Friedrich von. <em>Malerwerke des neunzehnten Jahrhunderts: Beitrag zur Kunstgeschichte. </em>Dresden: Boetticher, 1891-1901", "page_number": "no. 44", "url": null}, {"citation": "Nagler, G.K. <em>Neues allgemeines Kunstler-Lexikon, oder Nachrichten von dem Leben und den Werken der Maler, Bildhauer, Baumeister, Kupferstecher, Formschneider, Lithographen, Zeichner, Medailleure, Elfenbeinarbeiter, etc.</em> 22 vols. Munich: E.A. Fleischman, 1835", "page_number": "no. 21", "url": null}, {"citation": "Schuberth, Max. \u201cEugen Napoleon Neureuthers Leben und graphisches Werk: Ein Beitrag zur Geschichte der romantischen Bildkunst.\u201d PhD diss., Ludwig-Maximilian-Universit\u00e4t, Munich, 1926", "page_number": "no. II.59", "url": null}, {"citation": "Philadelphia Museum of Art, John W. Ittmann, Cordula Grewe, Warren Breckman, Mitchell Benjamin Frank, Catriona MacLeod, and F. Carlo Schmid. The Enchanted World of German Romantic Prints, 1770-1850. 2017.", "page_number": "no. 200, p. 356-57, fig. 321", "url": null}, {"citation": "Peters, Emily and Salsbury, Britany. \u201cAcquisitions 2018: Prints and Drawings.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>vol. 59, no. 2 (March/April 2019): 20-23.", "page_number": "Reproduced: P. 23; Mentioned: P. 22, 23.", "url": ""}], "url": "https://clevelandart.org/art/2018.302", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.302/2018.302_web.jpg", "width": "669", "height": "900", "filesize": "306195", "filename": "2018.302_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.302/2018.302_print.jpg", "width": "2529", "height": "3400", "filesize": "3741623", "filename": "2018.302_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.302/2018.302_full.tif", "width": "4610", "height": "6198", "filesize": "85753456", "filename": "2018.302_full.tif"}}, "alternate_images": [], "creditline": "Gift of Stephen Dull", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 320656, "creators": [{"id": 25867, "description": "Eugen Napoleon Neureuther (German, 1806\u20131862)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1806", "death_year": "1862", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 358411, "description": "Wendelin Wick (German, active 1842\u20131853)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 2}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-01 19:07:12.003000"}, {"id": 147521, "accession_number": "1973.31", "share_license_status": "CC0", "tombstone": "The Little Milkmaid, c. 1865. Th\u00e9odule Ribot (French, 1823\u20131891). Oil on fabric; unframed: 46.3 x 38.3 cm (18 1/4 x 15 1/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1973.31", "current_location": null, "title": "The Little Milkmaid", "creation_date": "c. 1865", "creation_date_earliest": 1860, "creation_date_latest": 1870, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 46.3 x 38.3 cm (18 1/4 x 15 1/16 in.)", "dimensions": {"unframed": {"height": 0.463, "width": 0.383}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: t. Ribot \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301805, "title": "Dutch Art and Life in the Seventeenth Century", "description": "<i>Dutch Art and Life in the Seventeenth Century</i>. The Cleveland Museum of Art, Cleveland, OH (July 10-September 2, 1973).", "opening_date": "1973-07-10T04:00:00"}, {"id": 301878, "title": "Year in Review: 1973", "description": "<i>Year in Review: 1973</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 30-March 17, 1974).", "opening_date": "1974-01-30T05:00:00"}, {"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}, {"id": 360714, "title": "Redefining Genre: French and American Painting 1850-1900", "description": "<i>Redefining Genre: French and American Painting 1850-1900</i>. Dixon Gallery and Gardens, Memphis, TN (September 24-December 17, 1995); Society of the Four Arts, Palm Beach, FL (January 5-February 4, 1996); Santa Barbara Museum of Art, Santa Barbara, CA (February 24-April 21, 1996).", "opening_date": "1995-09-24T04:00:00"}], "legacy": [{"description": "<em>Exposition Thedule Ribot</em>. Palais National de l'\u00c9cole des Beaux-Arts, Paris, France (1892).", "opening_date": null}, {"description": "<em>Exposition Ribot.</em> Bernheim Jeune &amp; Cie, Paris, France (February 2-8, 1911).", "opening_date": "1911-02-02T00:00:00"}]}, "provenance": [{"description": "(Sale, H\u00f4tel Drouot, Paris, April 6, 1882, no. 82, probably sold to Bernheim-Jeune)", "citations": [], "footnotes": ["<div><!--block-->\u201cBernheim,\u201d presumably referring to Bernheim-Jeune, is written in as the buyer of the Ribot in an annotated copy of the sale catalogue. &nbsp;</div>"], "date": "1882", "sortorder": 1}, {"description": "(Probably Bernheim-Jeune, Paris)", "citations": [], "footnotes": null, "date": "1882-", "sortorder": 2}, {"description": "Consul Eduard Friedrich Weber [1830-1907], Hamburg", "citations": [], "footnotes": ["<div><!--block-->Weber is listed as the owner of a painting, <em>La petite laiti\u00e8re</em>, with a title and size matching those of the CMA picture in an 1892 exhibition of works by Ribot.&nbsp; It seems unusual that the painting was with Weber in 1892, and was subsequently sold in the estate sale of Ribot\u2019s widow in 1896.&nbsp; But because the Cleveland painting appears neither in an 1887 auction of paintings from his collection, nor in a 1907 catalogue of his nineteenth-century paintings, it is possible that Weber sold the work privately and it was eventually added to the estate sale in 1896.&nbsp;</div>"], "date": "By 1892 - by 1896", "sortorder": 3}, {"description": "(Ribot (his widow) estate sale, H\u00f4tel Drouot, Paris, France, May 30, 1896, no. 3)", "citations": [], "footnotes": null, "date": "1896", "sortorder": 4}, {"description": "(Probably Bernheim-Jeune, Paris)", "citations": [], "footnotes": ["<div><!--block-->The Ribot was likely exhibited at Bernheim-Jeune in the 1911 <em>Exposition T. Ribot </em>(no. 13, <em>La petite laiti\u00e8re</em>), as art historian Gabriel Weisberg does not believe that the artist painted any other versions of the subject. &nbsp;</div>"], "date": "1911", "sortorder": 5}, {"description": "(Bernheim-Jeune, Paris)", "citations": [], "footnotes": ["<div><!--block-->It appears that this painting was once again with Bernheim-Jeune: the presence of a Bernheim-Jeune stock number (6292) on the stretcher corresponds to the gallery's purchase of Ribot's \"Jeune fille au chien\" in June 1931 from an unidentified seller.&nbsp; The gallery's archives do not record the date it was sold to the subsequent owner.</div>"], "date": "1931-", "sortorder": 6}, {"description": "(Galerie Brame and Lorenceau, Paris, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "By 1972-1973", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1973-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Members of Ribot's family are the likely models for many of his figure compositions, in which the subjects engage in humble activities, such as preparing meals or gathering in groups to read to each other.", "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472527"], "internet_archive": ["https://archive.org/details/clevelandart-1973.31-the-little-milkmaid"]}, "citations": [{"citation": "Ho\u0302tel Drouot. <em>Catalogue de tableaux modernes</em>. April 6, 1882.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Catalogue de tableaux modernes</em>. April 6, 1882.", "page_number": null, "url": null}, {"citation": "Sertrat, Raoul. <em>Exposition Th. Ribot: au Palais national de l'E\u0301cole des beaux-arts : ouverte du 3 mai au 31 mai 1892</em>. Paris: Impr. de l'art, E. Me\u0301nard, 1892.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux, e\u0301tudes, aquarelles, dessins par The\u0301odule Ribot</em>. May 30, 1896.", "page_number": null, "url": null}, {"citation": "Ribot, The\u0301odule. <em>Exposition Ribot: du jeudi 2 au mercredi 8 fe\u0301vrier 1911 ... : Paris ... chez MM. Bernheim Jeune &amp; cie</em>. Paris: Bernheim Jeune, 1911.", "page_number": null, "url": null}, {"citation": "Gabriel P. Weisberg, fax to Roger Diederen, Jan. 25, 1996, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Guy-Patrice Dauberville, letter to Victoria Sears Goldman, Feb. 2, 2016, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<br>d'Argencourt, Louise, Roger Diederen, and Alisa Luxenberg. <em>European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1999.", "page_number": null, "url": null}, {"citation": "Lefort, Paul. \"Theodule Ribot.\" <em>Gazette des Beaux-Arts</em> (1891): 298-309.", "page_number": null, "url": null}, {"citation": "Lee, Sherman E. \"The Year in Review for 1973.\" <em>The Bulletin of The Cleveland Museum of Art LXI</em>, no. 2 (February, 1974):31-78.", "page_number": "Reproduced: p. 50; Mentioned: p. 74, no. 42", "url": null}, {"citation": "\"Recent Accessions of American and Canadian Museums.\" <em>The Art Quarterly</em> 37 (Spring 1974): 98-114.", "page_number": "Mentioned: P. 101; reproduced: P. 112", "url": null}, {"citation": "Weisberg, Gabriel P. \"Theodule Ribot: Popular Imagery and The Little Milkmaid.\" T<em>he Bulletin of The Cleveland Museum of Art LXIII</em>, no. 10 (October, 1976):253-263.", "page_number": "Reproduced: p. 2545, fig. 1; Mentioned: p. 262, no. 4", "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. 212", "url": "https://archive.org/details/CMAHandbook1978/page/n232"}, {"citation": "Weisberg, Gabriel P. <em>The Realist Tradition: French Painting and Drawing, 1830-1900</em>. Cleveland: Cleveland Museum of Art, 1980.", "page_number": "Referenced: no. 9, p., 47, Reproduced", "url": null}, {"citation": "Sutton, Denys. \u201cCross-Currents in Nineteenth-Century French Painting.\u201d <em>Apollo: The International Magazine of Art &amp; Antiques</em> 113 (April 1981): 244\u201354.", "page_number": "Reproduced: P. 248, fig. 11", "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. 198", "url": null}, {"citation": "D'Argencourt, Louise and Roger Diederen. <em>The Cleveland Museum of Art: Catalogue of Paintings, Part Four; European Paintings of the 19th Century. </em>Cleveland, OH: The Cleveland Museum of Art, 1999.", "page_number": "Reproduced: p. 190", "url": null}, {"citation": "Faroult, Guillaume and Sophie Eloy. <em>La collection La Caze: chefs-d'\u0153uvre des peintures des XVIIe et XVIIIe sie\u0300cles</em>. Paris, France: Muse\u0301e du Louvre, 2007.", "page_number": "Reproduced: p. 137, fig. 105", "url": null}, {"citation": "Weisberg, Gabriel P. \"Theodule Ribot: la Vie dans l'Art.\" In <em>The\u0301odule Ribot, 1823-1891: Une De\u0301licieuse Obscurite\u0301</em>. Emmanuelle Delapierre, Luc Georget, Gabriel Weisberg, eds., 22-35. Paris: LienArt, 2021.", "page_number": "Mentioned and reproduced: P. 30, fig. 7", "url": ""}], "url": "https://clevelandart.org/art/1973.31", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1973.31/1973.31_web.jpg", "width": "723", "height": "893", "filesize": "373684", "filename": "1973.31_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1973.31/1973.31_print.jpg", "width": "2753", "height": "3400", "filesize": "5899437", "filename": "1973.31_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1973.31/1973.31_full.tif", "width": "4859", "height": "6000", "filesize": "87492520", "filename": "1973.31_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147521, "creators": [{"id": 1582, "description": "Th\u00e9odule Ribot (French, 1823\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Th\u00e9odule Ribot first tried to study art at the trade school in Ch\u00e2lons, \u00c9cole des Arts et M\u00e9tiers. When his father died in 1840, Ribot had to help support his family. He worked as a bookkeeper in Rouen, married early, and left for Paris in 1845. There he did various jobs, studied in the atelier of Auguste-Barth\u00e9l\u00e9my Glaize (1807-1893), and, in 1848, went to Algeria to work as a foreman for three years. Back in Paris, he befriended the painter Bonvin (q.v.), who held an exhibition of pictures by his friends in his studio in 1859. These artists, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), Antoine Vollon (1833-1900), and J. A. M. Whistler (1834-1903), depicted ordinary subjects from their immediate environments without relying on narrative, and they generally used somber colors, limited illumination, and broader brushwork that contrasted with academic standards and methods. Their work elicited a positive response from Courbet (q.v.), considered the father of realism in France. Ribot first exhibited at a Paris Salon in 1861, when his kitchen scenes won generally favorable reviews. To underscore a humble life-style for the artist, his early biographers claim that the dark, inky backgrounds of his pictures were the result of Ribot's painting by lamplight in his free evenings at home. He continued to depict working-class and peasant subjects in a style variously described as Dutch or Spanish by critics, and he participated in the Salons and provincial and international art exhibitions. Always interested in expanding exhibition opportunities for independent painters like himself, he signed a petition in 1863 that decried the Salon jury's numerous rejections that year and contributed to the official decision to hold the Salon des Refus\u00e9s. Ribot sold his pictures through art galleries in Paris, such as those of Louis Martinet, Alfred Cadart, and Bernheim Jeune, and the French state bought his St. Sebastian (Mus\u00e9e d'Orsay, Paris) in 1865. In 1878 he was named to the Legion of Honor. The following year a serious illness kept Ribot from painting for two years, and his production fell off after this period. In 1884 his fellow artists, including Jules Bastien-Lepage (1848-1884), Boudin (q.v.), Fantin-Latour, Monet (q.v.), Puvis de Chavannes (q.v.), and Auguste Rodin (1840-1917), held a banquet in his honor and gave him a medal inscribed \"To Th\u00e9odule Ribot, the independent painter.\" It is ironic, then, that the year after his death a major retrospective exhibition was organized at the official art school, the \u00c9cole des Beaux-Arts in Paris.", "name_in_original_language": null, "birth_year": "1823", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1973-05-07T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "c. 1865", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:48.305000"}, {"id": 134241, "accession_number": "1956.722", "share_license_status": "CC0", "tombstone": "Gloria, 1884. Thomas Wilmer Dewing (American, 1851\u20131938). Gouache over graphite; sheet: 30.8 x 27.8 cm (12 1/8 x 10 15/16 in.); image: 27 x 23 cm (10 5/8 x 9 1/16 in.). The Cleveland Museum of Art, The Fanny Tewksbury King Collection, 1956.722", "current_location": null, "title": "Gloria", "creation_date": "1884", "creation_date_earliest": 1884, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["America"], "technique": "gouache over graphite", "support_materials": [{"description": "beige wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 30.8 x 27.8 cm (12 1/8 x 10 15/16 in.); Image: 27 x 23 cm (10 5/8 x 9 1/16 in.)", "dimensions": {"sheet": {"height": 0.308, "width": 0.278}, "image": {"height": 0.27, "width": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, upper left, in graphite: T W Dewing / 1884; by artist, across bottom, in watercolor: gloria; verso, center, in graphite: [sTC?] [underlined]; 15 x 162 [underlined] / 165; center left, in graphite: 125 [underlined]\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 616630, "title": "Second Exhibition of Water Colors and Pastels", "description": "<i>Second Exhibition of Water Colors and Pastels</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 15-February 15, 1925).", "opening_date": "1925-01-15T00:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 311734, "title": "Treasures on Paper", "description": "<i>Treasures on Paper</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 10-July 24, 1988).", "opening_date": "1988-05-10T04:00:00"}, {"id": 361439, "title": "Beauty Reconfigured: The Art of Thomas Wilmer Dewing", "description": "<i>Beauty Reconfigured: The Art of Thomas Wilmer Dewing</i>. The Brooklyn Museum, Brooklyn, NY (organizer) (March 21-June 9, 1996); National Museum of American Art, Washington, DC (July 19-October 14, 1996).", "opening_date": "1996-03-21T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}, {"id": 203744, "title": "Themes and Variations: Musical Drawings and Prints", "description": "<i>Themes and Variations: Musical Drawings and Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}, {"id": 281800, "title": "American Watercolor in the Age of Homer and Sargent", "description": "<i>American Watercolor in the Age of Homer and Sargent</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (February 25-May 15, 2017).", "opening_date": "2017-03-01T05:00:00"}], "legacy": [{"description": "<em>The Prang Competition</em>. Noyes &amp; Blakeslee Gallery, Boston; Reichart Gallery, New York, 1884.", "opening_date": null}]}, "provenance": [{"description": "John and Edith Gellatly; [William MacBeth Galleries, New York].", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Dewing\u2019s small, densely packed composition of four singing angels alludes to depictions of angels playing musical instruments found in 14th-century medieval manuscripts. Angels were traditionally shown playing stringed instruments, whose delicate tones were thought to lift the mind to spiritual matters. The harp, as depicted here, was the instrument most closely associated with heavenly music. With the continuous circling of halos and harps, Dewing suggested a hypnotic, celestial melody.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781284"], "internet_archive": ["https://archive.org/details/clevelandart-1956.722-gloria"]}, "citations": [{"citation": "<em>Catalogue of the Second Exhibition: Water Colors and Pastels</em>. Cleveland, OH: Cleveland Museum of Art, 1925.", "page_number": "Mentioned and Reproduced: p. 5, no. 49", "url": "https://archive.org/details/WaterColors_156882"}, {"citation": "\u201cA Check List. American Paintings and Water Colors of the Eighteenth, Nineteenth, and Early Twentieth Centuries in the Cleveland Museum of Art.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 1 (January 1973): 21\u201335.", "page_number": "Mentioned: p. 25, no. 48", "url": "http://www.jstor.org/stable/25152465"}, {"citation": "Hobbs, Susan, and Barbara Dayer Gallati. <em>The Art of Thomas Wilmer Dewing: Beauty Reconfigured.</em> Washington, DC: Smithsonian Institution Press, 1996.", "page_number": "Mentioned and Reproduced: p. 8, p. 13, pp. 97-98, p. 106, cat. no 7.", "url": null}, {"citation": "Cleveland Museum of Art, Diane DeGrazia, and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: pp. 212-13, p. 295; Reproduced: p. 213", "url": null}, {"citation": "Lemonedes, Heather. \u201cThemes and Variations: Works on paper from the museum's collection with a musical motif.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 55, no. 1 (January/February 2015): Cover, 3-5.", "page_number": "Reproduced and Mentioned: p. 5", "url": "https://archive.org/details/CMAMM2015-01"}, {"citation": "Foster, Kathleen A. <em>American Watercolor in the Age of Homer and Sargent. </em>Philadelphia: Philadelphia Museum of Art in association with Yale University Press, 2017.", "page_number": "Reproduced: p. 70, fig. 125", "url": null}, {"citation": "Hobbs, Susan. <em>Thomas Wilmer Dewing: Beauty into Art: A Catalogue Raisonne\u0301.</em> [Alexandria, VA]: The Thomas Wilmer Dewing Catalogue Raisonn\u00e9; New Haven: in association with Yale University Press, 2018.", "page_number": "Mentioned & reproduced: p. 998-999, no. 567", "url": null}], "url": "https://clevelandart.org/art/1956.722", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1956.722/1956.722_web.jpg", "width": "766", "height": "900", "filesize": "273542", "filename": "1956.722_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1956.722/1956.722_print.jpg", "width": "2893", "height": "3400", "filesize": "3161722", "filename": "1956.722_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1956.722/1956.722_full.tif", "width": "4991", "height": "5865", "filesize": "87850520", "filename": "1956.722_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.722/1956.722_alt0_web.jpg", "width": "741", "height": "893", "filesize": "618701"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.722/1956.722_alt0_print.jpg", "width": "1536", "height": "1850", "filesize": "2675840"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.722/1956.722_alt0_full.tif", "width": "1536", "height": "1850", "filesize": "8527940"}}, {"date_created": "2016-11-03T00:00:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.722/1956.722_alt1_web.jpg", "width": "852", "height": "900", "filesize": "493566"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.722/1956.722_alt1_print.jpg", "width": "3217", "height": "3400", "filesize": "5548168"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1956.722/1956.722_alt1_full.tif", "width": "5527", "height": "5842", "filesize": "96899136"}}], "creditline": "The Fanny Tewksbury King Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 134241, "creators": [{"id": 3131, "description": "Thomas Wilmer Dewing (American, 1851\u20131938)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1851", "death_year": "1938", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1956-12-11T00:00:00", "sortable_date": 1884, "date_added_to_oa": null, "date_text": "1884", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:24.449000"}, {"id": 146752, "accession_number": "1972.19", "share_license_status": "CC0", "tombstone": "Return from the Fields, c. 1846\u201347. Jean-Fran\u00e7ois Millet (French, 1814\u20131875). Oil on fabric; framed: 68 x 60 x 10 cm (26 3/4 x 23 5/8 x 3 15/16 in.); unframed: 46.2 x 37.8 cm (18 3/16 x 14 7/8 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1972.19", "current_location": null, "title": "Return from the Fields", "creation_date": "c. 1846\u201347", "creation_date_earliest": 1846, "creation_date_latest": 1847, "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: 68 x 60 x 10 cm (26 3/4 x 23 5/8 x 3 15/16 in.); Unframed: 46.2 x 37.8 cm (18 3/16 x 14 7/8 in.)", "dimensions": {"framed": {"height": 0.68, "width": 0.6, "depth": 0.1}, "unframed": {"height": 0.462, "width": 0.378}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right: J. F. Millet\r\n\r\n\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 301752, "title": "Year in Review: 1972", "description": "<i>Year in Review: 1972</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 27-March 18, 1973).", "opening_date": "1973-02-27T05:00:00"}, {"id": 361479, "title": "Jean-Fran\u00e7ois Millet", "description": "<i>Jean-Fran\u00e7ois Millet</i>. Hayward Gallery, London, United Kingdom of Great Britain and Northern Ireland (January 20-March 7, 1976); Galeries Nationales du Grand Palais, 75008 Paris, France (organizer) (October 17-January 5, 1976).", "opening_date": "1975-10-17T04:00:00"}, {"id": 218753, "title": "Return to Nature:  Millet, the Barbizon Artists, and the Renewal of the Rural Tradition", "description": "<i>Return to Nature:  Millet, the Barbizon Artists, and the Renewal of the Rural Tradition</i>. Yamanashi Prefectural Museum of Art, Kofu (September 26-December 8, 1998).", "opening_date": "1998-09-26T00:00:00"}, {"id": 227723, "title": "L'Ecole de Barbizon", "description": "<i>L'Ecole de Barbizon</i>. Mus\u00e9e des Beaux-Arts de Lyon, 69001 Lyon, France (organizer) (June 20-September 9, 2002).", "opening_date": "2002-06-20T00:00:00"}, {"id": 293304, "title": "Praised and Ridiculed: French Painting 1820 - 1880", "description": "<i>Praised and Ridiculed: French Painting 1820 - 1880</i>. Kunsthaus Z\u00fcrich, CH-8024 Z\u00fcrich, Switzerland (organizer) (November 10, 2017-January 28, 2018).", "opening_date": "2017-11-10T05:00:00"}], "legacy": [{"description": "Glasgow. International Exhibition (1901), no. 1323, The Last Load, lent by W. A. Coats, Esq.", "opening_date": "1901-01-01T00:00:00"}, {"description": "Paris, Grand Palais; London, Hayward Gallery. Jean-Fran\u00e7ois Millet (1975-76), no. 22 (repr.), (no. 12 in English cat.).", "opening_date": "1975-01-01T00:00:00"}, {"description": "K\u00f8fu, Japan. Yamanashi Prefectural Museum of Art. Return to Nature: J. F. Millet, the Barbizon Artists, and the Renewal of the Rural Tradition (1998), 22, 108, no. ii-13, 124 (repr.).", "opening_date": "1998-01-01T00:00:00"}, {"description": "Lyon, France.  Musee des Beaux-Arts de Lyon. \"L'Ecole de Barbizon\" (6/20/2002 - 9/9/2002), exh cat no. 82, p.246.", "opening_date": "2002-06-20T00:00:00"}]}, "provenance": [{"description": "John W. Wilson. His sale, Paris, Drouot, 27-28 April 1874 (lot 113), Retour des Champs, ff 8,200. Fr\u00e9d\u00e9ric Hartmann, M\u00fcnster. His sale, Paris, Drouot, 11 May 1876 (lot 24), Retour des champs, 45 x 38 cm, ff 6,350. W. A. Coats, Scotland, 1901. London sale, Christie's, 10 June 1927 (lot 74), The Last Load, for \u00a3483 to Blaker. D. Croal Thompson, 1928. Howard Murray, Montreal. His sale, New York, Parke-Bernet Galleries, 23 October 1941 (lot 34, repr.), bought by L. J. Marion. Hazlitt Gallery, London. Purchased by the CMA in 1972.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This idealized vision of noble peasant life was painted during a period of intense industrialization in France, accompanied by economic depression and the abandonment of farms. Nostalgic peasant scenes were especially popular in the 1840s, a stark contrast to the disillusionment and tension that would violently surface in the Revolution of 1848. The vague shapes and faces of the family seen here make them symbols of the land, rather than individuals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60472208"], "internet_archive": ["https://archive.org/details/clevelandart-1972.19-return-from-the-fiel"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1972.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 3 (March 1973): 63\u2013115.", "page_number": "Reproduced: p. 83; Mentioned: p. 109, no. 124", "url": "http://www.jstor.org/stable/25093732"}, {"citation": "Talbot, William S. \u201cJean-Fran\u00e7ois Millet: Return from the Fields.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 60, no. 9 (November 1973): 258\u2013266.", "page_number": "Reproduced: Cover, p. 258; Mentioned: p. 259", "url": "http://www.jstor.org/stable/25152497"}, {"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. 207", "url": "https://archive.org/details/CMAHandbook1978/page/n227"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 442-444, Vol. II, no. 153", "url": ""}, {"citation": "Gianfreda, Sandra. \"Introduction.\" In <em>Praised and Ridiculed: French Painting 1820-1880. </em>Zu\u0308rcher Kunstgesellschaft, ed., 12-19. Munich: Hirmer; Z\u00fcrich: Kunsthaus Z\u00fcrich, [2017].", "page_number": "Mentioned: p. 17; Reproduced: p. 108, cat. 78", "url": null}, {"citation": "Rubin, James. \"Landscape into Modernity: Nineteenth-Century Transitions.\" In <em>Praised and Ridiculed: French Painting 1820-1880. </em>Zu\u0308rcher Kunstgesellschaft, ed., 56-66. Munich: Hirmer; Z\u00fcrich: Kunsthaus Z\u00fcrich, [2017].", "page_number": "Mentioned: p. 66; Reproduced: p. 108, cat. 78", "url": null}, {"citation": "Herring, Sarah. The Nineteenth-Century French Paintings. London : National Gallery Company, 2019.", "page_number": "Mentioned and reproduced: pp.385-386, fig. 4", "url": ""}], "url": "https://clevelandart.org/art/1972.19", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1972.19/1972.19_web.jpg", "width": "732", "height": "893", "filesize": "419150", "filename": "1972.19_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1972.19/1972.19_print.jpg", "width": "2786", "height": "3400", "filesize": "6643168", "filename": "1972.19_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1972.19/1972.19_full.tif", "width": "4917", "height": "6000", "filesize": "88537076", "filename": "1972.19_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146752, "creators": [{"id": 1667, "description": "Jean-Fran\u00e7ois Millet (French, 1814\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a wealthy farmer, Jean-Fran\u00e7ois Millet studied with a portrait painter from Cherbourg, Bon du Mouchel (1807-1846), himself a student of David (q.v.). Mouchel required his young apprentice to copy paintings in the museum in Cherbourg, where Millet had been sent to enter the studio of Lucien-Th\u00e9ophile Langlois (1803-1845), a former student of Gros (q.v.). Millet received a stipend from the city to move to Paris in 1837, enrolling in the \u00c9cole des Beaux-Arts in the studio of Delaroche (q.v.), where he met Couture (q.v.). Within two years he had left Delaroche, and his stipend was withdrawn. To earn a living, he executed pastels and small paintings in the style of Jean Antoine Watteau (1684-1729) and Fran\u00e7ois Boucher (1703-1770). In 1839 the first painting that Millet sent to the Salon, Saint Anne Instructing the Virgin, was refused. The following year one portrait was accepted at the Salon, and Millet spent the winter in Cherbourg where he could make a living painting portraits. After his marriage to Pauline-Virginie Ono, he returned to Paris, painting various subjects but finding little success. He met Th\u00e9odore Rousseau (q.v.) and Diaz de la Pe\u00f1a (q.v.) and was introduced to Durand-Ruel, who purchased some of his works, at that point mainly pastoral scenes and nudes. In the late 1840s Millet began to devote himself to painting peasants and rural life, subjects that automatically had political overtones in the light of the 1848 revolutions. In 1849 he settled in Barbizon, continuing his depictions of the peasantry. He achieved some financial security thanks to Alfred Sensier, who supplied him with materials and sold his paintings. At the Salon of 1850-51 Millet exhibited The Sower (Museum of Fine Arts, Boston), which received a great deal of attention. Although the conservatives accused Millet of overemphasizing the poverty of the peasants, the republican and leftist movement hailed the painting as a dignified representation of the working class. Millet claimed to be interested solely in the biblical allusions of his subject, yet he seemed to persist in painting the poorest peasants at the worst tasks. The final ten years of his life were successful ones. A retrospective of his work at the Paris Exposition Universelle in 1867 solidified his reputation, and the following year he received the Legion of Honor. His work was influential for generations of artists.", "name_in_original_language": null, "birth_year": "1814", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1972-05-03T00:00:00", "sortable_date": 1846, "date_added_to_oa": null, "date_text": "c. 1846\u201347", "collapse_artists": false, "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": "2026-03-27 00:08:25.901000"}, {"id": 135830, "accession_number": "1959.342", "share_license_status": "CC0", "tombstone": "Doorway from the Isaac Gillet House, Painesville, Ohio, 1821. Jonathan Goldsmith (American, 1783\u20131847), and Lewis Firm (American). Wood, leaded panes, and brass decoration; overall: 290 x 228.5 x 45.8 cm (114 3/16 x 89 15/16 x 18 1/16 in.). The Cleveland Museum of Art, Gift of Mrs. A. Dean Perry, 1959.342", "current_location": "205 Federal American", "title": "Doorway from the Isaac Gillet House, Painesville, Ohio", "creation_date": "1821", "creation_date_earliest": 1821, "creation_date_latest": 1821, "artists_tags": ["male", "gender unknown"], "culture": ["America"], "technique": "wood, leaded panes, and brass decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Furniture and woodwork", "measurements": "Overall: 290 x 228.5 x 45.8 cm (114 3/16 x 89 15/16 x 18 1/16 in.)", "dimensions": {"overall": {"height": 2.9, "width": 2.285, "depth": 0.458}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302015, "title": "Year in Review - Nineteen Hundred Sixty", "description": "<i>Year in Review - Nineteen Hundred Sixty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 30, 1960-January 1, 1961).", "opening_date": "1960-11-30T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This elaborate doorway originally came from a house designed and built by Jonathan Goldsmith, one of the most celebrated early architects of Northeastern Ohio. Goldsmith, who was born in Connecticut and trained in Massachusetts, came to the area around 1802 and brought with him a knowledge of the prevailing classical styles in architecture and decoration. This doorway formed the most decorative element of the front of the Isaac Gillet House and features elements of both Greek (boldly carved acanthus leaves and swags) and Roman (tall, thin columns and flat window tracery) architecture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781073"], "internet_archive": ["https://archive.org/details/clevelandart-1959.342-doorway-from-the-isa"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisition Press Release,\u201d February 21, 1961, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr0702"}, {"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. 163", "url": "https://archive.org/details/CMAHandbook1966/page/n187"}, {"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. 163", "url": "https://archive.org/details/CMAHandbook1969/page/n187"}, {"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. 201", "url": "https://archive.org/details/CMAHandbook1978/page/n221"}, {"citation": "Saks, Judith. \u201cThe Goldsmith Doorway: Mark of the Western Reserve.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 4 (April 1982): 122\u2013131.", "page_number": "Mentioned and reproduced: p. 122-131", "url": "http://www.jstor.org/stable/25159768"}], "url": "https://clevelandart.org/art/1959.342", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1959.342/1959.342_web.jpg", "width": "727", "height": "893", "filesize": "99913", "filename": "1959.342_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1959.342/1959.342_print.jpg", "width": "2769", "height": "3400", "filesize": "1386944", "filename": "1959.342_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1959.342/1959.342_full.tif", "width": "3467", "height": "4257", "filesize": "44310620", "filename": "1959.342_full.tif"}}, "alternate_images": [], "creditline": "Gift of Mrs. A. Dean Perry", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Walter and Jean Kalberer Foundation Gallery", "athena_id": 135830, "creators": [{"id": 36007, "description": "Jonathan Goldsmith (American, 1783\u20131847)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1847", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 57088, "description": "Lewis Firm (American)", "extent": null, "qualifier": "and", "role": "artist", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1959-12-19T00:00:00", "sortable_date": 1821, "date_added_to_oa": null, "date_text": "1821", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Front Doorway"], "is_highlight": false, "updated_at": "2026-03-27 00:09:50.654000"}, {"id": 112513, "accession_number": "1931.133", "share_license_status": "CC0", "tombstone": "Towel End, c. 1800\u20131825. Russia, Nizhny-Novgorod province, early 19th century. Linen: plain weave ground; wool; metal thread: embroidery, chain stitch; silk: ribbon; overall: 37 x 43 cm (14 9/16 x 16 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1931.133", "current_location": null, "title": "Towel End", "creation_date": "c. 1800\u20131825", "creation_date_earliest": 1800, "creation_date_latest": 1825, "artists_tags": [], "culture": ["Russia, Nizhny-Novgorod province, early 19th century"], "technique": "Linen: plain weave ground; wool; metal thread: embroidery, chain stitch; silk: ribbon", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Embroidery", "measurements": "Overall: 37 x 43 cm (14 9/16 x 16 15/16 in.)", "dimensions": {"overall": {"height": 0.37, "width": 0.43}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Collection of Natalia Leonidovna Shabelsky, Moscow, Russia (1841-1904/5), by inheritance to her daughters", "citations": [], "footnotes": null, "date": "-1904/5", "sortorder": 1}, {"description": "Princess Alexandre Sidamon-Eristoff and Mlle. N. de Chabelskoy, sold through B.M. Pushkin", "citations": [], "footnotes": null, "date": "1904/5-1931", "sortorder": 2}, {"description": "Count B. M. Pushkin sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1931", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1931-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Embroidering the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who stitched them.", "description": "This Russian embroidered panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine embroidery of ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877702"], "internet_archive": ["https://archive.org/details/clevelandart-1931.133-towel-end"]}, "citations": [{"citation": "Pushkin, B. M, B. M Pushkin, N. de Shabelsky, and N. de Shabelsky. <em>Exhibition of National Russian Art, 17th, 18th and Early 19th Centuries: Peasant Embroideries, Costumes, Headdresses, Hand-Woven Materials, Laces, Ikons, Articles of Silver, Copper, Etc.: Shown by Count and Countess B.m.-Pushkin</em>. Place of publication not identified: publisher not identified, 1900.", "page_number": "", "url": ""}, {"citation": "Valance, Aymer. \"Russian Peasant Industries.\" <em>The studio: an illustrated magazine of fine and applied art</em><strong>. </strong>London: Offices of the Studio, 1893-1964. volume 37, 1906.", "page_number": "p. 241-248", "url": ""}, {"citation": "Sidamon-Eristoff, V. P., Princess. <em>Sobrani\u0304e russkoi\u0306 stariny Kn. V.P. Sidamon-E\u0307ristovoi\u0306 i N.P. Shabel\u02b9skoi\u0306: vypusk I-i\u0306, vyshivki i kruzheva = Antiquite\u0301s russes, collection princesse Sidamon-Eristoff et Mlle. N. de Schabelskoi</em>. Moskva, 1910.", "page_number": null, "url": null}, {"citation": "Holme, Charles, and Studio. <em>Peasant Art in Russia</em>. The Studio, 1912. Special No. London: \"The Studio\", 1912.", "page_number": "p. 3-11", "url": null}, {"citation": "Gostelow, Mary. <em>Embroidery of All Russia</em>. New York: Scribner, 1977.", "page_number": "", "url": ""}, {"citation": "Schwoeffermann, Catherine, Peter Klosky, and Merrill Oliver. <em>Goddesses and Their Offspring: 19th and 20th Century Eastern European Embroideries</em>. Binghamton, N.Y.: Roberson Center for the Arts &amp; Sciences, 1986.", "page_number": null, "url": null}, {"citation": "Efimova, L. V., R. M. Belogorskai\ufe20a\ufe21, and Santina M. Levey. <em>Russian Embroidery and Lace</em>. Translated by A. I. Il\u02b9f. 1st English-language ed. New York: Thames and Hudson, 1982.", "page_number": "", "url": ""}, {"citation": "Kelly, Mary B. \"Embroidery for the Goddess.\" <em>Threads Magazine</em> 11 (June/July 1987).", "page_number": "p. 26-9", "url": ""}, {"citation": "Kelly, Mary B. <em>Goddess Embroideries of Eastern Europe</em>. Winona, MN: Northland Press of Winona, 1989.", "page_number": null, "url": null}, {"citation": "Cook, Bridget M. <em>Russian Lace Making.</em> London: Batsford, 1993.", "page_number": "", "url": ""}, {"citation": "Grusman, V. M., Elena Madlevskai\ufe20a\ufe21, and Karina Solov\u02b9eva. <em>Collection Chabelskaya: une Russie fin de sie\u0300cle: portrait de femmes en costume traditionnel</em>. 2010.", "page_number": null, "url": null}, {"citation": "Lovings-Gomez, Lauren. \u201cThe Lost Narrative of Natalia Shabelsky\u2019s Collection of Russian Textiles.\u201d In <em>Hidden Stories/Human Lives: Proceedings of the Textile Society of America 17th Biennial Symposium</em>, October 15-17, 2020. UNL Commons. 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Plain weave silk (est.) ground with polychrome silk (est.) and metal thread chain stitch embroidery; applied silk (est.) ribbon and metal thread trims; overall: 28 x 93 cm (11 x 36 5/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1931.137", "current_location": null, "title": "Border", "creation_date": "c 1800\u2013 1825", "creation_date_earliest": 1800, "creation_date_latest": 1825, "artists_tags": [], "culture": ["Russia, Nizhny-Novgorod province, early 19th century"], "technique": "plain weave silk (est.) ground with polychrome silk (est.) and metal thread chain stitch embroidery; applied silk (est.) ribbon and metal thread trims", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Embroidery", "measurements": "Overall: 28 x 93 cm (11 x 36 5/8 in.)", "dimensions": {"overall": {"height": 0.28, "width": 0.93}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "Collection of Natalia Leonidovna Shabelsky, Moscow, Russia (1841-1904/5), by inheritance to her daughters", "citations": [], "footnotes": [], "date": "-1904/5", "sortorder": 1}, {"description": "Princess Alexandre Sidamon-Eristoff and Mlle. N. de Chabelskoy, sold through B.M. Pushkin", "citations": [], "footnotes": null, "date": "1904/5-1931", "sortorder": 2}, {"description": "Count B. M. Pushkin sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1931", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, Ohio", "citations": [], "footnotes": null, "date": "1931-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Embroidering the ends of everyday towels was a common folk tradition in many cultures because it displayed the skill of the mother or daughter who stitched them.", "description": "This Russian embroidered panel was likely used to embellish the end of a bathing towel. Textiles of this type are valuable for their fine embroidery of ancient folk motifs, ritual significance, exemplification of the role of textiles in their society, and in this case, connection to a prominent woman collector, Natalia de Shabelsky, without whom this textile and others like it might have been lost.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79877705"], "internet_archive": ["https://archive.org/details/clevelandart-1931.137-border"]}, "citations": [{"citation": "Pushkin, B. M, B. M Pushkin, N. de Shabelsky, and N. de Shabelsky. <em>Exhibition of National Russian Art, 17th, 18th and Early 19th Centuries: Peasant Embroideries, Costumes, Headdresses, Hand-Woven Materials, Laces, Ikons, Articles of Silver, Copper, Etc.: Shown by Count and Countess B.m.-Pushkin</em>. Place of publication not identified: publisher not identified, 1900.", "page_number": "", "url": ""}, {"citation": "Valance, Aymer. \"Russian Peasant Industries.\" <em>The studio: an illustrated magazine of fine and applied art</em><strong>. </strong>London: Offices of the Studio, 1893-1964. volume 37, 1906.", "page_number": "p. 241-248", "url": ""}, {"citation": "Sidamon-Eristoff, V. P., Princess. <em>Sobrani\u0304e russkoi\u0306 stariny Kn. V.P. Sidamon-E\u0307ristovoi\u0306 i N.P. Shabel\u02b9skoi\u0306: vypusk I-i\u0306, vyshivki i kruzheva = Antiquite\u0301s russes, collection princesse Sidamon-Eristoff et Mlle. N. de Schabelskoi</em>. Moskva, 1910.", "page_number": null, "url": null}, {"citation": "Holme, Charles, and Studio. <em>Peasant Art in Russia</em>. The Studio, 1912. Special No. London: \"The Studio\", 1912.", "page_number": "p. 3-11", "url": null}, {"citation": "Gostelow, Mary. <em>Embroidery of All Russia</em>. New York: Scribner, 1977.", "page_number": "", "url": ""}, {"citation": "Schwoeffermann, Catherine, Peter Klosky, and Merrill Oliver. <em>Goddesses and Their Offspring: 19th and 20th Century Eastern European Embroideries</em>. Binghamton, N.Y.: Roberson Center for the Arts &amp; Sciences, 1986.", "page_number": null, "url": null}, {"citation": "Efimova, L. V., R. M. Belogorskai\ufe20a\ufe21, and Santina M. Levey. <em>Russian Embroidery and Lace</em>. Translated by A. I. Il\u02b9f. 1st English-language ed. New York: Thames and Hudson, 1982.", "page_number": "", "url": ""}, {"citation": "Kelly, Mary B. \"Embroidery for the Goddess.\" <em>Threads Magazine</em> 11 (June/July 1987).", "page_number": "p. 26-9", "url": ""}, {"citation": "Kelly, Mary B. <em>Goddess Embroideries of Eastern Europe</em>. Winona, MN: Northland Press of Winona, 1989.", "page_number": null, "url": null}, {"citation": "Cook, Bridget M. <em>Russian Lace Making</em>. London: Batsford, 1993.", "page_number": "", "url": ""}, {"citation": "Grusman, V. M., Elena Madlevskai\ufe20a\ufe21, and Karina Solov\u02b9eva. <em>Collection Chabelskaya: une Russie fin de sie\u0300cle: portrait de femmes en costume traditionnel</em>. 2010.", "page_number": null, "url": null}, {"citation": "Lovings-Gomez, Lauren. \u201cThe Lost Narrative of Natalia Shabelsky\u2019s Collection of Russian Textiles.\u201d In <em>Hidden Stories/Human Lives: Proceedings of the Textile Society of America 17th Biennial Symposium</em>, October 15-17, 2020. UNL Commons. Accessed 10/20/2021 from <a href=\"https://digitalcommons.unl.edu/tsaconf/\">https://digitalcommons.unl.edu/tsaconf/</a>. doi: 10.32873/unl.dc.tsasp.0117", "page_number": "", "url": "https://digitalcommons.unl.edu/tsaconf/"}], "url": "https://clevelandart.org/art/1931.137", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1931.137/1931.137_web.jpg", "width": "900", "height": "289", "filesize": "162049", "filename": "1931.137_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1931.137/1931.137_print.jpg", "width": "3400", "height": "1092", "filesize": "1909747", "filename": "1931.137_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1931.137/1931.137_full.tif", "width": "13566", "height": "4357", "filesize": "177352960", "filename": "1931.137_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 112517, "creators": [], "legal_status": "accessioned", "accession_date": "1931-05-25T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c 1800\u2013 1825", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:00.522000"}, {"id": 114161, "accession_number": "1933.418", "share_license_status": "CC0", "tombstone": "Armored Figure on Horseback (recto); Horse in Front of a Barn (verso), c. 1828. Eug\u00e8ne Delacroix (French, 1798\u20131863). Graphite and brush and brown wash; sheet: 27 x 39.7 cm (10 5/8 x 15 5/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1933.418", "current_location": null, "title": "Armored Figure on Horseback (recto); Horse in Front of a Barn (verso)", "creation_date": "c. 1828", "creation_date_earliest": 1823, "creation_date_latest": 1833, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite and brush and brown wash", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 27 x 39.7 cm (10 5/8 x 15 5/8 in.)", "dimensions": {"sheet": {"height": 0.27, "width": 0.397}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 361204, "title": "Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections", "description": "<i>Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-September 15, 1935).", "opening_date": "1935-07-12T04:00:00"}, {"id": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-December 9, 1937).", "opening_date": "1937-05-28T04:00:00"}, {"id": 346109, "title": "Old Master Drawings from the Museum Collection", "description": "<i>Old Master Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 4-March 26, 1939).", "opening_date": "1939-01-04T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 347343, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 27, 1941).", "opening_date": "1941-03-04T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 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": 361104, "title": "19th-Century French Drawings", "description": "<i>19th-Century French Drawings</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (March 8-April 6, 1947).", "opening_date": "1947-03-08T05:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 360892, "title": "French Drawings from American Collections: Clouet to Matisse", "description": "<i>French Drawings from American Collections: Clouet to Matisse</i>. Museum Boijmans Van Beuningen, Rotterdam, Netherlands (July 31-September 28, 1958); Mus\u00e9e de l'Orangerie, Paris, France (October 24, 1958-January 2, 1959); The Metropolitan Museum of Art, New York, NY (February 3-March 15, 1959).", "opening_date": "1958-07-31T04:00:00"}, {"id": 301678, "title": "Italian and French Drawings", "description": "<i>Italian and French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 1959-February 2, 1960).", "opening_date": "1959-10-13T04:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 302279, "title": "Water Color", "description": "<i>Water Color</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 6-August 27, 1962).", "opening_date": "1962-06-06T04:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 304644, "title": "The Graphic Works of Delacroix", "description": "<i>The Graphic Works of Delacroix</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 18-November 3, 1963).", "opening_date": "1963-09-18T04:00:00"}, {"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 442448, "title": "Eugene Delacroix et la Bataille de Nancy (Eugene Delacroix and the Battle of Nancy)", "description": "<i>Eugene Delacroix et la Bataille de Nancy (Eugene Delacroix and the Battle of Nancy)</i>. Mus\u00e9e des Beaux-Arts de Nancy, 5400 Nancy, France (organizer) (November 15, 1978-February 12, 1979).", "opening_date": "1978-11-15T05:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 304539, "title": "Brush Drawings", "description": "<i>Brush Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-May 10, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 441997, "title": "Eugene Delacroix", "description": "<i>Eugene Delacroix</i>. Kunsthaus Z\u00fcrich, Zurich, Switzerland (organizer) (June 4-August 23, 1987); St\u00e4del Museum, Franfurt am Main, Germany (September 23, 1987-January 4, 1988).", "opening_date": "1987-06-04T04:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}], "legacy": [{"description": "<em>Forty Drawings from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (May 21-Dec. 13, 1936).", "opening_date": "1936-05-21T00:00:00"}, {"description": "<em>Lace and Drawings from the Museum Collection. </em>Cleveland Museum of Art, Cleveland, OH (Dec. 16, 1936-Jan. 3, 1937).", "opening_date": "1936-12-16T00:00:00"}, {"description": "<em>Drawings by Old and Modern Masters from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (June 21-Sep. 30, 1938).", "opening_date": "1938-06-21T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (Oct. 28, 1941-before Jan. 6, 1942)", "opening_date": "1941-10-28T00:00:00"}, {"description": "<em>Paintings and Drawings from the Collection.</em> Cleveland Museum of Art, Cleveland, OH (Dec. 14, 1943-Jan. 4, 1944).", "opening_date": "1943-12-14T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. (Director's Corridor) Cleveland Museum of Art, Cleveland, OH (July 27, 1944-May 14, 1946).", "opening_date": "1944-07-27T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. (Director's Corridor) Cleveland Museum of Art, Cleveland, OH (May 14, 1946-Feb. 7, 1947).", "opening_date": "1946-05-14T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (rearranged Jan. 21, 1953).", "opening_date": "1953-01-21T00:00:00"}, {"description": "\"Gallery List of Drawings\" Cleveland Museum of Art, Cleveland, OH (Mar. 7-Apr. 26, 1962).", "opening_date": "1962-03-07T00:00:00"}, {"description": "\"Gallery List of Drawings\" Cleveland Museum of Art, Cleveland, OH (Sep. 19-Nov. 5, 1962).", "opening_date": "1962-09-19T00:00:00"}, {"description": "\"Gallery List of Drawings\" Cleveland Museum of Art, Cleveland, OH (Apr. 27, 1972-Feb. 2, 1973).", "opening_date": "1972-04-27T00:00:00"}, {"description": "<em>Eug\u00e8ne Delacroix et La Bataille de Nancy</em>. Mus\u00e9e des Beaux Arts, Nancy, France (Nov. 15, 1978-Feb. 12, 1979).", "opening_date": "1978-11-15T00:00:00"}, {"description": "<em>Eug\u00e8ne Delacroix: Zeichnungen, Aquarelle, Graphik</em>. Kunsthaus Z\u00fcrich (June 5-Aug. 23, 1987).", "opening_date": "1987-06-05T00:00:00"}]}, "provenance": [{"description": "(Richard Owen [1873-1946], Paris, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1933", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1933-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80006829"], "internet_archive": ["https://archive.org/details/clevelandart-1933.418-armored-figure-on-ho"]}, "citations": [{"citation": "<em>French Drawings of the Eighteenth and Nineteenth Century: From the Collection of Richard Owen of Paris: October 16th to November 6th</em>. Exh. Cat. New York: Brummer Gallery, 1933.", "page_number": "Mentioned: no. 59", "url": null}, {"citation": "<em>19th-Century French Drawings</em>. Exh. Cat. San Francisco: California Palace of the Legion of Honor, 1947.", "page_number": "Mentioned: no. 29", "url": null}, {"citation": "Shoolman, Regina, and Charles E. Slatkin. <em>Six Centuries of French Master Drawings in America</em>. New York: Oxford University Press, 1950.", "page_number": "Mentioned: p. 132; Reproduced: pl. 74", "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. 599", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "<em>French Drawings from American Collections, Clouet to Matisse</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1959.", "page_number": "Mentioned: p. 83, cat. no. 111; Reproduced: pl. 120", "url": null}, {"citation": "\"Mostre Musei Gallerie\" <em>Sele Arte</em>, vol. XI (March-April, 1963): 41-49.", "page_number": "Reproduced: p. 44, fig. 61", "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. 167", "url": "https://archive.org/details/CMAHandbook1966/page/n191"}, {"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. 167", "url": "https://archive.org/details/CMAHandbook1969/page/n191"}, {"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. 206", "url": "https://archive.org/details/CMAHandbook1978/page/n226"}, {"citation": "Szeemann, Harald. <em>Euge\u0300ne Delacroix: Zeichnungen, Aquarelle, Graphik</em>. Exh. Cat. Zu\u0308rich: Kunsthaus Zu\u0308rich, 1987.", "page_number": "Mentioned: p. 13; Reproduced: p. 14, fig. 26", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art.</em> Cleveland, Ohio: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced", "url": null}, {"citation": "Sjo\u0308berg, Yves. <em>Delacroix (798-1863): Chevaux et Fe\u0301lins: Aquarelles, Dessins, Peintures</em>. Paris: Bibliothe\u0300que de l'image, 2011.", "page_number": "Reproduced: p. 74", "url": null}], "url": "https://clevelandart.org/art/1933.418", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1933.418/1933.418_web.jpg", "width": "900", "height": "306", "filesize": "184567", "filename": "1933.418_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1933.418/1933.418_print.jpg", "width": "3400", "height": "1156", "filesize": "1615229", "filename": "1933.418_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1933.418/1933.418_full.tif", "width": "15360", "height": "5222", "filesize": "240654156", "filename": "1933.418_full.tif"}}, "alternate_images": [{"date_created": "2012-11-15T19:10:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418/1933.418_alt0_web.jpg", "width": "900", "height": "616", "filesize": "159584"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418/1933.418_alt0_print.jpg", "width": "3400", "height": "2326", "filesize": "2306564"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418/1933.418_alt0_full.tif", "width": "7588", "height": "5190", "filesize": "118169896"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114161, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1933-12-28T00:00:00", "sortable_date": 1823, "date_added_to_oa": null, "date_text": "c. 1828", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:22.136000"}, {"id": 150077, "accession_number": "1980.282", "share_license_status": "CC0", "tombstone": "Lazarillo de Tormes and His Blind Master, before 1880. Th\u00e9odule Ribot (French, 1823\u20131891). Oil on fabric; framed: 108 x 90 x 7 cm (42 1/2 x 35 7/16 x 2 3/4 in.); unframed: 91.5 x 73.7 cm (36 x 29 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.282", "current_location": null, "title": "Lazarillo de Tormes and His Blind Master", "creation_date": "before 1880", "creation_date_earliest": 1870, "creation_date_latest": 1880, "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: 108 x 90 x 7 cm (42 1/2 x 35 7/16 x 2 3/4 in.); Unframed: 91.5 x 73.7 cm (36 x 29 in.)", "dimensions": {"framed": {"height": 1.08, "width": 0.9, "depth": 0.07}, "unframed": {"height": 0.915, "width": 0.737}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: t. Ribot", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"id": 207204, "title": "Manet/Vel\u00e1zquez: The French Taste for Spanish Painting", "description": "<i>Manet/Vel\u00e1zquez: The French Taste for Spanish Painting</i>. The Metropolitan Museum of Art, New York, NY (organizer) (February 25-June 29, 2003).", "opening_date": "2003-02-25T00:00:00"}, {"id": 396858, "title": "Th\u00e9odule Ribot (1823-1891): A Delightful Darkness", "description": "<i>Th\u00e9odule Ribot (1823-1891): A Delightful Darkness</i>. Mus\u00e9e des Augustins, Toulouse, France (October 16, 2021-January 2, 2022) https://www.augustins.org/en/exhibition-theodule-ribot; Mus\u00e9e des Beaux-Arts, Marseille, Marseille, France (February 10-May 15, 2022); Mus\u00e9e des Beaux-Arts de Caen, Caen, France (organizer) (June 11-October 2, 2022) https://mba.caen.fr/exposition/theodule-ribot.", "opening_date": "2021-10-16T04:00:00"}], "legacy": [{"description": "Paris, Galeries de L'Art. Th. Ribot, Exposition G\u00e9n\u00e9rale de ses oeuvres (1880), not in cat. (according to Weisberg 1976).", "opening_date": "1976-01-01T00:00:00"}, {"description": "Paris, Galerie Bernheim Jeune. Exposition T. Ribot (1890), 19, L'aveugle \u00e0 la cruche verte et l'enfant, app. \u00e0 M. Oppenheim; 55, no. 227 bis, L'aveugle, app. \u00e0 M. Oppenheim.", "opening_date": null}, {"description": "Possibly Paris, Bernheim Jeune &amp; Cie. Exposition Ribot (2-8 February 1911), no. 24, L'aveugle.", "opening_date": "1911-02-02T00:00:00"}, {"description": "The Metropolitan Museum of Art (2/25/2003 - 6/8/2003):  \"Manet/Velazquez: The French Taste for Spanish Painting\", exh. cat. no 198, p.518, fig. 14.80, p. 400.", "opening_date": "2003-02-25T00:00:00"}]}, "provenance": [{"description": "(E. Oppenheim sale, H\u00f4tel Drouot, May 11, 1897, no. 22, unsold", "citations": [], "footnotes": ["<div><!--block-->\"E. Oppenheim\" may refer to Eduard Freiherr von Oppenheim of the German banking family.&nbsp; Eduard\u2019s brother Albert von Oppenheim was an avid art collector, whereas Eduard was chiefly interested in horse-breeding and horseracing.&nbsp; He did own works of art, but the archives of the Bankhaus Sal. Oppenheim contain no inventory or correspondence indicating that the Ribot was owned by Eduard or that his collection was sold in 1897 at H\u00f4tel Drouot (Gabriele Teichmann, email to Victoria Sears Goldman, Jan. 5, 2016).&nbsp; According to H\u00f4tel Drouot's annotated copy of the 1897 sale catalogue , the painting failed to sell.&nbsp; In the catalogue, as well as those of the 1918 and 1973 auctions, the CMA painting is titled \u201cL'aveugle et don Guzman d'Alfarache.\u201d&nbsp; After Ribot\u2019s death, the painting acquired this title (\u201cThe Blind Man and Don Guzman d\u2019Alfaranche\u201d), a reference to Mateo Alem\u00e1n\u2019s novel <em>Guzman de Alfarache</em> (1599).&nbsp; The subject of the painting, however, clearly derives from a passage in the earlier novel Lazarillo de <em>Tormes</em> (1554).&nbsp; The discrepancy between title and subject likely stems from the moralizing plot and happier ending of Guzman d\u2019Alfarache, which was apparently more agreeable and memorable to a wider audience.</div>"], "date": "1897", "sortorder": 1}, {"description": "(Possibly Bernheim-Jeune, Paris)", "citations": [], "footnotes": ["<div><!--block-->A 1911 exhibition of works by Ribot at Bernheim-June includes a painting titled <em>L\u2019Aveugle</em> for which no dimensions or descriptions are provided.&nbsp; The absence of a Bernheim-Jeune stock number on the back of the painting, frame, or stretcher make it difficult to confirm whether or not the CMA picture was the one in the Bernheim-Jeune catalogue. &nbsp;</div>"], "date": "1911", "sortorder": 2}, {"description": "(Sale, Galerie Georges Petit, Paris, December 4-5, 1918, no. 8)", "citations": [], "footnotes": null, "date": "1918", "sortorder": 3}, {"description": "(H\u00f4tel Drouot, Nov. 7, 1973 [no lot number, reproduced on page 3], sold to Peter Wengraf on behalf of Noah L. and Muriel S. Butkin)", "citations": [], "footnotes": null, "date": "1973", "sortorder": 4}, {"description": "Noah L. [1918-1980] and Muriel S. Butkin [1915-2008], Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin", "citations": [], "footnotes": null, "date": "1973-1980", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "The subject of this painting comes from the 16th-century Spanish novel <em>Lazarillo de Tormes</em>. This tells the story of Lazarillo, a poor servant boy who worked for an impoverished blind man. Abused by his master, and never given enough to eat or drink, Lazarillo is forced to fend for himself. According to the story, he steals wine by drinking it from a straw directly from the blind man's jug. This painting relates to a cultural movement known as <em>espagnolisme</em>, the French interest in Spanish art and literature. Especially popular during the 1850s, espagnolisme focused upon realistic, often down-trodden characters such as Lazarillo. Instead of finding them na\u00efve or foolishly humorous, artists such as Ribot related to their alienation from society and found inspiration in the detailed descriptions of their rough, lowly lifestyles.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474641"], "internet_archive": ["https://archive.org/details/clevelandart-1980.282-lazarillo-de-tormes"]}, "citations": [{"citation": "Ho\u0302tel Drouot.  <em>Catalogue de tableaux modernes et dessins.  </em>May 11, 1897.", "page_number": null, "url": null}, {"citation": "Laurence Mille, email to Victoria Sears Goldman, Oct. 27, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "<em>Exposition Ribot.  </em>Paris: Bernheim-Jeune, 1911.", "page_number": null, "url": null}, {"citation": "<br>Galerie Georges Petit.  <em>Catalogue des tableaux modernes par Bail, Berche\u0300re, Boudin, Jules Breton, Cazin, Chaplin...</em> Dec. 4-5, 1918.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot.  <em>Tableaux anciens et du XIXe sie\u0300cle, objets d'art et d'ameublement, meubles et sie\u0300ges anciens</em>.  Nov. 7, 1973.", "page_number": null, "url": null}, {"citation": "Peter Wengraf, letter to Mlle. Harranger, Nov. 13, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "Peter Wengraf, letter to Mlle. Harranger, Nov. 13, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. \u201cTh\u00e9odule Ribot: Popular Imagery and the Little Milkmaid.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 63, no. 8 (October 1976): 253\u2013263.", "page_number": "Mentioned: p. 258; Reproduced: p. 260, figs16-17", "url": "http://www.jstor.org/stable/25152657"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 177; Mentioned: p. 213, no. 65", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 546-548, Vol. II, no. 192", "url": ""}, {"citation": "Delapierre, Emmanuelle. \"Paysages.\" In <em>The\u0301odule Ribot, 1823-1891: Une De\u0301licieuse Obscurite\u0301</em>. Emmanuelle Delapierre, Luc Georget, Gabriel Weisberg, eds., 182-193. Paris: LienArt, 2021.", "page_number": "Mentioned and reproduced: P. 218-219, no. 80", "url": ""}], "url": "https://clevelandart.org/art/1980.282", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.282/1980.282_web.jpg", "width": "707", "height": "893", "filesize": "368118", "filename": "1980.282_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.282/1980.282_print.jpg", "width": "2692", "height": "3400", "filesize": "5933546", "filename": "1980.282_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.282/1980.282_full.tif", "width": "4751", "height": "6000", "filesize": "85548656", "filename": "1980.282_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150077, "creators": [{"id": 1582, "description": "Th\u00e9odule Ribot (French, 1823\u20131891)", "extent": null, "qualifier": null, "role": "artist", "biography": "Th\u00e9odule Ribot first tried to study art at the trade school in Ch\u00e2lons, \u00c9cole des Arts et M\u00e9tiers. When his father died in 1840, Ribot had to help support his family. He worked as a bookkeeper in Rouen, married early, and left for Paris in 1845. There he did various jobs, studied in the atelier of Auguste-Barth\u00e9l\u00e9my Glaize (1807-1893), and, in 1848, went to Algeria to work as a foreman for three years. Back in Paris, he befriended the painter Bonvin (q.v.), who held an exhibition of pictures by his friends in his studio in 1859. These artists, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), Antoine Vollon (1833-1900), and J. A. M. Whistler (1834-1903), depicted ordinary subjects from their immediate environments without relying on narrative, and they generally used somber colors, limited illumination, and broader brushwork that contrasted with academic standards and methods. Their work elicited a positive response from Courbet (q.v.), considered the father of realism in France. Ribot first exhibited at a Paris Salon in 1861, when his kitchen scenes won generally favorable reviews. To underscore a humble life-style for the artist, his early biographers claim that the dark, inky backgrounds of his pictures were the result of Ribot's painting by lamplight in his free evenings at home. He continued to depict working-class and peasant subjects in a style variously described as Dutch or Spanish by critics, and he participated in the Salons and provincial and international art exhibitions. Always interested in expanding exhibition opportunities for independent painters like himself, he signed a petition in 1863 that decried the Salon jury's numerous rejections that year and contributed to the official decision to hold the Salon des Refus\u00e9s. Ribot sold his pictures through art galleries in Paris, such as those of Louis Martinet, Alfred Cadart, and Bernheim Jeune, and the French state bought his St. Sebastian (Mus\u00e9e d'Orsay, Paris) in 1865. In 1878 he was named to the Legion of Honor. The following year a serious illness kept Ribot from painting for two years, and his production fell off after this period. In 1884 his fellow artists, including Jules Bastien-Lepage (1848-1884), Boudin (q.v.), Fantin-Latour, Monet (q.v.), Puvis de Chavannes (q.v.), and Auguste Rodin (1840-1917), held a banquet in his honor and gave him a medal inscribed \"To Th\u00e9odule Ribot, the independent painter.\" It is ironic, then, that the year after his death a major retrospective exhibition was organized at the official art school, the \u00c9cole des Beaux-Arts in Paris.", "name_in_original_language": null, "birth_year": "1823", "death_year": "1891", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "before 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:08.334000"}, {"id": 95485, "accession_number": "1916.1221", "share_license_status": "CC0", "tombstone": "Headdress (beniqa), 1800s. Africa, North Africa, Algeria, Algerian embroiderer. Linen, silk, and metal; overall: 210.8 x 17.1 cm (83 x 6 3/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1221", "current_location": null, "title": "Headdress (beniqa)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, North Africa, Algeria, Algerian embroiderer"], "technique": "Linen, silk, and metal", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Embroidery", "measurements": "Overall: 210.8 x 17.1 cm (83 x 6 3/4 in.)", "dimensions": {"overall": {"height": 2.108, "width": 0.171}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}, {"id": 669620, "title": "Arts of the Maghreb: North African Textiles and Jewelry", "description": "<i>Arts of the Maghreb: North African Textiles and Jewelry</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 3, 2024-October 12, 2025).", "opening_date": "2024-11-03T04:00:00"}], "legacy": []}, "provenance": [{"description": "Jeptha Homer Wade II [1857-1926] and Ellen Garretson Wade [1859-1917], Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Slender gray lines made in pencil or chalk trace out unstitched designs on this elaborate ritual cap.", "description": "<em>Beniqa</em> were stylish headdresses that women wore when visiting the <em>hammam</em> (steam bath). The linen fabric absorbed the damp from their wet hair. With its gold and silver metal thread, shimmering spangles, and brightly colored threads forming flowers and vines, this beniqa was a ceremonial garment worn for the ritual bath before a Jewish woman\u2019s wedding; it was also part of her dowry. After toweling off her hair, a woman made two braids, which she would then twist into the cap\u2019s fabric and tie on her head, with the gold-fringed ends trailing down.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79477021"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1221-headdress-beniqa"]}, "citations": [{"citation": "Windmuller-Luna, Kristen. \"Textile stories from North Africa.\" <em>HALI </em>224 (Summer 2025): 54-61.", "page_number": "Mentioned: p. 57, 60; Reproduced: p. 55, fig. 3", "url": ""}], "url": "https://clevelandart.org/art/1916.1221", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1221/1916.1221_web.jpg", "width": "900", "height": "116", "filesize": "121878", "filename": "1916.1221_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1221/1916.1221_print.jpg", "width": "3400", "height": "439", "filesize": "572158", "filename": "1916.1221_print.jpg"}, 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H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95485, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Cap (Benika)"], "is_highlight": false, "updated_at": "2026-03-27 00:08:48.313000"}, {"id": 97857, "accession_number": "1917.466", "share_license_status": "CC0", "tombstone": "Jar-shaped Basket, c. 1900\u20131910. Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone. Willow, bulrush, yucca root; coiled (3 rods); overall: 14.3 x 22 cm (5 5/8 x 8 11/16 in.). The Cleveland Museum of Art, Presented by William Albert Price in memory of Mrs. William Albert Price, 1917.466", "current_location": null, "title": "Jar-shaped Basket", "creation_date": "c. 1900\u20131910", "creation_date_earliest": 1895, "creation_date_latest": 1915, "artists_tags": [], "culture": ["Native North America, Great Basin, California, Death Valley, Timbisha (Panamint) Shoshone"], "technique": "willow, bulrush, yucca root; coiled (3 rods)", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Basketry", "measurements": "Overall: 14.3 x 22 cm (5 5/8 x 8 11/16 in.)", "dimensions": {"overall": {"height": 0.143, "width": 0.22, "length": 0.229}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348319, "title": "Gallery 231 - Native North American Basket Rotation", "description": "<i>Gallery 231 - Native North American Basket Rotation</i>. The Cleveland Museum of Art (organizer) (August 3, 2015-August 15, 2016).", "opening_date": "2015-08-03T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The figures woven in the lower register of this basket were borrowed from basketry of the Yokuts.", "description": "The figures woven in the lower register of this basket were borrowed from basketry of the Yokuts, a California group that lived to the west of Timbisha (Panamint) Shoshone territory.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79482661"], "internet_archive": ["https://archive.org/details/clevelandart-1917.466-jar-shaped-basket"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 4, no. 4 (1917): 64-67.", "page_number": "Mentioned: p. 65", "url": "http://www.jstor.org/stable/25136092"}], "url": "https://clevelandart.org/art/1917.466", "images": {"annotation": 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"is_highlight": false, "updated_at": "2026-03-27 00:05:59.687000"}, {"id": 100264, "accession_number": "1919.76", "share_license_status": "CC0", "tombstone": "Rubbing of a Stone from the Tang-Fang Collection (\u4eff\u6771\u6f22\u6b66\u6881\u7960\u756b\u50cf\u77f3\u62d3\u7247), 1900\u20131916. China, Qing dynasty (1644-1911) or Republican period (1912-49). Rubbing, ink on paper; overall: 78.7 x 174 cm (31 x 68 1/2 in.); rubbing only: 64.1 x 123.2 cm (25 1/4 x 48 1/2 in.). The Cleveland Museum of Art, Gift of Yamanaka & Company, 1919.76", "current_location": null, "title": "Rubbing of a Stone from the Tang-Fang Collection", "title_in_original_language": "\u4eff\u6771\u6f22\u6b66\u6881\u7960\u756b\u50cf\u77f3\u62d3\u7247", "creation_date": "1900\u20131916", "creation_date_earliest": 1900, "creation_date_latest": 1916, "artists_tags": [], "culture": ["China, Qing dynasty (1644-1911) or Republican period (1912-49)"], "technique": "Rubbing, ink on paper", "support_materials": [], "department": "Chinese Art", "collection": "Chinese Art", "type": "Miscellaneous", "measurements": "Overall: 78.7 x 174 cm (31 x 68 1/2 in.); Rubbing only: 64.1 x 123.2 cm (25 1/4 x 48 1/2 in.)", "dimensions": {"overall": {"height": 0.787, "width": 1.74}, "rubbing only": {"height": 0.641, "width": 1.232}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 394917, "title": "From Caves to Tombs: Chinese Pictorial Rubbings from Stone Reliefs (\u5f9e\u77f3\u7a9f\u5230\u5893\u7960\u2014\u77f3\u523b\u62d3\u7247)", "description": "<i>From Caves to Tombs: Chinese Pictorial Rubbings from Stone Reliefs (\u5f9e\u77f3\u7a9f\u5230\u5893\u7960\u2014\u77f3\u523b\u62d3\u7247)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-November 14, 2021).", "opening_date": "2021-06-11T04:00:00"}], "legacy": [{"description": "<em>Chinese Art Gallery XIII</em>. The Cleveland Museum of Art, Cleveland, OH (1920).", "opening_date": null}]}, "provenance": [{"description": "Yamanaka and Company, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The process of making rubbings has been done in China since at least the 6th century.", "description": "Figures, birds, and a chariot depicted in three registers correspond to a stone relief from the east wall of the front stone chamber in the Wu Liang shrine: the top register shows a procession with a horse carriage; the second has scenes of filial piety; the third presents a banquet scene.<br> <br>However, missing inscribed labels to identify the scenes and a carriage replaced by two figures in the lower left corner reveal that this rubbing differs from the Wu Liang shrine version. The museum\u2019s rubbing was either altered, taken from a different local Han dynasty shrine, or from a later stone slab that was recarved to produce rubbings for the market.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79491339"], "internet_archive": ["https://archive.org/details/clevelandart-1919.76-rubbing-of-a-stone-f"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 5 (1919): 97-98.", "page_number": "Mentioned: p. 97", "url": "http://www.jstor.org/stable/25136292"}], "url": "https://clevelandart.org/art/1919.76", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1919.76/1919.76_web.jpg", "width": "900", "height": "510", "filesize": "", "filename": "1919.76_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1919.76/1919.76_print.jpg", "width": "3400", "height": "1927", "filesize": "", "filename": "1919.76_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1919.76/1919.76_full.tif", "width": "8000", "height": "4533", "filesize": "", "filename": "1919.76_full.tif"}}, "alternate_images": [], "creditline": "Gift of Yamanaka & Company", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 100264, "creators": [], "legal_status": "accessioned", "accession_date": "1919-03-14T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131916", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:03.597000"}, {"id": 107210, "accession_number": "1925.1204", "share_license_status": "CC0", "tombstone": "Elles, 1896. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph; sheet: 52.4 x 40.3 cm (20 5/8 x 15 7/8 in.). The Cleveland Museum of Art, Gift of Ralph King, 1925.1204", "current_location": null, "title": "Elles", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 52.4 x 40.3 cm (20 5/8 x 15 7/8 in.)", "dimensions": {"sheet": {"height": 0.524, "width": 0.403}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309882, "title": "Prints by Toulouse-Lautrec and Bonnard", "description": "<i>Prints by Toulouse-Lautrec and Bonnard</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 3, 1985-March 2, 1986).", "opening_date": "1985-12-03T05:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The top hat seen at left alludes to the presence of a male patron in this frontispiece to Henri de Toulouse-Lautrec's lithographic series about prostitution.", "description": "The French publisher Gustave Pellet, hoping to attract new customers, persuaded Lautrec to make a series of ten prints, plus frontispiece and cover, depicting brothels. Although it was not unusual to see prostitutes pictured in the popular press, Lautrec was the first well-known, successful artist to tackle this subject. The set was a commercial failure when it first appeared, perhaps because the scenes are not erotic. Lautrec had said that \"they are women to my liking,\" and between 1892 and 1895 he often lived in various Parisian brothels for weeks at a time. This allowed him to witness the daily lives of the women, including the intimate acts of sleeping and bathing, and to sense their suffering. The result is that only two of the scenes show prostitutes as desirable temptresses. The remainder depict the mundane routine of the women's private world, their caring for each other, their boredom, and, living on the periphery of society, their sense of isolation. Lautrec did not take a direct moral stand. He portrayed the women sympathetically, restoring to them their humanity. One scene shows Juliette Baron, whose life of vice has led to premature aging, bringing her daughter Paulette breakfast. Other images depict the women at private moments, bathing or combing their hair in natural, relaxed poses, unaware of being observed. The beauty of the drawing and use of color makes this set one of the masterpieces of late nineteenth-century French color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894744"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204-elles"]}, "citations": [{"citation": "Kretzschmar, Sabine, \"Sets and Series\", Cleveland Museum of Art. <em>Cleveland Art: The Cleveland Museum of Art Members Magazine</em>. Vol. 36 no. 02, February 1996", "page_number": "Mentioned & reproduced: p. 8", "url": "https://archive.org/details/CMAMM1996-02/page/8/"}], "url": "https://clevelandart.org/art/1925.1204", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204/1925.1204_web.jpg", "width": "700", "height": "900", "filesize": "226707", "filename": "1925.1204_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204/1925.1204_print.jpg", "width": "2644", "height": "3400", "filesize": "2725359", "filename": "1925.1204_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204/1925.1204_full.tif", "width": "4475", "height": "5755", "filesize": "77290776", "filename": "1925.1204_full.tif"}}, "alternate_images": [{"date_created": "2012-11-06T15:59:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204/1925.1204_alt0_web.jpg", "width": "703", "height": "900", "filesize": "245181"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204/1925.1204_alt0_print.jpg", "width": "2657", "height": "3400", "filesize": "3086413"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204/1925.1204_alt0_full.tif", "width": "4801", "height": "6143", "filesize": "88520732"}}], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107210, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:43.180000"}, {"id": 107359, "accession_number": "1925.1338", "share_license_status": "CC0", "tombstone": "Raja Gulab Singh (1792\u20131857) of Jammu and Kashmir, c. 1830\u201340. Northern India, Pahari kingdoms. Gum tempera and gold on paper; overall: 19.8 x 13.8 cm (7 13/16 x 5 7/16 in.). The Cleveland Museum of Art, Gift of J. H. Wade, 1925.1338", "current_location": null, "title": "Raja Gulab Singh (1792\u20131857) of Jammu and Kashmir", "creation_date": "c. 1830\u201340", "creation_date_earliest": 1825, "creation_date_latest": 1845, "artists_tags": [], "culture": ["Northern India, Pahari kingdoms"], "technique": "Gum tempera and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 19.8 x 13.8 cm (7 13/16 x 5 7/16 in.)", "dimensions": {"overall": {"height": 0.198, "width": 0.138}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 520021, "title": "Oriental Art", "description": "<i>Oriental Art</i>. Berea College, Berea, KY (organizer) (November 1-December 1, 1962).", "opening_date": "1962-11-01T05:00:00"}, {"id": 293147, "title": "Indian Gallery 242 Rotation \u2013 April-November 2017", "description": "<i>Indian Gallery 242 Rotation \u2013 April-November 2017</i>. The Cleveland Museum of Art (organizer) (April 10-November 6, 2017).", "opening_date": "2017-04-10T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ananda K. Coomaraswamy [1877\u20131947] sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131925", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1925\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Ananda K. Coomaraswamy (1877\u20131947), who sold this painting to the CMA, was a curator of Indian art at the Museum of Fine Arts, Boston and a prolific author of art historical and philosophical works.", "description": "Maharaja Gulab Singh of the Hindu Dogra dynasty founded the princely state of Jammu and Kashmir in 1846. In this equestrian portrait, the umbrella is a sign of royalty, the sword and shield indicate his status as a warrior, and the hookah projects an image of noble refinement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60503550"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1338-raja-gulab-singh"]}, "citations": [{"citation": "Leach, Linda York. <em>Indian Miniature Paintings and Drawings</em>. Cleveland, OH: Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "Mentioned and Reproduced: cat. no. 138", "url": null}], "url": "https://clevelandart.org/art/1925.1338", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1338/1925.1338_web.jpg", "width": "640", "height": "900", "filesize": "212072", "filename": "1925.1338_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1338/1925.1338_print.jpg", "width": "2416", "height": "3400", "filesize": "2324389", "filename": "1925.1338_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1338/1925.1338_full.tif", "width": "5362", "height": "7547", "filesize": "121434116", "filename": "1925.1338_full.tif"}}, "alternate_images": [{"date_created": "2014-03-21T14:13:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1338/1925.1338_alt0_web.jpg", "width": "641", "height": "900", "filesize": "199837"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1338/1925.1338_alt0_print.jpg", "width": "2421", "height": "3400", "filesize": "2348846"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1338/1925.1338_alt0_full.tif", "width": "5492", "height": "7712", "filesize": "127093136"}}], "creditline": "Gift of J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107359, "creators": [], "legal_status": "accessioned", "accession_date": "1925-12-30T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "c. 1830\u201340", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-09 19:34:25.019000"}, {"id": 117303, "accession_number": "1937.865", "share_license_status": "CC0", "tombstone": "Blanket Strip, c. 1900. Native North America, Plains, Tsitsistas (Cheyenne). Native-tanned hide, glass beads, metal beads, sinew thread ; overall: 163.2 x 13.2 cm (64 1/4 x 5 3/16 in.). The Cleveland Museum of Art, Gift of Amelia Elizabeth White, 1937.865", "current_location": null, "title": "Blanket Strip", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Native North America, Plains, Tsitsistas (Cheyenne)"], "technique": "Native-tanned hide, glass beads, metal beads, sinew thread ", "support_materials": [], "department": "Textiles", "collection": "T - Native North American", "type": "Leather", "measurements": "Overall: 163.2 x 13.2 cm (64 1/4 x 5 3/16 in.)", "dimensions": {"overall": {"height": 1.632, "width": 0.132}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348303, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2014-July 29, 2015).", "opening_date": "2014-08-26T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This beaded strip was stitched to a hide or a blanket.", "description": "The animal-hide robes basic to Plains attire were often ornamented with quilled or beaded strips, which also were stitched to the blankets that replaced robes. This beaded example carries the cross-in-a-circle motif that symbolizes the world, the four directions, and the sacred center, concepts central to Plains worldviews. In the 1932 words of Black Elk, the Oglala Lakota (Sioux) holy man, \u201c[T]he power of the world always works in circles. . . . The flowering tree was at the center of the hoop, and the circle of the four quarters nourished it. . . . Everything the power of the world does is done in a circle.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80011779"], "internet_archive": ["https://archive.org/details/clevelandart-1937.865-blanket-strip"]}, "citations": [{"citation": "Ruggles, Ruth. \"The Amelia Elizabeth White Indian Collection.\" <em>The Bulletin of the Cleveland Museum of Art </em>25, no. 2 (February 1938): 25-26", "page_number": "Mentioned: p. 26; Reproduced: p. 35", "url": "https://www.jstor.org/stable/25137901"}], "url": "https://clevelandart.org/art/1937.865", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.865/1937.865_web.jpg", "width": "1263", "height": "230", "filesize": "198122", "filename": "1937.865_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.865/1937.865_print.jpg", "width": "3400", "height": "620", "filesize": "1739528", "filename": "1937.865_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.865/1937.865_full.tif", "width": "6360", "height": "1160", "filesize": "22157436", "filename": "1937.865_full.tif"}}, "alternate_images": [{"date_created": "2010-12-20T18:45:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.865/1937.865_alt0_web.jpg", "width": "1263", "height": "623", "filesize": "697896"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.865/1937.865_alt0_print.jpg", "width": "3400", "height": "1678", "filesize": "3799205"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.865/1937.865_alt0_full.tif", "width": "1288", "height": "636", "filesize": "2486200"}}], "creditline": "Gift of Amelia Elizabeth White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117303, "creators": [], "legal_status": "accessioned", "accession_date": "1955-04-28T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Beaded Blanket Band"], "is_highlight": false, "updated_at": "2026-03-27 00:06:51.072000"}, {"id": 118489, "accession_number": "1939.523", "share_license_status": "CC0", "tombstone": "Pan of Rohallion, 1890. Frederick William MacMonnies (American, 1863\u20131937). Bronze; overall: 76.6 x 26 cm (30 3/16 x 10 1/4 in.); diameter of base: 17.6 cm (6 15/16 in.). The Cleveland Museum of Art, Gift of S. Houghton Cox, J. D. Cox Jr., and Jeannette Cox Morrill in memory of Mr. and Mrs. J. D. Cox Sr., 1939.523", "current_location": null, "title": "Pan of Rohallion", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["America"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 76.6 x 26 cm (30 3/16 x 10 1/4 in.); Diameter of base: 17.6 cm (6 15/16 in.)", "dimensions": {"overall": {"height": 0.766, "width": 0.26}, "diameter of base": {"width": 0.176}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on globe:  Frederick MacMonnies, Paris 1890. \u00a9 1894.  Inscribed around base: TO PAN OF ROHALLION ANNO DOMINI MDCCCLXL", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309906, "title": "The American Way in Sculpture 1890-1930", "description": "<i>The American Way in Sculpture 1890-1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 12-October 19, 1986).", "opening_date": "1986-08-12T04:00:00"}], "legacy": [{"description": "NY, NY: Durand-Ruel Galleries, Exhibition of paintings and bronze statuettes by Frederick MacMonnies, January 20-February 2, 1903, no. 19.", "opening_date": "1903-01-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The character of Peter Pan, including his flute playing, references the Greek god Pan.", "description": "Rohallion in the title refers to the name of an estate in New Jersey, whose owner commissioned MacMonnies to create a large fountain of this design for a garden pool. Later, the artist made several smaller versions, such as this example. Here, the ancient Greek god Pan plays his musical pipes while standing on an orb supported by fish.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80013328"], "internet_archive": ["https://archive.org/details/clevelandart-1939.523-pan-of-rohallion"]}, "citations": [{"citation": "Solender, Katherine. The American Way in Sculpture, 1890-1930. 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"https://openaccess-cdn.clevelandart.org/alternate/1939.523/1939.523_alt11_web.jpg", "width": "900", "height": "675", "filesize": "227173"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.523/1939.523_alt11_print.jpg", "width": "3400", "height": "2550", "filesize": "2676958"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.523/1939.523_alt11_full.tif", "width": "8000", "height": "6000", "filesize": "144030428"}}, {"date_created": "2015-06-04T14:47:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.523/1939.523_alt12_web.jpg", "width": "900", "height": "45", "filesize": "42684"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.523/1939.523_alt12_print.jpg", "width": "3400", "height": "171", "filesize": "286849"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1939.523/1939.523_alt12_full.tif", "width": "39000", "height": "1960", "filesize": "229343340"}}], "creditline": "Gift of S. Houghton Cox, J. D. Cox Jr., and Jeannette Cox Morrill in memory of Mr. and Mrs. J. D. Cox Sr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 118489, "creators": [{"id": 3901, "description": "Frederick William MacMonnies (American, 1863\u20131937)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1939-12-19T00:00:00", "sortable_date": 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": "2026-03-26 23:59:29.119000"}, {"id": 128371, "accession_number": "1951.330", "share_license_status": "CC0", "tombstone": "The Pond at the Entrance of the Woods, c. 1860\u201375. Jean Baptiste Camille Corot (French, 1796\u20131875). Oil on fabric; unframed: 46 x 61 cm (18 1/8 x 24 in.). The Cleveland Museum of Art, Bequest of William G. Mather, 1951.330", "current_location": null, "title": "The Pond at the Entrance of the Woods", "creation_date": "c. 1860\u201375", "creation_date_earliest": 1860, "creation_date_latest": 1875, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 46 x 61 cm (18 1/8 x 24 in.)", "dimensions": {"unframed": {"height": 0.46, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left in dark brown paint: corot\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Cleveland, Kinney and Levan Building. Illustrated Catalogue of the Cleveland Art Loan Exposition Under the Auspices of the Cleveland School of Art (1913), no. 30c, L'\u00e9tang \u00e0 l'entr\u00e9e du bois, lent by William G. Mather.", "opening_date": "1913-01-01T00:00:00"}, {"description": "CMA. (2 March-19 May 1920), no cat.", "opening_date": "1920-03-02T00:00:00"}]}, "provenance": [{"description": "Dowager Duchess of Newcastle, widow of the sixth duke. Arnold & Tripp, Paris. Henry Reinhardt, dealer, Chicago. Purchased from him in December 1910 by William G. Mather, Cleveland. Bequeathed to the CMA in 1951.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This painting's first recorded owner was the Dowager Duchess of Newcastle, n\u00e9e Henrietta-Adela Hope, who became a widow of the sixth duke Henry Pelham Alexander in 1879.", "description": "This scene of a pond bordered by large, leafy trees echoes Corot's well-known views of Ville-d'Avray, while the vaporous light and atmospheric effects within a restricted palette resemble those of the artist's late style of the 1860s and 1870s. The small forms of the peasant and white goat are also typical of Corot's late imagery. This is one of many views of a large pond at Ville-d'Avray, a small commune on the western suburbs of Paris, where Corot inherited a rural property from his parents.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60515851"], "internet_archive": ["https://archive.org/details/clevelandart-1951.330-the-pond-at-the-entr"]}, "citations": [{"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 156-157, Vol. I, no. 59", "url": ""}], "url": "https://clevelandart.org/art/1951.330", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.330/1951.330_web.jpg", "width": "1186", "height": "893", "filesize": "180807", "filename": "1951.330_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.330/1951.330_print.jpg", "width": "3400", "height": "2560", "filesize": "1829232", "filename": "1951.330_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.330/1951.330_full.tif", "width": "7367", "height": "5547", "filesize": "122618140", "filename": "1951.330_full.tif"}}, "alternate_images": [{"date_created": "2013-08-06T14:39:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.330/1951.330_alt0_web.jpg", "width": "1199", "height": "893", "filesize": "194623"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.330/1951.330_alt0_print.jpg", "width": "3400", "height": "2532", "filesize": "2207495"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1951.330/1951.330_alt0_full.tif", "width": "7661", "height": "5706", "filesize": "131164916"}}], "creditline": "Bequest of William G. Mather", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 128371, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-01-30T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "c. 1860\u201375", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:23.455000"}, {"id": 129162, "accession_number": "1951.65.1", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: Cover, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Lithograph; sheet: 59 x 44.4 cm (23 1/4 x 17 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.1", "current_location": null, "title": "Cover", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 59 x 44.4 cm (23 1/4 x 17 1/2 in.)", "dimensions": {"sheet": {"height": 0.59, "width": 0.444}}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.65"], "did_you_know": "In 1893, Vuillard helped found Th\u00e9\u00e2tre de l\u2019Oeuvre, a Symbolist theatre helmed by French actor and producer Aur\u00e9lien Lugn\u00e9-Po\u00eb.", "description": "As in Vuillard\u2019s other work, family, friends, and homelife inspire his emotionally resonant prints. The artist weaves his figures into each setting, establishing an intimate relationship between sitters and locale while expressing a range of feelings, from calm to melancholy to nostalgia. Here, two women relax in a snug interior: one, dressed in white and accompanied by a small dog, reads a green-covered book at the left, while another (almost camouflaged in her surroundings) studies a fine print at the lower right. The barely distinguishable text across the surface of this lithograph reads <em>Douze lithographies en couleurs // Edouard Vuillard // edit\u00ed\u00e9s par Vollard // 6 rue Lafitte</em> (Twelve color lithographs // Edouard Vuillard // published by [Amboise] Vollard // 6 rue Lafitte).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909884"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.1-cover"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 51; Reproduced: P. 79, no. 23", "url": ""}], "catalogue_raisonne": "Roger-Marx 31", "url": "https://clevelandart.org/art/1951.65.1", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.1/1951.65.1_web.jpg", "width": "705", "height": "900", "filesize": "295344", "filename": "1951.65.1_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.1/1951.65.1_print.jpg", "width": "2663", "height": "3400", "filesize": "3445713", "filename": "1951.65.1_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.1/1951.65.1_full.tif", "width": "4554", "height": "5814", "filesize": "79465152", "filename": "1951.65.1_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129162, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:36.265000"}, {"id": 129166, "accession_number": "1951.65.13", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: The Two Sisters-in-Law, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 44.8 x 36 cm (17 5/8 x 14 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.13", "current_location": null, "title": "The Two Sisters-in-Law", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 44.8 x 36 cm (17 5/8 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.448, "width": 0.36}}, "state_of_the_work": "III/III", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.77"], "did_you_know": "The muses for this print, Misia Natanson and Marthe Mellot, were accomplished in their own right. Natanson was a pianist and patron of the arts, while Mellot was a film actress.", "description": "In this hushed lithograph, Misia Natanson, Vuillard\u2019s artistic muse, enjoys an intimate conversation with her sister-in-law, actress Marthe Mellot. The two women lean against a piano, an instrument that Misia played brilliantly.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909893"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.13-the-two-sisters-in-l"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 51; Reproduced: P. 80, no. 25", "url": ""}], "catalogue_raisonne": "Roger-Marx 43", "url": "https://clevelandart.org/art/1951.65.13", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.13/1951.65.13_web.jpg", "width": "750", "height": "893", "filesize": "543572", "filename": "1951.65.13_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.13/1951.65.13_print.jpg", "width": "2857", "height": "3400", "filesize": "7660425", "filename": "1951.65.13_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.13/1951.65.13_full.tif", "width": "4542", "height": "5405", "filesize": "73682964", "filename": "1951.65.13_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129166, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:06.198000"}, {"id": 144534, "accession_number": "1969.212", "share_license_status": "CC0", "tombstone": "Sovereign: George III (obverse); St. George and the Dragon (reverse), 1817. Design by after Benedetto Pistrucci (Italian, 1784\u20131855). Gold; diameter: 2.2 cm (7/8 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.212", "current_location": null, "title": "Sovereign: George III (obverse); St. George and the Dragon (reverse)", "creation_date": "1817", "creation_date_earliest": 1817, "creation_date_latest": 1817, "artists_tags": ["male"], "culture": ["England, George III, 1760-1820"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 2.2 cm (7/8 in.)", "dimensions": {"diameter": {"height": 0.022}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "GEORGIUS III D.G. BRITANNIAR. REX F.D.", "inscription_translation": "George III by the Grace of God, King of the British territories, Defender of the Faith", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "HONI \u2219 SOIT \u2219 QUI \u2219 MAL \u2219 Y \u2219 PENSE", "inscription_translation": "May he be shamed who thinks badly of it", "inscription_remark": "reverse, motto of the British chivalric Order of the Garter (founded in 1348)", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Benedetto Pistrucci's portrait of the king is a caricature.", "description": "Great changes had occurred since King George III's previous coinage. The Royal Mint had moved out of the Tower of London to new premises in Little Tower Hill. The new mint was fitted with the latest steam-driven machinery by Boulton and Watt, and the whole coinage had been reformed. The guinea of twenty-one shillings was replaced by the sovereign, the pound unit piece, designed by Benedetto Pistrucci, and went into circulation in 1817. The new Royal Mint was placed under the Mastership of William Wellesley Pole, later Lord Maryborough and finally the third Earl of Mornington, an elder brother of the famous Duke of Wellington. Pole was so impressed by a cameo of Saint George and the dragon, cut by Pistrucci, that he invited the artist to England and set him to design the new coinage. For legal reasons Pistrucci could not be appointed chief engraver, which started a quarrel between the artist and the government that lasted nearly 40 years until the Pistrucci's death in 1855. Working with, and often against, various members of the family who held a succession of engraving appointments at the Royal Mint, Pistrucci produced the new coinage of the reign of George III. His magnificent Saint George, seen to its best on this very rare piece, continued to be used from time to time. It is still the reverse type of the British sovereign.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921866"], "internet_archive": ["https://archive.org/details/clevelandart-1969.212-sovereign-george-iii"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb<em>. English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.", "page_number": "p. 69", "url": ""}], "url": "https://clevelandart.org/art/1969.212", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.212/1969.212_web.jpg", "width": "900", "height": "407", "filesize": "256376", "filename": "1969.212_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.212/1969.212_print.jpg", "width": "3400", "height": "1538", "filesize": "2253561", "filename": "1969.212_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.212/1969.212_full.tif", "width": "4527", "height": "2048", "filesize": "27839620", "filename": "1969.212_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:38:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.212/1969.212_alt0_web.jpg", "width": "900", "height": "808", "filesize": "310682"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.212/1969.212_alt0_print.jpg", "width": "2280", "height": "2048", "filesize": "1715007"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.212/1969.212_alt0_full.tif", "width": "2280", "height": "2048", "filesize": "14036700"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144534, "creators": [{"id": 10344, "description": "Benedetto Pistrucci (Italian, 1784\u20131855)", "extent": "design by", "qualifier": "after", "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1855", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1817, "date_added_to_oa": null, "date_text": "1817", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:21.183000"}, {"id": 144537, "accession_number": "1969.213", "share_license_status": "CC0", "tombstone": "Two Pound Piece: George III (obverse); St. George and the Dragon (reverse), 1820. Design by after Benedetto Pistrucci (Italian, 1784\u20131855). Gold; diameter: 2.9 cm (1 1/8 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.213", "current_location": null, "title": "Two Pound Piece: George III (obverse); St. George and the Dragon (reverse)", "creation_date": "1820", "creation_date_earliest": 1820, "creation_date_latest": 1820, "artists_tags": ["male"], "culture": ["England, George III, 1760-1820"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 2.9 cm (1 1/8 in.)", "dimensions": {"diameter": {"height": 0.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "GEORGIUS III . D: G: BRITANNIARUM REX  F: D: 1820.", "inscription_translation": "George III by the Grace of God, King of the British territories, Defender of the Faith", "inscription_remark": "obverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Benedetto Pistrucci was an Italian gem and coin engraver, medallist, and carver of cameos.", "description": "The five- and two-pound pieces struck for George III were only struck as patterns in this, the last year of the his reign. No pieces of either denomination were put into circulation. This very rare piece shows Pistrucci's Saint George as modified by Wyon. In the original the lance is broken; here the lance a been converted by Wyon into a sword, and it has appeared thus in future coinage. Later, in currency issues, the streamer disappears for a time for the helmet.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921871"], "internet_archive": ["https://archive.org/details/clevelandart-1969.213-two-pound-piece-geor"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb. <em>English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.", "page_number": "p. 70", "url": ""}], "url": "https://clevelandart.org/art/1969.213", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.213/1969.213_web.jpg", "width": "900", "height": "396", "filesize": "248461", "filename": "1969.213_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.213/1969.213_print.jpg", "width": "3400", "height": "1497", "filesize": "2190834", "filename": "1969.213_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.213/1969.213_full.tif", "width": "4590", "height": "2021", "filesize": "27854852", "filename": "1969.213_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:38:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.213/1969.213_alt0_web.jpg", "width": "900", "height": "820", "filesize": "320527"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.213/1969.213_alt0_print.jpg", "width": "2247", "height": "2048", "filesize": "1787916"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.213/1969.213_alt0_full.tif", "width": "2247", "height": "2048", "filesize": "13833752"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144537, "creators": [{"id": 10344, "description": "Benedetto Pistrucci (Italian, 1784\u20131855)", "extent": "design by", "qualifier": "after", "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1855", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "1820", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:53.521000"}, {"id": 144540, "accession_number": "1969.214", "share_license_status": "CC0", "tombstone": "Two Pound Piece: George IV (obverse); St. George and the Dragon (reverse), 1823. After Benedetto Pistrucci (Italian, 1784\u20131855), after a design by Francis Legatt Chantrey (British, 1781\u20131841), Jean Baptiste Merlen (French, 1769\u20131850). Gold; diameter: 4.5 cm (1 3/4 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.214", "current_location": null, "title": "Two Pound Piece: George IV (obverse); St. George and the Dragon (reverse)", "creation_date": "1823", "creation_date_earliest": 1823, "creation_date_latest": 1823, "artists_tags": ["male"], "culture": ["England, George IV, 1820-1830"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 4.5 cm (1 3/4 in.)", "dimensions": {"diameter": {"height": 0.045}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "BRITANNIAR: REX  F: D: GEORGIUS IIII D: G:", "inscription_translation": "George III by the Grace of God, King of the British territories, Defender of the Faith", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "1895", "inscription_translation": null, "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the only modern British coin on which the initials of the Master of the Mint, William Wellesley Pole, appear, on the reverse below the broken lance.", "description": "During the reign of King George IV, two-pound pieces were struck for circulation in 1823 only. Pattern pieces appeared in 1824, 1825, and 1826. The king was so disgusted with the caricature of a portrait that Pistrucci placed on the first coins of the reign that the artist was ordered to model a new obverse from a bust by the sculptor Sir Francis Chantrey (1781\u20131841). Pistrucci refused; it was beneath his dignity to copy the work of another artist. The work was therefore carried out by J. B. Merlen, assistant engraver at the Royal Mint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921877"], "internet_archive": ["https://archive.org/details/clevelandart-1969.214-two-pound-piece-geor"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb<em>. English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.]", "page_number": "p. 71", "url": ""}], "url": "https://clevelandart.org/art/1969.214", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.214/1969.214_web.jpg", "width": "900", "height": "390", "filesize": "252660", "filename": "1969.214_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.214/1969.214_print.jpg", "width": "3400", "height": "1474", "filesize": "2327591", "filename": "1969.214_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.214/1969.214_full.tif", "width": "4725", "height": "2048", "filesize": "29056004", "filename": "1969.214_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:39:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.214/1969.214_alt0_web.jpg", "width": "900", "height": "784", "filesize": "322425"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.214/1969.214_alt0_print.jpg", "width": "2352", "height": "2048", "filesize": "1969631"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.214/1969.214_alt0_full.tif", "width": "2352", "height": "2048", "filesize": "14478652"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144540, "creators": [{"id": 10344, "description": "Benedetto Pistrucci (Italian, 1784\u20131855)", "extent": null, "qualifier": "after", "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1855", "use_in_caption": true, "include_extent": true, "weight": null}, {"id": 9038, "description": "Francis Legatt Chantrey (British, 1781\u20131841)", "extent": null, "qualifier": "after a design by", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1781", "death_year": "1841", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 10369, "description": "Jean Baptiste Merlen (French, 1769\u20131850)", "extent": null, "qualifier": null, "role": "fabricated by", "biography": null, "name_in_original_language": null, "birth_year": "1769", "death_year": "1850", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1823, "date_added_to_oa": null, "date_text": "1823", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:39.186000"}, {"id": 144543, "accession_number": "1969.215", "share_license_status": "CC0", "tombstone": "Five Pound Piece: George IV (obverse); Shield of Arms (reverse), 1826. Design by Jean Baptiste Merlen (French, 1769\u20131850). Gold; diameter: 3.8 cm (1 1/2 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.215", "current_location": null, "title": "Five Pound Piece: George IV (obverse); Shield of Arms (reverse)", "creation_date": "1826", "creation_date_earliest": 1826, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["England, George IV, 1820-1830"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 3.8 cm (1 1/2 in.)", "dimensions": {"diameter": {"height": 0.038}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "DEI GRATIA  *  1826  *  GEORGIUS  IV.", "inscription_translation": "George IV by the Grace of God", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "BRITANNIARUM.REX FID: DEF", "inscription_translation": "King of the Britains and Defender of the Faith", "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The shield is quartered with the arms of England (1 &amp; 4), Scotland (2), and Ireland (3) with the crowned arms of the Duchy of Brunswick and L\u00fcneburg at the center.", "description": "Only pattern five-pound pieces were struck during the reign of George IV, none being put into circulation. In this reign, specimen proof sets appeared for the first time in 1823, and the pattern five- and two-pound pieces as well as the pattern silver crown were included in the sets.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921884"], "internet_archive": ["https://archive.org/details/clevelandart-1969.215-five-pound-piece-geo"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb. E<em>nglish Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.]", "page_number": "p. 72", "url": ""}], "url": "https://clevelandart.org/art/1969.215", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.215/1969.215_web.jpg", "width": "900", "height": "419", "filesize": "241439", "filename": "1969.215_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.215/1969.215_print.jpg", "width": "3400", "height": "1582", "filesize": "1757146", "filename": "1969.215_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.215/1969.215_full.tif", "width": "4401", "height": "2048", "filesize": "27065148", "filename": "1969.215_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:39:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.215/1969.215_alt0_web.jpg", "width": "900", "height": "851", "filesize": "236106"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.215/1969.215_alt0_print.jpg", "width": "2166", "height": "2048", "filesize": "1015024"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.215/1969.215_alt0_full.tif", "width": "2166", "height": "2048", "filesize": "13334800"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144543, "creators": [{"id": 10369, "description": "Jean Baptiste Merlen (French, 1769\u20131850)", "extent": "design by", "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1769", "death_year": "1850", "use_in_caption": true, "include_extent": true, "weight": null}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1826, "date_added_to_oa": null, "date_text": "1826", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:35.565000"}, {"id": 144546, "accession_number": "1969.216", "share_license_status": "CC0", "tombstone": "Two Pound Piece: George IV (obverse); Shield of Arms (reverse), 1831. Engraved by Jean Baptiste Merlen (French, 1769\u20131850), William Wyon (British, 1795\u20131851). Gold; diameter: 3.8 cm (1 1/2 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.216", "current_location": null, "title": "Two Pound Piece: George IV (obverse); Shield of Arms (reverse)", "creation_date": "1831", "creation_date_earliest": 1831, "creation_date_latest": 1831, "artists_tags": ["male"], "culture": ["England, William IV, 1830-1837"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 3.8 cm (1 1/2 in.)", "dimensions": {"diameter": {"height": 0.038}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "BRITANNIAR: REX  F: D:  GULIELMUS IIII  D: G:", "inscription_translation": "William the Fourth by the Grace of God King of the Britains Defender of the Faith", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "ANNO 1831", "inscription_translation": null, "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the largest gold coin issued during his brief reign.", "description": "The two-pound piece in this reign was only struck as a pater in 1831. Again, as in the last reign, a limited number of proof sets were struck, and this coin was included in the sets. Since it never went into circulation it is properly called a pattern.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921890"], "internet_archive": ["https://archive.org/details/clevelandart-1969.216-two-pound-piece-geor"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb. <em>English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.]", "page_number": "p. 73", "url": ""}], "url": "https://clevelandart.org/art/1969.216", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.216/1969.216_web.jpg", "width": "900", "height": "415", "filesize": "256203", "filename": "1969.216_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.216/1969.216_print.jpg", "width": "3400", "height": "1568", "filesize": "2444430", "filename": "1969.216_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.216/1969.216_full.tif", "width": "4383", "height": "2021", "filesize": "26599468", "filename": "1969.216_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:40:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.216/1969.216_alt0_web.jpg", "width": "900", "height": "831", "filesize": "311284"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.216/1969.216_alt0_print.jpg", "width": "2217", "height": "2048", "filesize": "1727934"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.216/1969.216_alt0_full.tif", "width": "2217", "height": "2048", "filesize": "13648772"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144546, "creators": [{"id": 10369, "description": "Jean Baptiste Merlen (French, 1769\u20131850)", "extent": "engraved by", "qualifier": null, "role": "engraved by", "biography": null, "name_in_original_language": null, "birth_year": "1769", "death_year": "1850", "use_in_caption": true, "include_extent": true, "weight": 1}, {"id": 10372, "description": "William Wyon (British, 1795\u20131851)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1795", "death_year": "1851", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1831, "date_added_to_oa": null, "date_text": "1831", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:43.566000"}, {"id": 144549, "accession_number": "1969.217", "share_license_status": "CC0", "tombstone": "Five Pound Piece: Victoria (obverse); Una (reverse), 1839. Design by William Wyon (British, 1795\u20131851). Gold; diameter: 3.7 cm (1 7/16 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.217", "current_location": null, "title": "Five Pound Piece: Victoria (obverse); Una (reverse)", "creation_date": "1839", "creation_date_earliest": 1839, "creation_date_latest": 1839, "artists_tags": ["male"], "culture": ["England, Victoria, 1837-1901"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 3.7 cm (1 7/16 in.)", "dimensions": {"diameter": {"height": 0.037}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VICTORIA  D: G:  BRITANNIARUM  REGINA  F: D:", "inscription_translation": "Victoria, by the Grace of God, Queen, Defender of the Faith", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "DIRIGE DEUS GRESSUS MEOS; MDCCCXXXIX; W. WYON R.A.", "inscription_translation": "May the Lord direct my steps; 1839", "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": null, "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This five-pound piece was never for circulation but instead for presentation and collectors.", "description": "This piece was struck by the Royal Mint from gold purchased for the purpose. The current gold coins, such as the sovereign, were struck from gold supplied by the Bank of England. The larger gold pieces have their origins in the five and two guinea pieces. There are several minor varieties of this fine and rare piece, designed by William Wyon, R.A., a member of the celebrated family, still in existence, that had such a long and profound influence on British coin design. By some, this piece was considered to be too medallic for coinage purposes. Queen Victoria, at this date a young woman of 20, is shown as Una, Truth, because truth is <em>one</em>: one of the principal characters in Spenser's <em>Faerie Queene </em>(1590\u20131611). She is leading the lion referred to in her adventures in Spenser's work. It is often also referred to as the British lion. This coin is considered by many to be one of the most beautiful in the English series, and the standard of workmanship and striking has never been improved upon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921896"], "internet_archive": ["https://archive.org/details/clevelandart-1969.217-five-pound-piece-vic"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb. <em>English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection</em>. [Catalog. 1968.]", "page_number": "p. 74", "url": ""}], "url": "https://clevelandart.org/art/1969.217", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.217/1969.217_web.jpg", "width": "900", "height": "410", "filesize": "255511", "filename": "1969.217_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.217/1969.217_print.jpg", "width": "3400", "height": "1550", "filesize": "2358353", "filename": "1969.217_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.217/1969.217_full.tif", "width": "4491", "height": "2048", "filesize": "27618420", "filename": "1969.217_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:40:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.217/1969.217_alt0_web.jpg", "width": "900", "height": "831", "filesize": "345499"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.217/1969.217_alt0_print.jpg", "width": "2217", "height": "2048", "filesize": "2004787"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.217/1969.217_alt0_full.tif", "width": "2217", "height": "2048", "filesize": "13649080"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144549, "creators": [{"id": 10372, "description": "William Wyon (British, 1795\u20131851)", "extent": "design by", "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1795", "death_year": "1851", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1839, "date_added_to_oa": null, "date_text": "1839", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:35.518000"}, {"id": 144552, "accession_number": "1969.218", "share_license_status": "CC0", "tombstone": "Sovereign: Victoria (obverse); Shield of Arms (reverse), 1839. Design by William Wyon (British, 1795\u20131851). Gold; diameter: 2.2 cm (7/8 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.218", "current_location": null, "title": "Sovereign: Victoria (obverse); Shield of Arms (reverse)", "creation_date": "1839", "creation_date_earliest": 1839, "creation_date_latest": 1839, "artists_tags": ["male"], "culture": ["England, Victoria, 1837-1901"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 2.2 cm (7/8 in.)", "dimensions": {"diameter": {"height": 0.022}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VICTORIA  DEI  GRATIA; below:  1839.", "inscription_translation": "Victoria, by the Grace of God", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "BRITANNIARUM REGINA FLD DEF", "inscription_translation": "Queen of Britain and Defender of the Faith", "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "William Wyon was the official chief engraver at the Royal Mint from 1828 until his death.", "description": "With the end of the rule of the House of Hanover, whose last direct representative on the British throne was William IV (died 1837), the royal arms that had ceased to show the French pretention at the end of the first coinage of George III were now further simplified. In each quarter from top right to bottom left: 1. England; 2. Scotland; 3. Ireland; 4. England.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921905"], "internet_archive": ["https://archive.org/details/clevelandart-1969.218-sovereign-victoria-o"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb.<em> English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.]", "page_number": "p. 75", "url": ""}], "url": "https://clevelandart.org/art/1969.218", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.218/1969.218_web.jpg", "width": "900", "height": "611", "filesize": "162190", "filename": "1969.218_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.218/1969.218_print.jpg", "width": "3400", "height": "2310", "filesize": "1113980", "filename": "1969.218_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.218/1969.218_full.tif", "width": "4798", "height": "3260", "filesize": "46949488", "filename": "1969.218_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:41:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.218/1969.218_alt0_web.jpg", "width": "900", "height": "893", "filesize": "276123"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.218/1969.218_alt0_print.jpg", "width": "2064", "height": "2048", "filesize": "1195288"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.218/1969.218_alt0_full.tif", "width": "2064", "height": "2048", "filesize": "12708264"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144552, "creators": [{"id": 10372, "description": "William Wyon (British, 1795\u20131851)", "extent": "design by", "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1795", "death_year": "1851", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1839, "date_added_to_oa": null, "date_text": "1839", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:56.385000"}, {"id": 144555, "accession_number": "1969.219", "share_license_status": "CC0", "tombstone": "Five Pound Piece: Victoria (obverse); St. George and the Dragon (reverse), 1887. Design by after Benedetto Pistrucci (Italian, 1784\u20131855), design by Joseph Boehm (British, 1834\u20131890). Gold; diameter: 3.7 cm (1 7/16 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.219", "current_location": null, "title": "Five Pound Piece: Victoria (obverse); St. George and the Dragon (reverse)", "creation_date": "1887", "creation_date_earliest": 1887, "creation_date_latest": 1887, "artists_tags": ["male"], "culture": ["England, Victoria, 1837-1901"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 3.7 cm (1 7/16 in.)", "dimensions": {"diameter": {"height": 0.037}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VICTORIA  D: G:  BRITT: REG: F: D:", "inscription_translation": "Victoria, by the Grace of God, Queen of the Britains, Defender of the Faith", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "1887", "inscription_translation": null, "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1969", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This piece was not made for circulation but was part of a proof set.", "description": "The obverse design of this piece is usually known as the \"Jubilee head,\" since 1887, the year of its production, was the Golden Jubilee of Queen Victoria. By Sir Joseph Boehm, R.A., sculptor in ordinary to the queen, it caused a minor storm since it was said the tiny crown made the queen look ridiculous. The queen is said not to have liked the design herself, but she did in fact wear a small crown of this type when she began to find the full-size crown too heavy. The crown may be seen among the Crown Jewels at the Tower of London.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921911"], "internet_archive": ["https://archive.org/details/clevelandart-1969.219-five-pound-piece-vic"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb.<em> English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection.</em> [Catalog. 1968.]", "page_number": "p. 77", "url": ""}], "url": "https://clevelandart.org/art/1969.219", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.219/1969.219_web.jpg", "width": "900", "height": "426", "filesize": "253277", "filename": "1969.219_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.219/1969.219_print.jpg", "width": "3400", "height": "1609", "filesize": "2357887", "filename": "1969.219_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.219/1969.219_full.tif", "width": "4328", "height": "2048", "filesize": "26616352", "filename": "1969.219_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:41:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.219/1969.219_alt0_web.jpg", "width": "900", "height": "830", "filesize": "321359"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.219/1969.219_alt0_print.jpg", "width": "2220", "height": "2048", "filesize": "1788522"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.219/1969.219_alt0_full.tif", "width": "2220", "height": "2048", "filesize": "13666924"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144555, "creators": [{"id": 10344, "description": "Benedetto Pistrucci (Italian, 1784\u20131855)", "extent": "design by", "qualifier": "after", "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1855", "use_in_caption": true, "include_extent": true, "weight": null}, {"id": 10375, "description": "Joseph Boehm (British, 1834\u20131890)", "extent": "design by", "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1834", "death_year": "1890", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:28.234000"}, {"id": 144559, "accession_number": "1969.220", "share_license_status": "CC0", "tombstone": "Five Pound Piece: Victoria (obverse); St. George and the Dragon (reverse), 1893. Design by after Benedetto Pistrucci (Italian, 1784\u20131855), designed by Thomas Brock (British, 1847\u20131922). Gold; diameter: 3.7 cm (1 7/16 in.). The Cleveland Museum of Art, The Norweb Collection, 1969.220", "current_location": null, "title": "Five Pound Piece: Victoria (obverse); St. George and the Dragon (reverse)", "creation_date": "1893", "creation_date_earliest": 1893, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["England, Victoria, 1837-1901"], "technique": "gold", "support_materials": [], "department": "Medieval Art", "collection": "MED - Numismatics", "type": "Coins", "measurements": "Diameter: 3.7 cm (1 7/16 in.)", "dimensions": {"diameter": {"height": 0.037}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "VICTORIA . DEI . GRA . BRITT . REGINA . FID . DEF . IND . IMP .", "inscription_translation": "Victoria by the Grace of God Queen of the Britons, Defender of the Faith, Empress of India", "inscription_remark": "obverse", "sortorder": null}, {"inscription": "1893", "inscription_translation": null, "inscription_remark": "reverse", "sortorder": null}], "exhibitions": {"current": [{"id": 301313, "title": "Year in Review: 1969", "description": "<i>Year in Review: 1969</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 27-February 22, 1970).", "opening_date": "1970-01-27T05:00:00"}], "legacy": [{"description": "<em>English Gold Coins: Ancient to Modern Times</em>. The Cleveland Museum of Art, Cleveland, OH (1963).", "opening_date": "1963-01-01T00:00:00"}]}, "provenance": [{"description": "Mrs. Emery May Holden Norweb (1895-1984), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1969-", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": null, "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This coin was not for circulation and only appeared in proof sets.", "description": "After the minor storm of dislike which blew up over the 1887 Jubilee design, Thomas Brock, R.A., designed a new obverse, usually known as the \"old head\" type.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79921922"], "internet_archive": ["https://archive.org/details/clevelandart-1969.220-five-pound-piece-vic"]}, "citations": [{"citation": "Cleveland Museum of Art, and Emery May Norweb. <em>English Gold Coins, Ancient to Modern Times, On Loan to the Cleveland Museum of Art from the Norweb Collection</em>. [Catalog. 1968.]", "page_number": "p. 77", "url": ""}], "url": "https://clevelandart.org/art/1969.220", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.220/1969.220_web.jpg", "width": "900", "height": "431", "filesize": "248680", "filename": "1969.220_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.220/1969.220_print.jpg", "width": "3400", "height": "1628", "filesize": "2201274", "filename": "1969.220_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.220/1969.220_full.tif", "width": "4167", "height": "1995", "filesize": "24965104", "filename": "1969.220_full.tif"}}, "alternate_images": [{"date_created": "2009-12-09T03:42:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.220/1969.220_alt0_web.jpg", "width": "900", "height": "893", "filesize": "304721"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.220/1969.220_alt0_print.jpg", "width": "2064", "height": "2048", "filesize": "1501765"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.220/1969.220_alt0_full.tif", "width": "2064", "height": "2048", "filesize": "12708852"}}], "creditline": "The Norweb Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144559, "creators": [{"id": 10344, "description": "Benedetto Pistrucci (Italian, 1784\u20131855)", "extent": "design by", "qualifier": "after", "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1784", "death_year": "1855", "use_in_caption": true, "include_extent": true, "weight": null}, {"id": 10382, "description": "Thomas Brock (British, 1847\u20131922)", "extent": "designed by", "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1847", "death_year": "1922", "use_in_caption": true, "include_extent": true, "weight": 1}], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:03.682000"}, {"id": 144631, "accession_number": "1969.265", "share_license_status": "CC0", "tombstone": "Gold Weight (abrammuo): Geometric, 1800s. Africa, West Africa, Ghana, Asante goldsmith. Copper alloy. The Cleveland Museum of Art, Gift of Georges D. Rodrigues, 1969.265", "current_location": null, "title": "Gold Weight (abrammuo): Geometric", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante goldsmith"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}], "legacy": [{"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. 37, p. 117, color repr. p. 34.", "opening_date": "2006-06-09T00:00:00"}]}, "provenance": [{"description": "Georges Rodrigues, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131969", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1969\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Geometric weights like this are the earliest form of these small, functional objects.", "description": "The wealth and power of the Asante kingdom was derived primarily from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weight gold dust and nuggets. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad cateogries: geometric and representational. The latter often refers to proverbs, which used judiciously, marked a wise person.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q85890700"], "internet_archive": ["https://archive.org/details/clevelandart-1969.265-gold-weight-geometri", "https://archive.org/details/clevelandart-1969.265-gold-weight-abrammuo"]}, "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. 34, no. 37", "url": ""}], "url": "https://clevelandart.org/art/1969.265", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1969.265/1969.265_web.jpg", "width": "1000", "height": "893", "filesize": "491504", "filename": "1969.265_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1969.265/1969.265_print.jpg", "width": "2619", "height": "2338", "filesize": "3326740", "filename": "1969.265_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1969.265/1969.265_full.tif", "width": "2619", "height": "2338", "filesize": "18401932", "filename": "1969.265_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.265/1969.265_alt0_web.jpg", "width": "985", "height": "893", "filesize": "557703"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.265/1969.265_alt0_print.jpg", "width": "2030", "height": "1840", "filesize": "2217163"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1969.265/1969.265_alt0_full.tif", "width": "2030", "height": "1840", "filesize": "11217296"}}], "creditline": "Gift of Georges D. Rodrigues", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 144631, "creators": [], "legal_status": "accessioned", "accession_date": "1969-12-13T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Weight for Measuring Gold (mmramoo):  Geometric"], "is_highlight": false, "updated_at": "2026-03-27 00:09:33.932000"}, {"id": 146117, "accession_number": "1971.301", "share_license_status": "CC0", "tombstone": "Krishna returns with the cowherds to Braj, from a Bhagavata Purana, c. 1830. Northern India, Pahari kingdoms. Gum tempera and ink on paper; overall: 22 x 33 cm (8 11/16 x 13 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. John D. MacDonald, 1971.301", "current_location": null, "title": "Krishna returns with the cowherds to Braj, from a Bhagavata Purana", "creation_date": "c. 1830", "creation_date_earliest": 1825, "creation_date_latest": 1835, "artists_tags": [], "culture": ["Northern India, Pahari kingdoms"], "technique": "Gum tempera and ink on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 22 x 33 cm (8 11/16 x 13 in.)", "dimensions": {"overall": {"height": 0.22, "width": 0.33}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "On the back", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "14 dhiai, 56 pehla deobhe bhojan chhak ke brindaban bich aaye mor mukut tang\nke", "inscription_translation": "Chapter 14. 56 - The Lord himself tasted the food first and then adorning his peacock-crown\narrived at Vrindavan\u2019", "inscription_remark": "Takri, verso, at the top", "sortorder": null}, {"inscription": "chitra 56 adhyah 10 chitra 2", "inscription_translation": "\u2018Painting no. 56, Chapter 14 - Image 2\u2019", "inscription_remark": "Devanagari, on the back, at the left", "sortorder": null}, {"inscription": "Natvabhishtam Jagddhata Svadhama Pratyapadyat\n\n[indented]:\nUcushca Srihayadah Krishnam Svagatam Tehtiramhasa\nNekopyabhoji Kavala Ehiya Sadhu Bhujyatam. 44\nTato Hasan Hashikeshobhyavahritya Saharbhake\nDarshayam Shracharmajagaram Nyavartat Vanad Vrajam.45\n \nEvam Vihare Komare Komaram Jahaturvraje. Nilayane Setubandhermarkatotplavanadibhi. 60\n\n[in red]:\nIti Srimadbhagvate Dashamaskande Purvardhe Brahamstutirnam Chaturdashodhyay. 14", "inscription_translation": "\u2018After bowing at Krishna\u2019s feet, Brahma returned to his realm [Brahmaloka], which is adored by all.\nThe friends of Krishna said \u201cIt is well that you have come back with great expedition. Not a morsel\nhas yet been swallowed by us. Come this side and dine with us to your heart\u2019s content.\u201d 44\nThereupon Krishna laughed, took his meal with the cowherd boys and showing them the skin of\nthe python [Aghasura], he returned from the forest to Braj. 45 Thus Balarama and Krishna passed\ntheir childhood in Braj in childlike pastimes such as hide-and-seek, construction of dams and\njumping about like monkeys. 60 Hence concludes the fourteenth chapter entitled \u2018Brahma Extols\nthe Lord\u2019 in the first half of the Book Ten of Bhagavata Purana.\u201914", "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309664, "title": "Consuming Passions: The Art of Food and Drink", "description": "<i>Consuming Passions: The Art of Food and Drink</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 26-October 9, 1983); Maltz Museum of Jewish Heritage, Beachwood, OH (March 3-April 15, 1984).", "opening_date": "1983-07-26T04:00:00"}, {"id": 292699, "title": "Artlens Exhibition 2017", "description": "<i>Artlens Exhibition 2017</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24, 2017-May 29, 2019).", "opening_date": "2017-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mr. and Mrs. John D. MacDonald, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "-1971", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1971-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "On the left the scene of the picnicking herd boys shows them eating rice on banana leaves, while on the right they drive the cows home.", "description": "The painting is based on Chapter 14 of Book 10 of the <em>Bhagavata Purana</em> in which the god Brahma hides the cowherds and calves of Krishna. After realizing his mistake and witnessing the divine prowess of Krishna, Brahma extols Krishna and returns to his abode while Krishna and his fellow cowherds enjoy a hearty meal and then return to Braj.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60471894"], "internet_archive": ["https://archive.org/details/clevelandart-1971.301-krishna-returns-with"]}, "citations": [{"citation": "Leach, Linda York.<em> Indian Miniature Paintings and Drawings</em>. Cleveland, OH: Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "Reproduced: Cat. 110", "url": null}], "url": "https://clevelandart.org/art/1971.301", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.301/1971.301_web.jpg", "width": "900", "height": "622", "filesize": "256994", "filename": "1971.301_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.301/1971.301_print.jpg", "width": "3400", "height": "2351", "filesize": "2824397", "filename": "1971.301_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.301/1971.301_full.tif", "width": "6362", "height": "4400", "filesize": "84012528", "filename": "1971.301_full.tif"}}, "alternate_images": [{"date_created": "2014-05-08T13:54:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.301/1971.301_alt0_web.jpg", "width": "900", "height": "644", "filesize": "189443"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.301/1971.301_alt0_print.jpg", "width": "3400", "height": "2434", "filesize": "2334370"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1971.301/1971.301_alt0_full.tif", "width": "7812", "height": "5593", "filesize": "131107804"}}], "creditline": "Gift of Mr. and Mrs. John D. MacDonald", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 146117, "creators": [], "legal_status": "accessioned", "accession_date": "1971-12-11T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "c. 1830", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Krishna and the Cowherds"], "is_highlight": false, "updated_at": "2026-04-09 19:34:37.237000"}, {"id": 147849, "accession_number": "1974.21", "share_license_status": "CC0", "tombstone": "View from My Window in Rome (recto) Soldier in a Landscape (verso) , c. 1817. Carl Ludwig Tischbein (German, 1797\u20131855). Graphite and pen and gray ink, framing lines in pen and black ink and graphite; sheet: 22.4 x 17.1 cm (8 13/16 x 6 3/4 in.); image: 20.5 x 16.8 cm (8 1/16 x 6 5/8 in.). The Cleveland Museum of Art, Lawrence Hitchcock Fund, 1974.21", "current_location": null, "title": "View from My Window in Rome (recto) Soldier in a Landscape (verso) ", "creation_date": "c. 1817", "creation_date_earliest": 1802, "creation_date_latest": 1822, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "graphite and pen and gray ink, framing lines in pen and black ink and graphite", "support_materials": [], "department": "Drawings", "collection": "DR - German", "type": "Drawing", "measurements": "Sheet: 22.4 x 17.1 cm (8 13/16 x 6 3/4 in.); Image: 20.5 x 16.8 cm (8 1/16 x 6 5/8 in.)", "dimensions": {"sheet": {"height": 0.224, "width": 0.171}, "image": {"height": 0.205, "width": 0.168}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "by artist, upper right, in graphite: Aus meinem Fenster in Rom. ; by artist, center left, in graphite: H. Peter ; FRAGMENT OF OLD MOUNT(?) (now removed): in black ink: Karl Ludwig Tischbein / 1797-1855 / [g]arantiert f\u00fcr Echtheit", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304508, "title": "German Drawings of the 18th, 19th, and 20th Centuries", "description": "<i>German Drawings of the 18th, 19th, and 20th Centuries</i>. The Cleveland Museum of Art (April 1-July 13, 1980).", "opening_date": "1980-04-01T05:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "[Shepherd Gallery Associates]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Carl Ludwig Tischbein came from a family that produced 28 artists and artisans active in Germany and throughout Europe.", "description": "Carl Ludwig Tischbein was one of many artists who traveled from across Europe to Rome during the early 19th century and drew upon the city\u2019s ancient past and its surrounding landscape for inspiration. 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Peter; inscribed on former mount (now removed), in black ink: Karl Ludwig Tischbein / 1797-1855 / [g]arantiert f\u00fcr Echtheit", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. 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Paul Paulin (French, 1852\u20131937). Bronze, marble base; overall: 45.1 cm (17 3/4 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.275", "current_location": null, "title": "Claude Monet", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1882, "creation_date_latest": 1922, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "bronze, marble base", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 45.1 cm (17 3/4 in.)", "dimensions": {"overall": {"height": 0.451}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304401, "title": "The Monet Triptych: Water Lilies", "description": "<i>The Monet Triptych: Water Lilies</i>. 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Butkin [1918-1980] Cleveland, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1980", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1980-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In addition to Claude Monet, Paul Paulin also made portrait busts of Edgar Degas, August Renoir, Camille Pissarro, and Auguste Rodin.", "description": "Paul Paulin was a renowned Parisian dentist who had a passion for sculpting and was encouraged by Edgar Degas to pursue an artistic career. Paulin is best known for his portrait busts of notable Impressionists. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (January 5-February 6, 1983).", "opening_date": "1983-01-05T05:00:00"}, {"id": 310102, "title": "Art Nouveau in France", "description": "<i>Art Nouveau in France</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-November 27, 1988).", "opening_date": "1988-07-12T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Macklowe Gallery, Ltd., New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This chair may have been designed by Parisian cabinetmaker Eug\u00e8ne Gaillard, who created a very similar design for the pavilion of Siegfried Bing at the 1900 world's fair in Paris.", "description": "During the 1890s a new style emerged that reflected naturalistic and symbolic motifs found in Japanese and other Asian design. This movement rejected the historicism that had dominated architecture and design during the previous decades and took hold across Europe and America too. In France the style was known as \"Art Nouveau,\" after the name of the gallery belonging to its chief proponent Siegfried Bing, the Maison de L'Art Nouveau (House of the New Art). This side chair typifies Art Nouveau style with its curving lines that seamlessly flow from one to another. This abstract use of curvilinear lines to create form and decoration was one of the major motifs favored by art nouveau designers to evoke naturalistic or organic design. Art Nouveau reached its apex at the 1900 world's fair in Paris, which was intended to herald the new century with a new style of art. However, critics and consumers alike soon rejected Art Nouveau as too sentimental in favor of newer motifs and styles as the moment passed. By 1905 it was all but forgotten.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79934066"], "internet_archive": ["https://archive.org/details/clevelandart-1982.4-side-chair"]}, "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. 17; Mentioned: p. 51, no. 27", "url": "http://www.jstor.org/stable/25159799"}], "url": "https://clevelandart.org/art/1982.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.4/1982.4_web.jpg", "width": "555", "height": "900", "filesize": "170757", "filename": "1982.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.4/1982.4_print.jpg", "width": "2096", "height": "3400", "filesize": "852135", "filename": "1982.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.4/1982.4_full.tif", "width": "4903", "height": "7952", "filesize": "116993384", "filename": "1982.4_full.tif"}}, "alternate_images": [{"date_created": "2019-09-18T20:31:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt0_web.jpg", "width": "650", "height": "900", "filesize": "182860"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt0_print.jpg", "width": "2457", "height": "3400", "filesize": "948985"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt0_full.tif", "width": "6110", "height": "8455", "filesize": "155007788"}}, {"date_created": "2019-09-18T20:35:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt1_web.jpg", "width": "610", "height": "900", "filesize": "151082"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt1_print.jpg", "width": "2305", "height": "3400", "filesize": "690870"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt1_full.tif", "width": "5494", "height": "8105", "filesize": "133613224"}}, {"date_created": "2019-09-18T20:39:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt2_web.jpg", "width": "567", "height": "900", "filesize": "156490"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt2_print.jpg", "width": "2142", "height": "3400", "filesize": "707317"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt2_full.tif", "width": "5196", "height": "8246", "filesize": "128565892"}}, {"date_created": "2019-09-18T20:44:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt3_web.jpg", "width": "857", "height": "900", "filesize": "205033"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt3_print.jpg", "width": "3238", "height": "3400", "filesize": "1450777"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.4/1982.4_alt3_full.tif", "width": "4946", "height": "5193", "filesize": "77081228"}}], "creditline": "Edwin R. and Harriet Pelton Perkins Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150985, "creators": [], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:44.688000"}, {"id": 152409, "accession_number": "1985.247", "share_license_status": "CC0", "tombstone": "Grapes, 1800s. Sugai Baikan (Japanese, 1784\u20131844). Hanging scroll; ink and light color on paper; painting only: 129 x 53.3 cm (50 13/16 x 21 in.); including mounting: 190.5 x 64.8 cm (75 x 25 1/2 in.). The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.247", "current_location": null, "title": "Grapes", "creation_date": "1800s", "creation_date_earliest": 1810, "creation_date_latest": 1844, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "hanging scroll; ink and light color on paper", "support_materials": [], "department": "Japanese Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Painting only: 129 x 53.3 cm (50 13/16 x 21 in.); Including mounting: 190.5 x 64.8 cm (75 x 25 1/2 in.)", "dimensions": {"painting only": {"height": 1.29, "width": 0.533}, "including mounting": {"height": 1.905, "width": 0.648}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "lower left: artist's signature, two seals.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}], "legacy": [{"description": "<em>Main Asian Rotation (Gallery 121)</em>. The Cleveland Museum of Art, Cleveland, OH (July 13-November 11, 2004).", "opening_date": "2004-07-13T00:00:00"}]}, "provenance": [{"description": "(Mathias Komor, New York, NY, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": [], "date": "?\u20131976", "sortorder": 1}, {"description": "The Kelvin Smith Collection, Cleveland, OH, given by Mrs. Kelvin [Eleanor Armstrong] Smith [1899\u20131998] to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1976\u20131985", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The grapes hanging from this twisting vine are washed with a light blue color.", "description": "This loose composition is a casual work likely created for an acquaintance by Sugai Baikan, an artist known for his ink landscapes. Baikan was from Sendai in T\u014dhoku, and painted there before traveling to Edo (Tokyo) and then Kyoto, where he viewed a fan painting by Nagasaki-based Chinese businessman and artist Jiang Jiapu (dates unknown). Inspired, he moved to Nagasaki and studied with Jiang for many years, learning Chinese painting history and techniques. Then, after a stint in Osaka during which he enjoyed wide acclaim in painting and poetry circles, he returned to Sendai. Following a series of natural disasters in the region, his life fell into disarray, and he drowned himself in a well.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475498"], "internet_archive": ["https://archive.org/details/clevelandart-1985.247-grapes"]}, "citations": [{"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.247", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.247/1985.247_web.jpg", "width": "388", "height": "900", "filesize": "112500", "filename": "1985.247_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.247/1985.247_print.jpg", "width": "1465", "height": "3400", "filesize": "1015151", "filename": "1985.247_print.jpg"}, "full": {"url": 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"gallery_donor_text": null, "athena_id": 152409, "creators": [{"id": 35874, "description": "Sugai Baikan (Japanese, 1784\u20131844)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u83c5\u4e95 \u6885\u95a2", "birth_year": "1784", "death_year": "1844", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1810, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:46.873000"}, {"id": 155795, "accession_number": "1991.120", "share_license_status": "CC0", "tombstone": "Poem Card Box with Lid, 1868\u20131912. Kamisaka Sekka (Japanese, 1866\u20131942). Wood with lacquer; overall: 37.5 x 7.1 cm (14 3/4 x 2 13/16 in.). The Cleveland Museum of Art, Seventy-fifth anniversary gift of Leighton R. Longhi, 1991.120", "current_location": null, "title": "Poem Card Box with Lid", "creation_date": "1868\u20131912", "creation_date_earliest": 1868, "creation_date_latest": 1912, "artists_tags": ["gender unknown"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "wood with lacquer", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Lacquer", "measurements": "Overall: 37.5 x 7.1 cm (14 3/4 x 2 13/16 in.)", "dimensions": {"overall": {"height": 0.375, "width": 0.071}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 374890, "title": "Rinpa (\u7433\u6d3e)", "description": "<i>Rinpa (\u7433\u6d3e)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 23-October 3, 2021).", "opening_date": "2021-04-23T04:00:00"}], "legacy": []}, "provenance": [{"description": "Leighton R. Longhi, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1991", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1991-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Poems written on long poetry cards, or <em>tanzaku,</em> are often collected into albums called<em> tekagami</em> in Japanese.", "description": "Long, decorated cards for the calligraphic presentation of poems are called <em>tanzaku </em>in Japanese. This box is a collaboration between the designer Kamisaka Sekka and the lacquer artist Iwamura Sadaz\u014d. Together, they crafted this box with a golden bamboo lid, and filled it with cards decorated with gold leaf designs.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944214"], "internet_archive": ["https://archive.org/details/clevelandart-1991.120-poem-card-box-with-l"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em>, vol. 80, no. 2, 1993, pp. 38\u201379.", "page_number": "Mentioned: no. 393, p. 77", "url": "https://www.jstor.org/stable/25161388"}], "url": "https://clevelandart.org/art/1991.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.120/1991.120_web.jpg", "width": "900", "height": "385", "filesize": "79556", "filename": "1991.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.120/1991.120_print.jpg", "width": "3400", "height": "1454", "filesize": "562593", "filename": "1991.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.120/1991.120_full.tif", "width": "6759", "height": "2890", "filesize": "58629036", "filename": "1991.120_full.tif"}}, "alternate_images": [{"date_created": "2016-04-20T11:28:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt0_web.jpg", "width": "258", "height": "900", "filesize": "89285"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt0_print.jpg", "width": "975", "height": "3400", "filesize": "712842"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt0_full.tif", "width": "2214", "height": "7718", "filesize": "51291252"}}, {"date_created": "2016-04-20T11:42:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt1_web.jpg", "width": "681", "height": "900", "filesize": "179233"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt1_print.jpg", "width": "2573", "height": "3400", "filesize": "1873267"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt1_full.tif", "width": "5480", "height": "7242", "filesize": "119089072"}}, {"date_created": "2016-04-20T11:22:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt2_web.jpg", "width": "674", "height": "900", "filesize": "224951"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt2_print.jpg", "width": "2545", "height": "3400", "filesize": "2408601"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt2_full.tif", "width": "3620", "height": "4836", "filesize": "52550620"}}, {"date_created": "2016-04-20T11:06:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt3_web.jpg", "width": "264", "height": "900", "filesize": "95689"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt3_print.jpg", "width": "997", "height": "3400", "filesize": "1053138"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt3_full.tif", "width": "2035", "height": "6937", "filesize": "42378732"}}, {"date_created": "2016-04-20T11:14:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt4_web.jpg", "width": "265", "height": "900", "filesize": "105276"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt4_print.jpg", "width": "1000", "height": "3400", "filesize": "1126837"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1991.120/1991.120_alt4_full.tif", "width": "2287", "height": "7779", "filesize": "53400180"}}], "creditline": "Seventy-fifth anniversary gift of Leighton R. Longhi", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155795, "creators": [{"id": 1115, "description": "Kamisaka Sekka (Japanese, 1866\u20131942)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u795e\u5742 \u96ea\u4f73", "birth_year": "1866", "death_year": "1942", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1991-09-23T00:00:00", "sortable_date": 1868, "date_added_to_oa": null, "date_text": "1868\u20131912", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:43.237000"}, {"id": 159504, "accession_number": "1996.274", "share_license_status": "CC0", "tombstone": "The Sunlight, 1890s. Ture Nikolaus Cederstr\u00f6m (Swedish, 1843\u20131924). Oil on fabric; unframed: 47 x 33.5 cm (18 1/2 x 13 3/16 in.). The Cleveland Museum of Art, Gift of the Frances W. Ingalls Trust, 1996.274", "current_location": null, "title": "The Sunlight", "creation_date": "1890s", "creation_date_earliest": 1890, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["Sweden, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 47 x 33.5 cm (18 1/2 x 13 3/16 in.)", "dimensions": {"unframed": {"height": 0.47, "width": 0.335}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left in light-brown/umber: Th: Cederstr\u00f6m / M\u00fcnchen\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": [{"description": "Los Angeles: Los Angeles County Museum of Art (12/19/04-4/3/05); Milwaukee, WI: Milwaukee Art Museum (5/19-9/5/05); Cleveland: Cleveland Museum of Art (10/16/05-1/8/06): \"The Arts &amp; Crafts Movement in Europe and America: Design for the Modern World\"", "opening_date": "2004-12-19T00:00:00"}]}, "provenance": [{"description": "Frances W. Ingalls, Cleveland. Given to the CMA in 1996.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Before becoming an artist, Ture Nikolaus Cederstr\u00f6m was a cavalry officer.", "description": "Monastic life was a popular subject among painters working in Munich, where Ture Nikolaus Cederstr\u00f6m spent much of his career. The monk seen here is immersed in thought, looking pensively through a window and using his finger to hold his place in a book. Such paintings were popular for the access they provided to private life within monasteries, which were closed to the public. The monk\u2019s casual pose and absorption in the view provide an approachable vision of religion, showing the figure\u2019s longing for the outside world.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477313"], "internet_archive": ["https://archive.org/details/clevelandart-1996.274-the-sunlight"]}, "citations": [{"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 119-120, Vol. I, no. 45", "url": ""}], "url": "https://clevelandart.org/art/1996.274", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1996.274/1996.274_web.jpg", "width": "630", "height": "893", "filesize": "106377", "filename": "1996.274_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1996.274/1996.274_print.jpg", "width": "2399", "height": "3400", "filesize": "1644280", "filename": "1996.274_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1996.274/1996.274_full.tif", "width": "5289", "height": "7494", "filesize": "118931188", "filename": "1996.274_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.274/1996.274_alt0_web.jpg", "width": "638", "height": "893", "filesize": "457013"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.274/1996.274_alt0_print.jpg", "width": "1464", "height": "2048", "filesize": "2393345"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.274/1996.274_alt0_full.tif", "width": "1464", "height": "2048", "filesize": "8998276"}}], "creditline": "Gift of the Frances W. Ingalls Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159504, "creators": [{"id": 5859, "description": "Ture Nikolaus Cederstr\u00f6m (Swedish, 1843\u20131924)", "extent": null, "qualifier": null, "role": "artist", "biography": "A cousin of the painter Gustaf Olaf Cederstr\u00f6m (1845-1933), Ture Nikolaus also served as an officer of the Swedish Royal Guard (1868-71). He studied from 1868 to 1869 in Paris with Swedish genre and portrait painter Hugo Fredrik Salmson (1844-1894) and continued his training with history painter Albert Baur (1835-1906) in D\u00fcsseldorf. After finishing his military service, Cederstr\u00f6m studied in Weimar from 1872 until 1875. In 1877 he moved to Munich, where he remained for the rest of his life. Influenced by history painter Karl Theodor von Piloty (1826-1886) and, in particular, genre painter Eduard von Gr\u00fctzner (1846-1878), Cederstr\u00f6m painted genre scenes, most of which concerned the life of monks and priests. During his lifetime he received various honors and decorations.", "name_in_original_language": null, "birth_year": "1843", "death_year": "1924", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1890, "date_added_to_oa": null, "date_text": "1890s", "collapse_artists": false, "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": ["Monk Standing by a Window"], "is_highlight": false, "updated_at": "2026-03-27 00:10:48.194000"}, {"id": 160063, "accession_number": "1997.38", "share_license_status": "CC0", "tombstone": "Figures Seated by a Lake in a Wooded Landscape, 1820. John Martin (British, 1789\u20131854). Brown wash and point of brush with graphite underdrawing; sheet: 19.8 x 26.6 cm (7 13/16 x 10 1/2 in.). The Cleveland Museum of Art, John L. Severance Fund, 1997.38", "current_location": null, "title": "Figures Seated by a Lake in a Wooded Landscape", "creation_date": "1820", "creation_date_earliest": 1820, "creation_date_latest": 1820, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "brown wash and point of brush with graphite underdrawing", "support_materials": [{"description": "cream wove paper", "watermarks": ["J. WHATMAN"]}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 19.8 x 26.6 cm (7 13/16 x 10 1/2 in.)", "dimensions": {"sheet": {"height": 0.198, "width": 0.266}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, in brown ink, at lower right: J. Martin 1820; inscribed, in graphite, on verso, at center: William / No. 3", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}, {"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(sale, Christie's, London, July 9, 1996, no. 33)", "citations": [], "footnotes": null, "date": "1996", "sortorder": 1}, {"description": "(Kate Ganz Ltd., London, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "1996-1997", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "John Martin's biographer believed that his early landscapes, such as this one, were inspired by classical texts by Ovid.", "description": "Before he became famous as a history painter, John Martin earned a living by teaching and painting watercolors. His so-called sepia drawings, landscapes in monochromatic wash, found an enthusiastic audience. The artist\u2019s method for painting foliage in these drawings was idiosyncratic; form and texture were created almost entirely in negative spaces without the use of line. Highlighted leaves, bark, vines, and roots were delineated with the white of the paper, creating a peculiar, instantly recognizable, spongy effect.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980665"], "internet_archive": ["https://archive.org/details/clevelandart-1997.38-figures-seated-by-a"]}, "citations": [{"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>[Cleveland, Ohio]: Cleveland Museum of Art, 2013.", "page_number": "Cat 19a, pg 60-63", "url": null}], "url": "https://clevelandart.org/art/1997.38", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.38/1997.38_web.jpg", "width": "1202", "height": "893", "filesize": "250704", "filename": "1997.38_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.38/1997.38_print.jpg", "width": "3400", "height": "2525", "filesize": "2008476", "filename": "1997.38_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.38/1997.38_full.tif", "width": "5840", "height": "4338", "filesize": "76027924", "filename": "1997.38_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt0_web.jpg", "width": "1199", "height": "893", "filesize": "863268"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt0_print.jpg", "width": "3400", "height": "2532", "filesize": "6806069"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt0_full.tif", "width": "5000", "height": "3724", "filesize": "55887864"}}, {"date_created": "2010-04-15T19:17:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt1_web.jpg", "width": "1204", "height": "893", "filesize": "874613"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt1_print.jpg", "width": "3400", "height": "2522", "filesize": "7725309"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt1_full.tif", "width": "5840", "height": "4333", "filesize": "75943444"}}, {"date_created": "2004-07-20T20:19:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt2_web.jpg", "width": "1263", "height": "695", "filesize": "717751"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt2_print.jpg", "width": "3400", "height": "1871", "filesize": "5225532"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.38/1997.38_alt2_full.tif", "width": "5000", "height": "2751", "filesize": "41279812"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160063, "creators": [{"id": 2786, "description": "John Martin (British, 1789\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born in Northumberland, John Martin began his career as a coach and ceramics painter before exhibiting oil paintings at the Royal Academy, London. His first critical success, Sadak in Search of the Waters of Oblivion (1812, Saint Louis Art Museum), introduced his penchant for dramatic compositions with diminutive figures in vast and often threatening landscapes. Joshua Commanding the Sun to Stand Still upon Gideon (1816, United Grand Lodge of England) and Belshazzar's Feast (1821, private collection) combined meticulous biblical and archaeological research with imaginative pictorial narrative and sensational architectural perspective to create a unique genre of the apocalyptic sublime. Martin was an inveterate self-promoter, and in an effort to broaden his commercial support in the 1820s he designed and engraved nearly a hundred mezzotint illustrations to the Bible and to Milton's Paradise Lost (1667), thus becoming one of the principal exponents and arguably the most accomplished practitioner of that printmaking technique in the nineteenth century. A number of unrealized engineering schemes that were as grandiose as the subjects of many of his most imposing pictures preoccupied Martin in the 1830s and 1840s, diverting much of his energy from his art. These plans included a water system and sewage disposal plan for the city of London. In his final years he returned to the cataclysmic inspiration of his middle period and painted a magnificent trilogy of Last Judgment pictures now in the Tate Gallery, London.", "name_in_original_language": null, "birth_year": "1789", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "1820", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-26 23:59:20.484000"}, {"id": 160078, "accession_number": "1997.5", "share_license_status": "CC0", "tombstone": "Wave, 1895\u201398. Aristide Maillol (French, 1861\u20131944). Wood engraving; image: 16.9 x 19.6 cm (6 5/8 x 7 11/16 in.); sheet: 25.1 x 30.3 cm (9 7/8 x 11 15/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1997.5", "current_location": null, "title": "Wave", "creation_date": "1895\u201398", "creation_date_earliest": 1895, "creation_date_latest": 1898, "artists_tags": ["Nabis", "male"], "culture": ["France, late 19th Century"], "technique": "wood engraving", "support_materials": [{"description": "Japanese paper", "watermarks": []}], "department": "Prints", "collection": "PR - Wood engraving", "type": "Print", "measurements": "Image: 16.9 x 19.6 cm (6 5/8 x 7 11/16 in.); Sheet: 25.1 x 30.3 cm (9 7/8 x 11 15/16 in.)", "dimensions": {"sheet": {"height": 0.251, "width": 0.303}, "image": {"height": 0.169, "width": 0.196}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Inscribed: \"Epreuve d'artiste 3/15\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "initialed in pencil with Maillol's monogram", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 188479, "title": "From Rembrandt to Rauschenberg:  Recently Acquired Prints", "description": "<i>From Rembrandt to Rauschenberg:  Recently Acquired Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 17-November 26, 2000).", "opening_date": "2000-09-17T00:00:00"}, {"id": 184690, "title": "Against the Grain: Woodcuts from the Collection", "description": "<i>Against the Grain: Woodcuts from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 17-November 9, 2003).", "opening_date": "2003-08-17T00:00:00"}], "legacy": []}, "provenance": [{"description": "H. Petiet (with stamp)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Catherine E. Burns Fine Prints, Oakland, CA)", "citations": [], "footnotes": null, "date": "?-1997", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 4, 1997", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print dates from a period when Aristide Maillol used his wife, Clotilde, as his primary model.", "description": "The color woodcuts of Katsushika Hokusai were highly esteemed. One of his most famous prints, <em>The Great Wave off Kanagawa</em> (1823-31), is a striking image of an enormous cresting wave. Maillol exploited the curling water motif to achieve an energetic linear design that surrounds and cushions the nude woman but also creates a lively contrast to the large, flat white shape of her body. A precursor to Maillol's future work as a sculptor, <em>Wave</em> reveals the artist's interest in conveying the sensual curves of the female form.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980706"], "internet_archive": ["https://archive.org/details/clevelandart-1997.5-wave"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cMajor Neoclassical Marble, Rare Korean Sculpture, Other Recent CMA Acquisitions Now on View,\u201d April 16, 1997, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4117"}], "catalogue_raisonne": "Guerin v.I, no.8", "url": "https://clevelandart.org/art/1997.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.5/1997.5_web.jpg", "width": "900", "height": "749", "filesize": "271109", "filename": "1997.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.5/1997.5_print.jpg", "width": "3400", "height": "2829", "filesize": "4523260", "filename": "1997.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.5/1997.5_full.tif", "width": "11346", "height": "9442", "filesize": "321417462", "filename": "1997.5_full.tif"}}, "alternate_images": [{"date_created": "2006-03-03T20:02:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.5/1997.5_alt0_web.jpg", "width": "1003", "height": "893", "filesize": "786934"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.5/1997.5_alt0_print.jpg", "width": "3400", "height": "3026", "filesize": "8023314"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.5/1997.5_alt0_full.tif", "width": "4422", "height": "3936", "filesize": "52251052"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160078, "creators": [{"id": 6665, "description": "Aristide Maillol (French, 1861\u20131944)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1861", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-03-04T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895\u201398", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": "artist's proof 3", "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:02.738000"}, {"id": 162312, "accession_number": "2002.45", "share_license_status": "CC0", "tombstone": "Sand Dunes, Carson Desert, Nevada, 1867. Timothy H. O'Sullivan (American, 1840\u20131882). Albumen print from wet collodion negative; image: 19.7 x 27 cm (7 3/4 x 10 5/8 in.); mounted: 45.7 x 59.4 cm (18 x 23 3/8 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, John L. Severance Fund, 2002.45", "current_location": null, "title": "Sand Dunes, Carson Desert, Nevada", "creation_date": "1867", "creation_date_earliest": 1867, "creation_date_latest": 1867, "artists_tags": ["male"], "culture": ["America"], "technique": "albumen print from wet collodion negative", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 19.7 x 27 cm (7 3/4 x 10 5/8 in.); Mounted: 45.7 x 59.4 cm (18 x 23 3/8 in.); Matted: 50.8 x 61 cm (20 x 24 in.)", "dimensions": {"image": {"height": 0.197, "width": 0.27}, "mounted": {"height": 0.457, "width": 0.594}, "matted": {"height": 0.508, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "imprinted in black ink on recto: \"U.S./ ENGINEER DEPARTMENT/ GEOLOGICAL EXPLORATION/ FORTIETH PARALLEL\"; \"T.H.O'Sullivan Photographer\"; \"No. 59\" (highlighted in black)\"; in black ink on mount: \"Sand Dunes near Sand\"; in pencil on mount: \"K1130\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 184646, "title": "Charles Isaacs and Carol Nigro Collection of American Photography", "description": "<i>Charles Isaacs and Carol Nigro Collection of American Photography</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 26-September 10, 2003).", "opening_date": "2003-04-26T00:00:00"}, {"id": 221701, "title": "The Modern West: American Landscapes, 1890-1950", "description": "<i>The Modern West: American Landscapes, 1890-1950</i>. Museum of Fine Arts, Houston, Houston, TX (organizer) (October 29, 2006-January 20, 2007); Los Angeles County Museum of Art, Los Angeles, CA (March 4-June 3, 2007).", "opening_date": "2006-10-29T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Charles Isaacs Photographs, Inc., New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "June 3, 2002", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "O\u2019Sullivan took this while on a government expedition analyzing the future path of the transcontinental railroad.", "description": "This noontime scene conveys a desolate place discovered by a lonely explorer. The artist chose a vantage point and framing that blocked the horizon and showed a single wagon\u2014the former Civil War ambulance that he converted into a portable darkroom\u2014and only two sets of footprints. However, over the previous 25 years, more than 165,000 people had passed near here on their way to California.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986320"], "internet_archive": ["https://archive.org/details/clevelandart-2002.45-sand-dunes-carson-de"]}, "citations": [{"citation": "Cleveland Museum of Art. <em>The CMA Companion: A Guide to the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 2014.", "page_number": "Mentioned and reproduced: P. 304-305", "url": ""}], "url": "https://clevelandart.org/art/2002.45", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.45/2002.45_web.jpg", "width": "1207", "height": "893", "filesize": "595592", "filename": "2002.45_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.45/2002.45_print.jpg", "width": "3400", "height": "2516", "filesize": "4984326", "filename": "2002.45_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.45/2002.45_full.tif", "width": "4248", "height": "3144", "filesize": "40093460", "filename": "2002.45_full.tif"}}, "alternate_images": [{"date_created": "2006-12-19T15:33:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.45/2002.45_alt0_web.jpg", "width": "1109", "height": "893", "filesize": "593576"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.45/2002.45_alt0_print.jpg", "width": "3400", "height": "2739", "filesize": "4815309"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2002.45/2002.45_alt0_full.tif", "width": "5000", "height": "4028", "filesize": "60534280"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162312, "creators": [{"id": 757, "description": "Timothy H. O'Sullivan (American, 1840\u20131882)", "extent": null, "qualifier": null, "role": "artist", "biography": "Timothy H. O'Sullivan American, b. Ireland?, 1840-1882\r\n\r\nAn important photographer of the American Civil War, Timothy O'Sullivan worked first for Mathew Brady, then Alexander Gardner in their Washington, D.C., studios, producing some of the war's best known images. The son of Irish immigrants, whether O'Sullivan was born in New York or Ireland remains unresolved. His photographs appear in Gardner's classic volumes, Photographic Incidents of the War (1863) and Photographic Sketchbook of the War (1866).\r\n\tAfter the war's end, O'Sullivan became a photographer for government land surveys, working from 1867-69 for Clarence King's expedition along the 40th parallel in Utah, Nevada, and California. In 1870 he was photographer for Thomas O. Selfridge's survey of the Isthmus of Darien to determine the path of the Panama Canal. That same year he was hired by Lieutenant George M. Wheeler to accompany his military surveys of the land west of the 100th meridian and expeditions to California, Nevada, and Arizona. O'Sullivan returned to work for King in 1872 before joining Wheeler again in 1873. Briefly a partner in the Washington photographic firm of Armstrong and Company, he left in 1880 to become chief photographer for the U.S. Treasury, replacing his friend and colleague Lewis Emory Walker.\r\n\tThroughout his work, O'Sullivan employed a spare, restrained style that appeals to the modern eye. It is perhaps significant that he remained in the employ of the government on projects in which objectivity was paramount. By contrast, works by his peers often seem influenced by the romanticism implicit in the enterprises, mining, development, and the building of railroads, that they were hired to record. T.W.F.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1882", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-06-03T00:00:00", "sortable_date": 1867, "date_added_to_oa": null, "date_text": "1867", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-03-27 00:10:41.934000"}, {"id": 162460, "accession_number": "2003.120", "share_license_status": "CC0", "tombstone": "Hanuman with Rama and Lakshmana on his shoulders, from a Kalighat album, c. 1890. Eastern India, Bengal, Kolkata, Kalighat. Gum tempera, graphite, ink, and tin on paper; overall: 68.8 x 42.6 cm (27 1/16 x 16 3/4 in.); painting: 45.6 x 29.4 cm (17 15/16 x 11 9/16 in.). The Cleveland Museum of Art, Gift of William E. Ward in memory of his wife, Evelyn Svec Ward, 2003.120", "current_location": null, "title": "Hanuman with Rama and Lakshmana on his shoulders, from a Kalighat album", "creation_date": "c. 1890", "creation_date_earliest": 1875, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Eastern India, Bengal, Kolkata, Kalighat"], "technique": "Gum tempera, graphite, ink, and tin on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Overall: 68.8 x 42.6 cm (27 1/16 x 16 3/4 in.); Painting: 45.6 x 29.4 cm (17 15/16 x 11 9/16 in.)", "dimensions": {"painting": {"height": 0.456, "width": 0.294}, "overall": {"height": 0.688, "width": 0.426}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "[[recto, lower center, in English]] Mahabir Sugriva or Hanum\u0101n.", "inscription_translation": "Great Hero Sugriva or Hanuman.", "inscription_remark": "This inscription is written in a Bengali dialect.", "sortorder": null}], "exhibitions": {"current": [{"id": 200105, "title": "Indian Kalighat Paintings", "description": "<i>Indian Kalighat Paintings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 1-September 18, 2011).", "opening_date": "2011-05-01T00:00:00"}, {"id": 457592, "title": "Imagining Rama\u2019s Journey", "description": "<i>Imagining Rama\u2019s Journey</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 10-September 17, 2023).", "opening_date": "2023-03-09T05:00:00"}], "legacy": []}, "provenance": [{"description": "William E. Ward [1922\u20132004], Solon, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132003", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2003\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hanuman can change his size and form at will, even making himself colossal in order to carry the two princes.", "description": "A simplified but bold color palette of orange, yellow, and green with silvery accents gives this image of Rama, Lakshmana, and their monkey ally Hanuman a sense of rhythm and urgency. Riding on Hanuman\u2019s shoulders, the hero Rama\u2014painted green\u2014and his brother Lakshmana search for Rama\u2019s abducted wife Sita. At the bottom of the painting, an informal scrawl contemplates the identification of the colossal figure as either the \u201cGreat Hero\u201d Hanuman or Sugriva, but the image of a devoted tawny monkey carrying the two brothers unambiguously indicates Hanuman, Rama\u2019s most faithful follower.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60478910"], "internet_archive": ["https://archive.org/details/clevelandart-2003.120-hanuman-with-rama-an", "https://archive.org/details/clevelandart-2003.120-page-from-a-kalighat"]}, "citations": [{"citation": "Leach, Linda York. <em>Indian Miniature Paintings and Drawings: The Cleveland Museum of Art Catalogue of Oriental Art. </em>Cleveland: Cleveland Museum of Art, 1986.", "page_number": "Reproduced: cat. no. 48, p. 243.", "url": ""}], "url": "https://clevelandart.org/art/2003.120", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.120/2003.120_web.jpg", "width": "551", "height": "900", "filesize": "178389", "filename": "2003.120_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.120/2003.120_print.jpg", "width": "2083", "height": "3400", "filesize": "2011395", "filename": "2003.120_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.120/2003.120_full.tif", "width": "4283", "height": "6992", "filesize": "89872636", "filename": "2003.120_full.tif"}}, "alternate_images": [], "creditline": "Gift of William E. Ward in memory of his wife, Evelyn Svec Ward", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162460, "creators": [], "legal_status": "accessioned", "accession_date": "2003-09-02T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Hanuman with Rama and Lakshmana on his shoulders"], "is_highlight": false, "updated_at": "2026-03-27 00:05:55.673000"}, {"id": 166200, "accession_number": "2008.149.a", "share_license_status": "CC0", "tombstone": "Noa Noa: The Devil Speaks (Mahna No Varua Ino) (recto), 1893\u20131894. Paul Gauguin (French, 1848\u20131903). Woodcut ; sheet: 20.5 x 32.1 cm (8 1/16 x 12 5/8 in.); image: 20.3 x 31.9 cm (8 x 12 9/16 in.). The Cleveland Museum of Art, The Jane B. Tripp Charitable Lead Annuity Trust, 2008.149.a", "current_location": null, "title": "Noa Noa: The Devil Speaks (Mahna No Varua Ino) (recto)", "creation_date": "1893\u20131894", "creation_date_earliest": 1893, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, late 19th century"], "technique": "woodcut ", "support_materials": [{"description": "yellow Canari paper", "watermarks": []}], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Sheet: 20.5 x 32.1 cm (8 1/16 x 12 5/8 in.); Image: 20.3 x 31.9 cm (8 x 12 9/16 in.)", "dimensions": {"sheet": {"height": 0.205, "width": 0.321}, "image": {"height": 0.203, "width": 0.319}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "Ex collection: Henri M. Petiet, Paris", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1921, Paul Gauguin's son Pola printed a new edition of his father's <em>Noa Noa </em>prints, wiping the woodblocks cleanly so the images were more legible.", "description": "In 1893, Paul Gauguin returned to Paris from time spent in Tahiti. He began to conceive of a book that would describe his life outside Europe and provide context for the avant-garde works he created while away. This print is one of a series of ten intended to illustrate this book, which Gauguin titled <em>Noa Noa</em>. He carved each image roughly into a woodblock and printed them himself, giving the prints a rough quality that he hoped would enhance their subject matter. Because of this process, combined with the artist's practice of varying his inks and papers while working, prints such as this one are virtually unique.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996150"], "internet_archive": ["https://archive.org/details/clevelandart-2008.149.a-noa-noa-the-devil-sp"]}, "citations": [{"citation": "Lemonedes, Heather, Paul Gauguin, Belinda Thomson, Agnieszka Juszczak, Chris Stolwijk, and Moyna Stanton. <em>Paul Gauguin: Paris, 1889</em>. Ostfildern: Hatje Cantz, 2009.", "page_number": "ex. cat. no. 108", "url": null}], "catalogue_raisonne": "Guerin 95", "url": "https://clevelandart.org/art/2008.149.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.149.a/2008.149.a_web.jpg", "width": "1263", "height": "814", "filesize": "1168066", "filename": "2008.149.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.149.a/2008.149.a_print.jpg", "width": "3400", "height": "2191", "filesize": "8691510", "filename": "2008.149.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.149.a/2008.149.a_full.tif", "width": "6616", "height": "4264", "filesize": "84668632", "filename": "2008.149.a_full.tif"}}, "alternate_images": [], "creditline": "The Jane B. Tripp Charitable Lead Annuity Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166200, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u20131894", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.149", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:42.073000"}, {"id": 166201, "accession_number": "2008.149.b", "share_license_status": "CC0", "tombstone": "Volpini Suite:  Women Washing Clothes (verso), 1893\u201394. Paul Gauguin (French, 1848\u20131903). Zincograph on yellow paper; sheet: 20.5 x 32.1 cm (8 1/16 x 12 5/8 in.); image: 17.1 x 26.3 cm (6 3/4 x 10 3/8 in.). The Cleveland Museum of Art, The Jane B. Tripp Charitable Lead Annuity Trust, 2008.149.b", "current_location": null, "title": "Volpini Suite:  Women Washing Clothes (verso)", "creation_date": "1893\u201394", "creation_date_earliest": 1893, "creation_date_latest": 1894, "artists_tags": ["male"], "culture": ["France, late 19th century"], "technique": "zincograph on yellow paper", "support_materials": [], "department": "Prints", "collection": "Prints", "type": "Print", "measurements": "Sheet: 20.5 x 32.1 cm (8 1/16 x 12 5/8 in.); Image: 17.1 x 26.3 cm (6 3/4 x 10 3/8 in.)", "dimensions": {"sheet": {"height": 0.205, "width": 0.321}, "image": {"height": 0.171, "width": 0.263}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 195556, "title": "Paul Gauguin: Paris, 1889", "description": "<i>Paul Gauguin: Paris, 1889</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 4, 2009-January 18, 2010); Van Gogh Museum, 1070 AJ Amsterdam, Netherlands (February 18-June 6, 2010).", "opening_date": "2009-10-04T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": []}, "provenance": [{"description": "Ex collection: Henri M. Petiet, Paris", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In 1921, Paul Gauguin's son Pola printed a new edition of his father's <em>Noa Noa </em>prints, wiping the woodblocks cleanly so the images were more legible.", "description": "In 1893, Paul Gauguin returned to Paris from time spent in Tahiti. He began to conceive of a book that would describe his life outside Europe and provide context for the avant-garde works he created while away. This print is one of a series of ten intended to illustrate this book, which Gauguin titled <em>Noa Noa</em>. He carved each image roughly into a woodblock and printed them himself, giving the prints a rough quality that he hoped would enhance their subject matter. Because of this process, combined with the artist's practice of varying his inks and papers while working, prints such as this one are virtually unique.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996152"], "internet_archive": ["https://archive.org/details/clevelandart-2008.149.b-volpini-suite-women"]}, "citations": [{"citation": "Lemonedes, Heather, Paul Gauguin, Belinda Thomson, Agnieszka Juszczak, Chris Stolwijk, and Moyna Stanton. <em>Paul Gauguin: Paris, 1889</em>. Ostfildern: Hatje Cantz, 2009.", "page_number": "ex. cat. no. 108", "url": null}], "url": "https://clevelandart.org/art/2008.149.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.149.b/2008.149.b_web.jpg", "width": "1263", "height": "813", "filesize": "856477", "filename": "2008.149.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.149.b/2008.149.b_print.jpg", "width": "3400", "height": "2189", "filesize": "6337078", "filename": "2008.149.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.149.b/2008.149.b_full.tif", "width": "6607", "height": "4254", "filesize": "84353276", "filename": "2008.149.b_full.tif"}}, "alternate_images": [], "creditline": "The Jane B. Tripp Charitable Lead Annuity Trust", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166201, "creators": [{"id": 1776, "description": "Paul Gauguin (French, 1848\u20131903)", "extent": null, "qualifier": null, "role": "artist", "biography": "Gauguin spent the first seven years of his life with his mother and great uncle in Peru. In 1855 his mother took him back to France where he attended boarding school. He joined the merchant marine when he was seventeen and began traveling around South America. When Gauguin's mother died in 1868, Gustave Arosa, an art collector and photographer, became his legal guardian. Arosa's collection included works by Corot (q.v.), Courbet (q.v.), Delacroix (q.v.), and the Barbizon painters, and it was he who would encourage Gauguin to start painting. In 1872 Arosa found a job for Gauguin at a brokerage firm, giving him financial security. The following year he married a Danish woman, Mette Gad. Gauguin had already started painting and sculpting in his spare time and first exhibited at the Salon in 1876 with a landscape.1 He was asked by Pissarro (q.v.) and Degas (q.v.) to participate in the fourth impressionist exhibition in 1879, where from then on he would exhibit regularly. Durand-Ruel began purchasing his paintings, and in turn Gauguin started to collect the works of his colleagues, such as Manet (q.v.) and Renoir (q.v.) and, in particular, C\u00e9zanne (q.v.) and Pissarro. He went to Pontoise in 1882, where he painted with C\u00e9zanne and Pissarro, who along with Degas continued to influence him at this period. In 1883 Gauguin decided to become a full-time artist. In 1884 he moved with his wife and children to Rouen and then to Copenhagen, but he failed to earn a comfortable living. He returned to Paris in 1886 and met ceramicist Ernest Chaplet (1835-1909), who introduced him to his m\u00e9tier. Gauguin distanced himself from impressionism and in 1888 worked in Pont-Aven with \u00c9mile Bernard (1868-1941), who had been experimenting with creating compositions using flat areas of color and dark outlines (cloissonism). Gauguin also studied Japanese prints and Indonesian art. The impact of these influences is evident in Gauguin's Vision after the Sermon: Jacob Wrestling with the Angel (1888, National Gallery of Scotland, Edinburgh), so far removed from his earlier impressionist style. Succumbing to van Gogh's (q.v.) many requests, Gauguin agreed to travel to Arles and paint with the artist; their characters, however, proved incompatible. Theo van Gogh, who worked for Boussod Valadon &amp; Cie, would in the meantime sell Gauguin's work. For the next two years, Gauguin traveled often around Brittany. In search of a more pure and unspoiled culture, he auctioned off his paintings in 1891 in order to finance a journey to Tahiti. Upon his arrival, he was disappointed to find many expatriates and developed areas, yet he was still able to capture in his works an uncultivated spirit. He not only made paintings but also created bold woodcuts and sculptures and was an avid writer. Gauguin returned to France in 1893, where he was given a solo exhibition by Durand-Ruel that was not particularly successful. He decided to leave Europe again in 1895, moving to Tahiti and later to Hivaoa, a more remote island in the Marquesas. Because he abandoned naturalistic colors and used formal distortions in order to achieve expressive compositions, Gauguin's work became an inspiration for many subsequent artists. 1. Possibly Wildenstein 1964, no. 12.", "name_in_original_language": null, "birth_year": "1848", "death_year": "1903", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-12-08T00:00:00", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u201394", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2008.149", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:38.823000"}, {"id": 168426, "accession_number": "2010.205", "share_license_status": "CC0", "tombstone": "Prestige Staff, 1800s\u20131900s. Africa, Southern Africa, South Africa, Tsonga-style or Zulu-style maker. Wood; overall: 116.8 cm (46 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2010.205", "current_location": null, "title": "Prestige Staff", "creation_date": "1800s\u20131900s", "creation_date_earliest": 1800, "creation_date_latest": 1999, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Tsonga-style or Zulu-style maker"], "technique": "Wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 116.8 cm (46 in.)", "dimensions": {"overall": {"height": 1.168}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 51", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Colette Ghysels, Brussels, BE", "citations": [], "footnotes": null, "date": "early 1990s", "sortorder": null}, {"description": "Joel Cooner, Dallas, TX", "citations": [], "footnotes": null, "date": "2005", "sortorder": 2}, {"description": "(Jacaranda Tribal, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Tsonga and Zulu staffs all have strong symbolic associations and value. They visually connect the identity of their owners with that of their ancestors and with that of the community to which they belong.", "description": "The primary use of long staffs like this was purely practical; they served as walking companions when their pastoralist-owners covered long distances accompanying their cattle in search of new pastures. The tall height of this staff indicates the elevated status or special function of the man who owned it. Carved from one piece of wood, its spherical knob finial and the geometric designs incorporated into its shaft decoration\u2014consisting of spiraling segments and chain links\u2014demonstrate its maker\u2019s superior skills.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80074287"], "internet_archive": ["https://archive.org/details/clevelandart-2010.205-prestige-staff"]}, "citations": [{"citation": "Petridis, Constatine. \"The Art of Daily Life: Portable Objects from Southeast Africa. \" Tribal Art. (Summer 2011). Pg. 69, Fig. 5.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.205", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.205/2010.205_web.jpg", "width": "521", "height": "893", "filesize": "140118", "filename": "2010.205_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.205/2010.205_print.jpg", "width": "1985", "height": "3400", "filesize": "3072405", "filename": "2010.205_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.205/2010.205_full.tif", "width": "3500", "height": "5992", "filesize": "62940104", "filename": "2010.205_full.tif"}}, "alternate_images": [{"date_created": "2010-08-19T17:35:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt0_web.jpg", "width": "556", "height": "893", "filesize": "148087"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt0_print.jpg", "width": "2116", "height": "3400", "filesize": "3263488"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt0_full.tif", "width": "3764", "height": "6046", "filesize": "68295756"}}, {"date_created": "2010-08-19T18:18:16", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt1_web.jpg", "width": "671", "height": "893", "filesize": "175366"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt1_print.jpg", "width": "2555", "height": "3400", "filesize": "4019486"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt1_full.tif", "width": "4605", "height": "6127", "filesize": "84668996"}}, {"date_created": "2010-08-19T18:25:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt2_web.jpg", "width": "550", "height": "893", "filesize": "154205"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt2_print.jpg", "width": "2093", "height": "3400", "filesize": "3245583"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt2_full.tif", "width": "3841", "height": "6237", "filesize": "71893512"}}, {"date_created": "2010-08-19T18:27:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt3_web.jpg", "width": "562", "height": "893", "filesize": "155088"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt3_print.jpg", "width": "2140", "height": "3400", "filesize": "3236692"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt3_full.tif", "width": "4135", "height": "6567", "filesize": "81488196"}}, {"date_created": "2010-08-19T18:39:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt4_web.jpg", "width": "534", "height": "893", "filesize": "146120"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt4_print.jpg", "width": "2033", "height": "3400", "filesize": "3015421"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.205/2010.205_alt4_full.tif", "width": "3912", "height": "6541", "filesize": "76789560"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168426, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s\u20131900s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:07.056000"}, {"id": 168479, "accession_number": "2010.231", "share_license_status": "CC0", "tombstone": "Necklace (amazipho), 1800s. Africa, Southern Africa, South Africa, Southeast Cape Region, Northern Nguni (Zulu)-style maker. Glass beads, bone, and sinew; overall: 38.1 cm (15 in.). The Cleveland Museum of Art, Gift of Dori and Daniel Rootenberg in memory of Estelle Rosenberg, 2010.231", "current_location": null, "title": "Necklace (amazipho)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Africa, Southern Africa, South Africa, Southeast Cape Region, Northern Nguni (Zulu)-style maker"], "technique": "Glass beads, bone, and sinew", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Jewelry", "measurements": "Overall: 38.1 cm (15 in.)", "dimensions": {"overall": {"height": 0.381}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 197333, "title": "The Art of Daily Life: Portable Objects From Southeast Africa", "description": "<i>The Art of Daily Life: Portable Objects From Southeast Africa</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 17, 2011-February 26, 2012).", "opening_date": "2011-04-17T00:00:00"}], "legacy": [{"description": "Cleveland Museum of Art, (4/16/11-2/26/12); \"The Art of Daily Life:  Portable Objects from Southeast Africa\" cat. no. 67", "opening_date": "2011-04-16T00:00:00"}]}, "provenance": [{"description": "Nelly Van den Abbeele, Brussels; Christie's, Paris, 2003; Axis Gallery, New York, 2003 to 2005", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Large red glass beads like the ones in this necklace were reserved for the Nguni elite.", "description": "When wild game was still plentiful in the region, real animal claws would have been used to punctuate beaded prestige necklaces. Lion-claw necklaces were the exclusive property of royalty while the bone imitations were owned and worn by high-ranking individuals of lesser status. Large red glass beads were also reserved for the Nguni elite in the period before the destruction of the Zulu kingdom in 1879.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779632"], "internet_archive": ["https://archive.org/details/clevelandart-2010.231-necklace-amazipho"]}, "citations": [{"citation": "Christie's. \"Arts d'Afrique. Collection de Madame Van den Abbeele,\" Paris, June 12, 2003, lot 121; Pemberton, John, III. African Beaded Art: Power and Adornment, exh. cat. Northampton, Massachusetts: Smith College Museum of Art, 2008, vii (detail) and cat. 127.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2010.231", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.231/2010.231_web.jpg", "width": "1038", "height": "893", "filesize": "428104", "filename": "2010.231_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.231/2010.231_print.jpg", "width": "3400", "height": "2926", "filesize": "5464488", "filename": "2010.231_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.231/2010.231_full.tif", "width": "4540", "height": "3908", "filesize": "53253956", "filename": "2010.231_full.tif"}}, "alternate_images": [{"date_created": "2010-08-25T14:04:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.231/2010.231_alt0_web.jpg", "width": "1047", "height": "893", "filesize": "464737"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.231/2010.231_alt0_print.jpg", "width": "3400", "height": "2899", "filesize": "5618635"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.231/2010.231_alt0_full.tif", "width": "4276", "height": "3647", "filesize": "46811388"}}], "creditline": "Gift of Dori and Daniel Rootenberg in memory of Estelle Rosenberg", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168479, "creators": [], "legal_status": "accessioned", "accession_date": "2010-09-07T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Lion Claw Necklace"], "is_highlight": false, "updated_at": "2026-03-27 00:05:47.693000"}, {"id": 168756, "accession_number": "2010.458", "share_license_status": "CC0", "tombstone": "Janus Figure, late 1800s-early 1900s. Africa, Central Africa, Democratic Republic of the Congo, Hemba-style maker. Wood; overall: 30.8 x 7.9 x 7.3 cm (12 1/8 x 3 1/8 x 2 7/8 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.458", "current_location": null, "title": "Janus Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo, Hemba-style maker"], "technique": "Wood", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 30.8 x 7.9 x 7.3 cm (12 1/8 x 3 1/8 x 2 7/8 in.)", "dimensions": {"overall": {"height": 0.308, "width": 0.079, "depth": 0.073}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": [{"description": "<em>Exposition Universelle</em>. Internationale de Bruxelles, Belgium (October-April 1958)", "opening_date": "1958-10-01T00:00:00"}]}, "provenance": [{"description": "(Marcel Dumoulin, Brussels, BE, 1967, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": null, "date": "?-1967", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1967-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The opposite faces refer to a dualistic philosophy, a threshold between past and future.", "description": "This Janus figure features opposing faces and symbolizes change and transformation. A cavity in the top of the head served to hold ingredients with magical and medicinal qualities. The figure played a pivotal role in cults dedicated to the ancestors; in exchange for prayers, libations, and offerings, the ancestors were asked to safeguard the well-being and fertility of the population.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075140"], "internet_archive": ["https://archive.org/details/clevelandart-2010.458-janus-figure"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 86-87.", "page_number": "Reproduced: pp. 86-87; mentioned: p. 114, cat. 30", "url": null}], "url": "https://clevelandart.org/art/2010.458", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.458/2010.458_web.jpg", "width": "625", "height": "893", "filesize": "263244", "filename": "2010.458_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.458/2010.458_print.jpg", "width": "2381", "height": "3400", "filesize": "4997275", "filename": "2010.458_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.458/2010.458_full.tif", "width": "3076", "height": "4391", "filesize": "40550156", "filename": "2010.458_full.tif"}}, "alternate_images": [{"date_created": "2011-05-24T13:10:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt0_web.jpg", "width": "613", "height": "893", "filesize": "246740"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt0_print.jpg", "width": "2335", "height": "3400", "filesize": "4736829"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt0_full.tif", "width": "3077", "height": "4480", "filesize": "41385348"}}, {"date_created": "2011-05-24T13:52:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt1_web.jpg", "width": "653", "height": "893", "filesize": "263057"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt1_print.jpg", "width": "2486", "height": "3400", "filesize": "5099455"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt1_full.tif", "width": "3245", "height": "4437", "filesize": "43223124"}}, {"date_created": "2011-05-24T14:14:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt2_web.jpg", "width": "651", "height": "893", "filesize": "265958"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt2_print.jpg", "width": "2478", "height": "3400", "filesize": "5121777"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt2_full.tif", "width": "3303", "height": "4531", "filesize": "44926552"}}, {"date_created": "2011-05-24T14:35:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt3_web.jpg", "width": "631", "height": "893", "filesize": "263885"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt3_print.jpg", "width": "2404", "height": "3400", "filesize": "5002236"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt3_full.tif", "width": "3166", "height": "4476", "filesize": "42545876"}}, {"date_created": "2011-05-24T14:45:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt4_web.jpg", "width": "638", "height": "893", "filesize": "270453"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt4_print.jpg", "width": "2429", "height": "3400", "filesize": "5124991"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.458/2010.458_alt4_full.tif", "width": "3077", "height": "4306", "filesize": "39780984"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168756, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:55.453000"}, {"id": 170718, "accession_number": "2013.240", "share_license_status": "CC0", "tombstone": "Steps in a Garden, 1860. William Henry Millais (British, 1828\u20131899). Watercolor and gouache with scratch-away technique to create highlights on sturdy-weight wove paper mounted to same by artist with color tests in margins of mount; sheet: 33.8 x 26 cm (13 5/16 x 10 1/4 in.); secondary support: 39 x 32.4 cm (15 3/8 x 12 3/4 in.). The Cleveland Museum of Art, Gift in memory of Helen Borowitz, 2013.240", "current_location": null, "title": "Steps in a Garden", "creation_date": "1860", "creation_date_earliest": 1860, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor and gouache with scratch-away technique to create highlights on sturdy-weight wove paper mounted to same by artist with color tests in margins of mount", "support_materials": [{"description": "sturdy-weight, moderately textured, wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 33.8 x 26 cm (13 5/16 x 10 1/4 in.); Secondary Support: 39 x 32.4 cm (15 3/8 x 12 3/4 in.)", "dimensions": {"sheet": {"height": 0.338, "width": 0.26}, "secondary support": {"height": 0.39, "width": 0.324}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "initialed, in orange paint over purple paint, at lower left: WHM; inscribed, in purple paint, at lower left: 1860", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}, {"id": 202597, "title": "Imagining the Garden", "description": "<i>Imagining the Garden</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24, 2015-March 6, 2016).", "opening_date": "2015-10-24T00:00:00"}], "legacy": []}, "provenance": [{"description": "D. Parkinson", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 1}, {"description": "(sale, Sotheby's, London, December 6, 1977, no. 36)", "citations": [], "footnotes": null, "date": "1977", "sortorder": 2}, {"description": "(Maas Gallery, London)", "citations": [], "footnotes": null, "date": "after 1977-?", "sortorder": 3}, {"description": "Helen and Albert Borowitz, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2013", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2013-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "William Henry Millais's brother John Everett was a founder of the Pre-Raphaelite brotherhood and encouraged the older artist to pursue landscape as a subject.", "description": "William Henry Millais was closely associated with the founding members of the Pre-Raphaelite Brotherhood. He sketched extensively from nature in the early 1850s. Here, Millais painted a sequestered landscape of rough-hewn steps ascending a shady slope. A smattering of light pierces a dense canopy of trees, allowing little to flourish except for the foxgloves that adorn the foreground. Ivy growing on the hillside, a decaying stump, and moss-covered steps suggest the passage of time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80079804"], "internet_archive": ["https://archive.org/details/clevelandart-2013.240-steps-in-a-garden"]}, "citations": [{"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 112-3, 147, no. 37; Reproduced: p. 113", "url": null}], "url": "https://clevelandart.org/art/2013.240", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.240/2013.240_web.jpg", "width": "713", "height": "900", "filesize": "258063", "filename": "2013.240_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.240/2013.240_print.jpg", "width": "2693", "height": "3400", "filesize": "2523416", "filename": "2013.240_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.240/2013.240_full.tif", "width": "4156", "height": "5248", "filesize": "65463476", "filename": "2013.240_full.tif"}}, "alternate_images": [], "creditline": "Gift in memory of Helen Borowitz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170718, "creators": [{"id": 60590, "description": "William Henry Millais (British, 1828\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1828", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "1860", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-09 14:15:49.977000"}, {"id": 314366, "accession_number": "2018.115", "share_license_status": "CC0", "tombstone": "The Morning Toilette, 1810\u201325. Northern India, Pahari kingdoms. Gum tempera and gold on paper; page: 26.5 x 18.6 cm (10 7/16 x 7 5/16 in.); image: 22.1 x 13.8 cm (8 11/16 x 5 7/16 in.). The Cleveland Museum of Art, Purchase and partial gift from the Catherine and Ralph Benkaim Collection; Severance and Greta Millikin Purchase Fund, 2018.115", "current_location": null, "title": "The Morning Toilette", "creation_date": "1810\u201325", "creation_date_earliest": 1810, "creation_date_latest": 1825, "artists_tags": [], "culture": ["Northern India, Pahari kingdoms"], "technique": "gum tempera and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Page: 26.5 x 18.6 cm (10 7/16 x 7 5/16 in.); Image: 22.1 x 13.8 cm (8 11/16 x 5 7/16 in.)", "dimensions": {"page": {"height": 0.265, "width": 0.186}, "image": {"height": 0.221, "width": 0.138}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 315752, "title": "Indian Gallery 242 Rotation", "description": "<i>Indian Gallery 242 Rotation</i>. The Cleveland Museum of Art (organizer) (September 10, 2018-April 7, 2019).", "opening_date": "2018-09-10T04:00:00"}, {"id": 687839, "title": "Longing: Painting from the Pahari Kingdoms, 1680 to 1820", "description": "<i>Longing: Painting from the Pahari Kingdoms, 1680 to 1820</i>. The Cincinnati Art Museum, Cincinnati, OH (organizer) (February 6-June 7, 2026) https://www.cincinnatiartmuseum.org/art/exhibitions/longing-painting-from-the-pahari-kingdoms-of-the-northwest-himalayas/.", "opening_date": "2026-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Christie's London, England, May 4, 1966 sale, lot 233, sold to Ralph Benkaim)", "citations": [], "footnotes": null, "date": "May 4, 1966", "sortorder": 1}, {"description": "Ralph Benkaim [1914\u20132001], Beverly Hills, CA, by descent to his wife Catherine Benkaim", "citations": [], "footnotes": null, "date": "1966\u20132001", "sortorder": 2}, {"description": "Catherine Glynn Benkaim and Barbara Timmer, Beverly Hills, CA, partial sale and gift to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2001\u20132018", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2018\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The costume of the handmaiden holding the mirror is inspired by older Chamba paintings.", "description": "A lady, dressed in white below the waist, admires herself in a mirror held by a handmaiden. Three other ladies attend to her toilette. She stands on a large wooden stool and raises her elbow high to adjust her earrings, providing the beholder with a glimpse of her round breasts. Ewers and water pots can be seen in the foreground.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60483075"], "internet_archive": ["https://archive.org/details/clevelandart-2018.115-the-morning-toilette"]}, "citations": [{"citation": "Griswold, William, Cameron Kitchin, Chase F. Robinson, Cleveland Museum of Art, Cincinnati Art Museum, and National Museum of Asian Art (Smithsonian Institution). <em>Pahari Paintings: Art and Stories</em>, edited by Sonya Rhie Mace, Sarang Sharma, and Vijay Sharma. Cleveland, Ohio: Cleveland Museum of Art, 2026.", "page_number": "Mentioned and reproduced: p. 233-234, no. 69", "url": ""}], "url": "https://clevelandart.org/art/2018.115", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.115/2018.115_web.jpg", "width": "644", "height": "900", "filesize": "255191", "filename": "2018.115_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.115/2018.115_print.jpg", "width": "2431", "height": "3400", "filesize": "3516345", "filename": "2018.115_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.115/2018.115_full.tif", "width": "7225", "height": "10104", "filesize": "219034422", "filename": "2018.115_full.tif"}}, "alternate_images": [{"date_created": "2016-05-24T13:13:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.115/2018.115_alt0_web.jpg", "width": "641", "height": "900", "filesize": "210585"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.115/2018.115_alt0_print.jpg", "width": "2422", "height": "3400", "filesize": "2373438"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.115/2018.115_alt0_full.tif", "width": "5534", "height": "7770", "filesize": "129036872"}}, {"date_created": "2016-05-24T13:14:58.046000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.115/2018.115_alt1_web.jpg", "width": "642", "height": "900", "filesize": "216978"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.115/2018.115_alt1_print.jpg", "width": "2427", "height": "3400", "filesize": "3105679"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2018.115/2018.115_alt1_full.tif", "width": "5604", "height": "7850", "filesize": "132010332"}}], "creditline": "Purchase and partial gift from the Catherine and Ralph Benkaim Collection; Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 314366, "creators": [], "legal_status": "accessioned", "accession_date": "2018-09-04T00:00:00-04:00", "sortable_date": 1810, "date_added_to_oa": null, "date_text": "1810\u201325", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:11.122000"}, {"id": 93174, "accession_number": "2018.288", "share_license_status": "CC0", "tombstone": "Mushroom Night Lamp, c. 1896\u20131902. Tiffany Glass & Decorating Company (America, New York, 1892\u20131902), Tiffany Studios (United States, New York, 1902\u201332). Favrile glass; overall: 32.4 cm (12 3/4 in.); diameter of base: 17 cm (6 11/16 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.288", "current_location": null, "title": "Mushroom Night Lamp", "creation_date": "c. 1896\u20131902", "creation_date_earliest": 1894, "creation_date_latest": 1904, "artists_tags": ["gender unknown"], "culture": ["America, New York"], "technique": "Favrile glass", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Lamp", "measurements": "Overall: 32.4 cm (12 3/4 in.); Diameter of base: 17 cm (6 11/16 in.)", "dimensions": {"overall": {"height": 0.324}, "diameter of base": {"width": 0.17}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "TIFFANY STUDIOS/NEW YORK/14943", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009); Fine Arts Museums of San Francisco, San Francisco, CA (February 7-May 31, 2009).", "opening_date": "2008-10-19T04:00:00"}, {"id": 358650, "title": "Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany", "description": "<i>Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 20, 2019-October 4, 2020).", "opening_date": "2019-10-20T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Greenwald Antiques, Cleveland, OH)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Charles Maurer [1929-2016], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20132018", "sortorder": 2}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Mushrooms were a popular Art Nouveau motif used throughout Louis Comfort Tiffany's artistic production.", "description": "This small night lamp is made almost entirely of Louis Comfort Tiffany's signature Favrile glass. In the 1880s when Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were realized in the development of Favrile glass, deliberately named to sound French, expensive, and \u201chandmade.\u201d Largely through Tiffany's marketing ability, Favrile glass became America\u2019s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; galleries in major European cities, where his creations were bought by many museums; and in his store in Manhattan, known as the Tiffany Glass and Decorating Co., later Tiffany Studios. From the outset, Tiffany used Favrile glass in mosaic panels, stained glass windows, and his artistic line of table and floor lamps.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874454"], "internet_archive": ["https://archive.org/details/clevelandart-2018.288-mushroom-night-lamp"]}, "citations": [{"citation": "Harrison, Stephen, Emmanuel Ducamp, and Jeannine J. Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique</em>. Cleveland, OH: Cleveland Museum of Art in association with, New Haven, CT: Yale University Press, 2008.", "page_number": "Reproduced: p. 305; discussed: p. 304; mentioned: p. 340, cat. 288", "url": null}], "url": "https://clevelandart.org/art/2018.288", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.288/2018.288_web.jpg", "width": "656", "height": "900", "filesize": "127195", "filename": "2018.288_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.288/2018.288_print.jpg", "width": "2477", "height": "3400", "filesize": "630758", "filename": "2018.288_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.288/2018.288_full.tif", "width": "8277", "height": "11361", "filesize": "282128780", "filename": "2018.288_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 93174, "creators": [{"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": "made by", "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": "execution", "qualifier": null, "role": "retailer", "biography": "American jewelry and glass manufactory, 1902-1932", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1894, "date_added_to_oa": null, "date_text": "c. 1896\u20131902", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-31 19:02:33.872000"}, {"id": 82525, "accession_number": "2020.199", "share_license_status": "CC0", "tombstone": "Globe Work Table (Globustisch), c. 1810\u201315. Austria, Vienna. Burl walnut veneer, mahogany, ebony, satinwood, gilt wood, painted wood; mirrored glass; metal; overall: 90.2 x 45.5 cm (35 1/2 x 17 15/16 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.199", "current_location": null, "title": "Globe Work Table (Globustisch)", "creation_date": "c. 1810\u201315", "creation_date_earliest": 1805, "creation_date_latest": 1820, "artists_tags": [], "culture": ["Austria, Vienna"], "technique": "Burl walnut veneer, mahogany, ebony, satinwood, gilt wood, painted wood; mirrored glass; metal", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Furniture and woodwork", "measurements": "Overall: 90.2 x 45.5 cm (35 1/2 x 17 15/16 in.)", "dimensions": {"overall": {"height": 0.902, "width": 0.455}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. 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However, the telltale sign that these vases are made by Samson and not St. Cloud is that the originals would have been made from a soft-paste porcelain (fired at a lower temperature), while these examples are made of hard-paste porcelain (fired at the highest temperature).", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481601"], "internet_archive": ["https://archive.org/details/clevelandart-2020.200-pair-of-potpourri-va"]}, "citations": [{"citation": "Ducamp, Emmanuel. \"Austrian and French Decorative Arts.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 46-49, 60-61,150-151, 184-185. 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China, Qing dynasty (1644-1911). Bamboo beads strung together in diamond and hexagon patterns; edges in plain weave cotton; overall: 56.5 x 56.5 cm (22 1/4 x 22 1/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1915.410", "current_location": null, "title": "Sleeveless garment", "title_in_original_language": "\u7af9\u8863", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["China, Qing dynasty (1644-1911)"], "technique": "Bamboo beads strung together in diamond and hexagon patterns; edges in plain weave cotton", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Garment", "measurements": "Overall: 56.5 x 56.5 cm (22 1/4 x 22 1/4 in.)", "dimensions": {"overall": {"height": 0.565, "width": 0.565}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 395234, "title": "China\u2019s Southern Paradise: Treasures from the Lower Yangzi Delta", "description": "<i>China\u2019s Southern Paradise: Treasures from the Lower Yangzi Delta</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 10, 2023-January 7, 2024).", "opening_date": "2023-09-10T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Mr. Walter C. Hill, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131915", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1915\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "According to Nhat Quyen Nguyen, CMA graduate intern in textile conservation, this garment is made of at least 3,490 cut bamboo pieces.", "description": "This loose-fitting bamboo vest is a summer undershirt, made of an estimated 3,490 fine bamboo tubes. The overall structure of the vest is held together with cotton thread. Such vests were worn under an outer garment to allow the air to circulate and protect the outer garment from soilage, especially in the hot and humid climate of southern China. Textual evidence indicates that officials during the 1500s in Jiangnan wore bamboo vests from Jiangsu province, one of the production centers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79521422"], "internet_archive": ["https://archive.org/details/clevelandart-1915.410-sleeveless-garment"]}, "citations": [{"citation": "Garrett, Valery M. <em>Chinese Clothing: An Illustrated Guide</em>. Hong Kong: Oxford University Press, 1994.", "page_number": "p. 80", "url": ""}, {"citation": "Garrett, Valery M. <em>Chinese Dress: From the Qing Dynasty to the Present Day</em>. 2019.", "page_number": "p.87", "url": ""}, {"citation": "Griswold, William, Xiaofei Tian, Richard Von Glahn, Feng Zhao, S. J. Vainker, Masaaki Itakura, Jiang Wu, et al. <em>China\u2019s Southern Paradise: Treasures from the Lower Yangzi Delta</em>. Edited by Clarissa Von Spee. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 328, no. 166", "url": ""}, {"citation": "\"Compass: Common Thread, Summer Pursuits\u201c <em>HALI; the International Journal of Oriental Carpets and Textiles. </em>Issue 220 Summer 2024.", "page_number": "p. 49", "url": ""}], "url": "https://clevelandart.org/art/1915.410", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.410/1915.410_web.jpg", "width": "790", "height": "900", "filesize": "395611", "filename": "1915.410_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.410/1915.410_print.jpg", "width": "2984", "height": "3400", "filesize": "3240178", "filename": "1915.410_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.410/1915.410_full.tif", "width": "8599", "height": "9799", "filesize": "252817200", "filename": "1915.410_full.tif"}}, "alternate_images": [{"date_created": "2007-03-07T20:56:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt0_web.jpg", "width": "799", "height": "893", "filesize": "668604"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt0_print.jpg", "width": "3044", "height": "3400", "filesize": "8967781"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt0_full.tif", "width": "3824", "height": "4271", "filesize": "49032764"}}, {"date_created": "2022-12-13T12:13:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt1_web.jpg", "width": "790", "height": "900", "filesize": "344233"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt1_print.jpg", "width": "2984", "height": "3400", "filesize": "2562245"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt1_full.tif", "width": "8599", "height": "9799", "filesize": "252822432"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt2_web.jpg", "width": "790", "height": "900", "filesize": "387076"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt2_print.jpg", "width": "2984", "height": "3400", "filesize": "3196762"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.410/1915.410_alt2_full.tif", "width": "8599", "height": "9799", "filesize": "252816692"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94849, "creators": [], "legal_status": "accessioned", "accession_date": "1916-01-17T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Vest"], "is_highlight": false, "updated_at": "2026-03-27 00:07:30.298000"}, {"id": 95575, "accession_number": "1916.1297", "share_license_status": "CC0", "tombstone": "Tent Wall Panel(?), 1800s. Iran, Rasht, Qajar period (1779-1925). Wool: inlaid work; silk: embroidery, chain stitch; overall: 194.9 x 132.7 cm (76 3/4 x 52 1/4 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade, 1916.1297", "current_location": null, "title": "Tent Wall Panel(?)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Iran, Rasht, Qajar period (1779-1925)"], "technique": "Wool: inlaid work; silk: embroidery, chain stitch", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Embroidery", "measurements": "Overall: 194.9 x 132.7 cm (76 3/4 x 52 1/4 in.)", "dimensions": {"overall": {"height": 1.949, "width": 1.327}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 381170, "title": "Floral Delight: Textiles from Islamic Lands", "description": "<i>Floral Delight: Textiles from Islamic Lands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 9, 2014-May 4, 2015).", "opening_date": "2014-07-09T04:00:00"}], "legacy": []}, "provenance": [{"description": "Jeptha Homer Wade II [1857-1926] and Ellen Garretson Wade [1859-1917], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Generally, Rasht work was made by men. Boys handled the delicate embroidering while older men designed cartoons and punched the wool designs.", "description": "Elaborate arched panels with multiple borders similar to this textile formed the mosaic-like interior walls of imperial tents. Here, the field is dominated by a richly decorated cypress tree above peacocks and dragon heads on an ornate foliate ground. We look upon the gardenscape through a niche (mihrab) formed by this foliage. Bright white silk \u201cpearl\u201d outlines, vines, and ringlets in chain-stitch embroidery enliven the pattern on contrasting colors of fulled wool. Internationally fashionable <em>botehs</em>, or paisleys, decorate the outer red borders.This technique has been referred to by many different names including: Rasht work, Resht work, Rashti-duzi, Rachti-douzi, embroidery applique, mosaic embroidery, piecework, patchwork, embroidery brocade, and inlaid patchwork. Many of these terms are to various degrees inaccurate descriptions of this technique. Perhaps the most practical term is Rasht work, named for the town in Iran where the technique was popularized. It begins as a ground of felted plain weave wool. Desired shapes are then punched out of the ground with a metal die and hammer. The same is done with wool of an alternating color. The edges of the different cut pieces are then embroidered together into various designs using a silk chain stitch (<em>golab-duzi</em>). Although this piecework technique was recorded in Iran in the 1670s, most examples survive from the 19th century, when foreigners praised them as \u201creally [the] most beautiful embroidery.\u201d The technique appears in furnishing fabrics, and horse covers, as well as imperial portraits, including one depicting the Qajar monarch Fath \u2018Ali Shah, who ruled in 1797\u20131837. Sometime after leaving the workshop this panel experienced moth damage; small patches can be seen throughout.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79477318"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1297-tent-wall-panel"]}, "citations": [{"citation": "Gluck, Jay, and Sumi Hiramoto Gluck. <em>A Survey of Persian Handicraft: A Pictorial Introduction to the Contemporary Folk Arts and Art Crafts of Modern Iran. </em>Tehran: Published under the auspices of the Bank Melli Iran [by] Survey of Persian Art, 1977.", "page_number": "", "url": ""}, {"citation": "Nashat, Guity. \"From Bazaar to Market: Foreign Trade and Economic Development in Nineteenth-Century Iran,\" <em>Iranian Studies</em> 14, no.1/2 (1981); 53-85.", "page_number": "", "url": "http://www.jstor.org/stable/4310353"}, {"citation": "Wearden, Jennifer Mary, and Patricia L. Baker.<em> Iranian Textiles.</em> London: V &amp; A Pub, 2010.", "page_number": "", "url": ""}, {"citation": "\"The Shah's Tent.\" <em>HALI; the international journal of Oriental carpets and textiles</em> 185 (Autumn 2015): 94-95.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1916.1297", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1297/1916.1297_web.jpg", "width": "631", "height": "900", "filesize": "366851", "filename": "1916.1297_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1297/1916.1297_print.jpg", "width": "2383", "height": "3400", "filesize": "4003402", "filename": "1916.1297_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1297/1916.1297_full.tif", "width": "5292", "height": "7551", "filesize": "119915236", "filename": "1916.1297_full.tif"}}, "alternate_images": [{"date_created": "2005-03-23T19:08:31", "annotation": "", "web": {"url": 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"https://openaccess-cdn.clevelandart.org/alternate/1916.1297/1916.1297_alt7_web.jpg", "width": "675", "height": "900", "filesize": "404407"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1297/1916.1297_alt7_print.jpg", "width": "2550", "height": "3400", "filesize": "4412940"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1297/1916.1297_alt7_full.tif", "width": "6000", "height": "8000", "filesize": "144037136"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95575, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Prayer Rug"], "is_highlight": false, "updated_at": "2026-03-27 00:00:00.912000"}, {"id": 98887, "accession_number": "1918.558", "share_license_status": "CC0", "tombstone": "Wedding Fan (\uc9c4\uc8fc\uc120 (\u771e\u73e0\u6247)), mid-1800s. Korea, Joseon dynasty (1392\u20131910). Copper alloy; satin weave silk; silk and metal thread embroidery; and paper; diameter: 25.6 cm (10 1/16 in.). The Cleveland Museum of Art, Director's Contingent Fund, 1918.558", "current_location": null, "title": "Wedding Fan", "title_in_original_language": "\uc9c4\uc8fc\uc120 (\u771e\u73e0\u6247)", "creation_date": "mid-1800s", "creation_date_earliest": 1825, "creation_date_latest": 1875, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Copper alloy; satin weave silk; silk and metal thread embroidery; and paper", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Miscellaneous", "measurements": "Diameter: 25.6 cm (10 1/16 in.)", "dimensions": {"diameter": {"width": 0.256}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 373312, "title": "Gold Needles: Embroidery Arts from Korea", "description": "<i>Gold Needles: Embroidery Arts from Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 7-October 25, 2020).", "opening_date": "2020-03-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Langdon Warner [1881-1955] sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This fan was not to cool oneself, but rather to veil a bride's face during a wedding ceremony as a gesture of chastity.", "description": "In the Joseon period, women between the ages of 14 and 20 were matched with a husband through an arranged marriage. Even during the marriage ceremony, a bride was supposed to veil her face with this type of embroidered fan as a gesture of chastity. The fan\u2019s body is made of paper and silk trimmed with a gilded metal rim. On the front, four cranes\u2014one pair in blue, the other in yellow\u2014are stitched along with auspicious clouds. The back is adorned with dragons flying amid clouds. The metal band vertically running down the center is incised with a bat, a symbol of wealth.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79485916"], "internet_archive": ["https://archive.org/details/clevelandart-1918.558-wedding-fan"]}, "citations": [{"citation": "Ye, Yonghae. \"Buchae.\" <em>Yeyonghae ch\u014fnjip</em>. Soeul: Daewonsa, 2002.", "page_number": null, "url": "http://www.dbpia.co.kr/Article/2852446"}, {"citation": "Sim, Nam-ho. \"Empirical Study on the Fan in latter Chosun Dynasty.\" <em>Dong asia godaehak</em> vol. 49 (March 2018): 243-270.", "page_number": null, "url": "https://www.earticle.net/Article/A327130"}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 238, no. 133", "url": ""}, {"citation": "\"February 2021 Object of the Month.\" <em>The Asian Art Newspaper: Monthly for Collectors, Dealers, Museums and Galleries, </em>31 January 2021.", "page_number": null, "url": "https://asianartnewspaper.com/february-2021/"}], "url": "https://clevelandart.org/art/1918.558", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.558/1918.558_web.jpg", "width": "668", "height": "893", "filesize": "60371", "filename": "1918.558_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.558/1918.558_print.jpg", "width": "2545", "height": "3400", "filesize": "883050", "filename": "1918.558_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.558/1918.558_full.tif", "width": "4992", "height": "6668", "filesize": "99895256", "filename": "1918.558_full.tif"}}, "alternate_images": [{"date_created": "2012-05-02T14:01:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.558/1918.558_alt0_web.jpg", "width": "635", "height": "893", "filesize": "57332"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.558/1918.558_alt0_print.jpg", "width": "2418", "height": "3400", "filesize": "968025"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.558/1918.558_alt0_full.tif", "width": "4677", "height": "6574", "filesize": "92274384"}}], "creditline": "Director's Contingent Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98887, "creators": [], "legal_status": "accessioned", "accession_date": "1918-09-25T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "mid-1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Embroidered Fan for Wedding Ceremony"], "is_highlight": false, "updated_at": "2026-03-27 00:02:11.396000"}, {"id": 121284, "accession_number": "1942.1154", "share_license_status": "CC0", "tombstone": "Portrait of Arthur Wellesley, later 1st Duke of Wellington, c. 1806\u20137. Attributed to John Wright (British, 1745\u20131820). Watercolor on ivory in a gilt wood frame; framed: 22 x 18.2 cm (8 11/16 x 7 3/16 in.); unframed: 18.7 x 14 cm (7 3/8 x 5 1/2 in.). The Cleveland Museum of Art, The Edward B. Greene Collection, 1942.1154", "current_location": null, "title": "Portrait of Arthur Wellesley, later 1st Duke of Wellington", "creation_date": "c. 1806\u20137", "creation_date_earliest": 1806, "creation_date_latest": 1807, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor on ivory in a gilt wood frame", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 22 x 18.2 cm (8 11/16 x 7 3/16 in.); Unframed: 18.7 x 14 cm (7 3/8 x 5 1/2 in.)", "dimensions": {"framed": {"height": 0.22, "width": 0.182}, "unframed": {"height": 0.187, "width": 0.14}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "annotated on backing:  Painted by W. C. Ross, 1812.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "(S. J. Phillips, London, England, sold to Edward B. Greene).", "citations": [], "footnotes": [], "date": "-1927", "sortorder": null}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1927-1942", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1942-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This miniature remains in its original gilt metal mat and at over 7 inches tall is part of a trend to expand miniatures in the early 1800s.", "description": "John Wright was an engraver and miniaturist active primarily in London who exhibited at the Royal Academy between 1795 and 1819. He painted miniatures in ivory on the traditional small, oval surfaces as well as the rectangular format that became increasingly popular during the 1790s. Wright\u2019s style is painterly, and he employed gouache to create saturated brushstrokes that suggest oil painting. Yellow tones predominate in the faces of his portraits. His miniatures are often signed and dated on the reverse and sometimes inscribed with his address.<br>In this miniature Arthur Wellesley, 1st Duke of Wellington (1769\u20131852), is depicted at three-quarter length, with his body facing forward and his head slightly to the right. In his right, buff-gloved hand he holds a black cocked hat with red and gold tassels; his left hand rests on the hilt of a sword. A five o\u2019clock shadow is visible on the famously hirsute soldier, who has gray-blue eyes, bow lips, and powdered dark hair. Wellesley wears the uniform of a major-general (the rank he attained in 1802), which consists of a red coat with a dark blue collar and cuffs\u2014trimmed with gold braid\u2014and epaulets. He wears white breeches, and from his right shoulder, a pale rose sash extends across his chest, on which he wears the star of the Order of the Bath. A rose-colored sash is also wrapped around his waist and is knotted at his right hip. The background features a blue and gray cloudy sky without a visible horizon line.<br>This portrait was completed during the height of Wellesley\u2019s career as one of the most famous and frequently painted soldiers in the history of Britain. The year 1806 was significant for Wellesley; it was the year he finally married Catherine (Kitty) Pakenham (1773\u20131831), whose hand he had been denied in 1793 on the grounds that he was deeply in debt and undistinguished. After nine years of military service in India, he returned in 1805 a decorated, highly esteemed, and wealthy solider to whom Pakenham\u2019s family could no longer object. In 1806 he was also appointed Chief Secretary of Ireland. He had received the Order of the Bath in 1804 and in this portrait wears the insignia, here consisting of a sash and an eight-pointed silver star that features three crowns at the center encircled by a red ring bearing the motto of the order in gold letters.<br>The miniature is based on an oil painting by John Hoppner executed in 1806 and exhibited at the Royal Academy. The original painting represents Wellesley full length and life sized, standing in an Indian landscape, his horse held by an Indian servant. The circumstances of this commission are unknown, but because Wellesley himself was fonder of frank, intimate portraits that did not dramatically depict him in the trappings of uniform and awards, it is unlikely that he commissioned this work himself.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80017091"], "internet_archive": ["https://archive.org/details/clevelandart-1942.1154-portrait-of-arthur-w"]}, "citations": [{"citation": "Wellington, Gerald Wellesley, and John Steegmann. <em>The Iconography of the First Duke of Wellington</em>. London: Dent, 1935.", "page_number": "Mentioned and reproduced: p. 22, no. 2", "url": null}, {"citation": "Cleveland Museum of Art. <em>Portrait Miniatures: The Edward B. Greene Collection. </em>Cleveland, OH: The Cleveland Museum of Art, 1951.", "page_number": "Reproduced: p. 32, no. 51, pl. XXIV", "url": "https://archive.org/details/PortraitMiniatures/page/n71"}, {"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives. </em>2013.", "page_number": "Mentioned: p.81", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl. <em>British Portrait Miniatures: The Cleveland Museum of Art. </em>2013.", "page_number": "Cat. no. 70, pp. 266-270", "url": ""}], "url": "https://clevelandart.org/art/1942.1154", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1942.1154/1942.1154_web.jpg", "width": "670", "height": "893", "filesize": "101254", "filename": "1942.1154_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1942.1154/1942.1154_print.jpg", "width": "2550", "height": "3400", "filesize": "1165144", "filename": "1942.1154_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1942.1154/1942.1154_full.tif", "width": "6000", "height": "8000", "filesize": "144022112", "filename": "1942.1154_full.tif"}}, "alternate_images": [{"date_created": "2008-01-08T18:27:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt0_web.jpg", "width": "734", "height": "893", "filesize": "530180"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt0_print.jpg", "width": "2794", "height": "3400", "filesize": "7658487"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt0_full.tif", "width": "4308", "height": "5242", "filesize": "67780836"}}, {"date_created": "2010-01-05T16:49:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt1_web.jpg", "width": "746", "height": "893", "filesize": "442199"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt1_print.jpg", "width": "2840", "height": "3400", "filesize": "6850128"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt1_full.tif", "width": "4721", "height": "5651", "filesize": "80068612"}}, {"date_created": "2013-02-15T19:44:31", "annotation": "", "web": {"url": 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"https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt7_print.jpg", "width": "2550", "height": "3400", "filesize": "1347135"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1942.1154/1942.1154_alt7_full.tif", "width": "6000", "height": "8000", "filesize": "144022068"}}], "creditline": "The Edward B. Greene Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121284, "creators": [{"id": 59683, "description": "John Wright (British, 1745\u20131820)", "extent": null, "qualifier": "attributed to", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1745", "death_year": "1820", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1942-12-31T00:00:00", "sortable_date": 1806, "date_added_to_oa": null, "date_text": "c. 1806\u20137", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:02:48.099000"}, {"id": 148747, "accession_number": "1976.188", "share_license_status": "CC0", "tombstone": "Eg\u00fang\u00fan Masquerade Dance Costume, 1900s. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Cotton, velvet, flannel, leather, dye, probably wood, cowrie shells, metal; overall: 152.4 x 58.4 x 40.6 cm (60 x 23 x 16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1976.188", "current_location": null, "title": "Eg\u00fang\u00fan Masquerade Dance Costume", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1975, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "cotton, velvet, flannel, leather, dye, probably wood, cowrie shells, metal", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 152.4 x 58.4 x 40.6 cm (60 x 23 x 16 in.)", "dimensions": {"overall": {"height": 1.524, "width": 0.584, "depth": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "Katherine C. White", "citations": [], "footnotes": null, "date": "?\u20131977", "sortorder": 1}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1977\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This masquerade costume is made from both imported and locally made fabrics.", "description": "Swirling into motion, <em>egu\u0301ngu\u0301n </em>masquerade costumes appear during annual festivities to bless the community. Manifesting ancestral spirits, they serve as a bridge between the living and the otherworld. The fabric panels create a dwelling place for ancestral spirits. Arranged and selected according to Yoru\u0300ba\u0301 design sense (oju\u0301-o\u0323na\u0300), this mask incorporates hundreds of African, Asian, and European fabrics. These include imported damasks, velvets, faux furs, and embroideries, as well as local indigo-dyed cottons.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1976.188-costume", "https://archive.org/details/clevelandart-1976.188-egungun-masquerade-d"]}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Aremu, P. S. O. \"Between Myth and Reality: Yoruba Egungun Costumes as Commemorative Clothes.\" <em>Journal of Black Studies</em> 22, no. 1 (1991).", "page_number": "p. 6-14", "url": "www.jstor.org/stable/2784493"}, {"citation": "Drewal, Margaret Thompson. Yoruba Ritual: Performers, Play, Agency. Bloomington: Indiana University Press, 1992.", "page_number": null, "url": null}, {"citation": "Fitzgerald, Mary Ann, Henry J. Drewal, and Moyo Okediji. \"Transformation through Cloth: An Egungun Costume of the Yoruba.\" <em>African Arts</em> 28, no. 2 (1995)", "page_number": "p. 55-57", "url": null}], "url": "https://clevelandart.org/art/1976.188", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1976.188/1976.188_web.jpg", "width": "668", "height": "893", "filesize": "343833", "filename": "1976.188_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1976.188/1976.188_print.jpg", "width": "2139", "height": "3400", "filesize": "4429208", "filename": "1976.188_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1976.188/1976.188_full.tif", "width": "4078", "height": "6482", "filesize": "79342860", "filename": "1976.188_full.tif"}}, "alternate_images": [{"date_created": "2009-11-02T13:19:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt0_web.jpg", "width": "581", "height": "893", "filesize": "280821"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt0_print.jpg", "width": "2213", "height": "3400", "filesize": "3914041"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt0_full.tif", "width": "4212", "height": "6471", "filesize": "81801928"}}, {"date_created": "2009-11-02T13:17:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt1_web.jpg", "width": "573", "height": "893", "filesize": "278050"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt1_print.jpg", "width": "2183", "height": "3400", "filesize": "3946016"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt1_full.tif", "width": "3948", "height": "6148", "filesize": "72851208"}}, {"date_created": "2009-11-02T13:13:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt2_web.jpg", "width": "601", "height": "893", "filesize": "352761"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt2_print.jpg", "width": "2290", "height": "3400", "filesize": "4801477"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt2_full.tif", "width": "4392", "height": "6520", "filesize": "85942596"}}, {"date_created": "2009-11-02T13:16:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt3_web.jpg", "width": "1263", "height": "876", "filesize": "972227"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt3_print.jpg", "width": "3400", "height": "2358", "filesize": "6171516"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt3_full.tif", "width": "5710", "height": "3960", "filesize": "67869912"}}, {"date_created": "2009-11-02T13:19:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt4_web.jpg", "width": "668", "height": "893", "filesize": "560339"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt4_print.jpg", "width": "2545", "height": "3400", "filesize": "7297118"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt4_full.tif", "width": "4992", "height": "6668", "filesize": "99896872"}}, {"date_created": "2009-11-02T13:14:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt5_web.jpg", "width": "1193", "height": "893", "filesize": "766355"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt5_print.jpg", "width": "3400", "height": "2545", "filesize": "6086995"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1976.188/1976.188_alt5_full.tif", "width": "6668", "height": "4992", "filesize": "99893876"}}], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148747, "creators": [], "legal_status": "accessioned", "accession_date": "1977-02-23T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Egungun Costume"], "is_highlight": false, "updated_at": "2026-03-27 00:10:10.004000"}, {"id": 159482, "accession_number": "1996.256", "share_license_status": "CC0", "tombstone": "Gibbons in a Landscape (\uc6d0\uc22d\uc774\uc720\ud76c\ub3c4 (\u7fa4\u733f\u904a\u6231\u5716)), early 1900s. Korea, Joseon dynasty (1392\u20131910). Six-panel folding screen; ink and color on hemp; painting only: 104.8 x 393.7 cm (41 1/4 x 155 in.). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 1996.256", "current_location": null, "title": "Gibbons in a Landscape", "title_in_original_language": "\uc6d0\uc22d\uc774\uc720\ud76c\ub3c4 (\u7fa4\u733f\u904a\u6231\u5716)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1940, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Six-panel folding screen; ink and color on hemp", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Painting only: 104.8 x 393.7 cm (41 1/4 x 155 in.)", "dimensions": {"painting only": {"height": 1.048, "width": 3.937}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 452567, "title": "Old and New in Korean Art", "description": "<i>Old and New in Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 28, 2022-April 23, 2023).", "opening_date": "2022-10-28T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Leighton R. Longhi Inc., New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-1996", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1996-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Gibbons were often presented to the Joseon royal court as diplomatic gifts from the Japanese government.", "description": "In this folding screen, gibbons playfully interact with each other. In Korean paintings, gibbons were less frequently depicted than in their Chinese and Japanese counterparts. However, they became popular toward the end of the 1800s, possibly due to an influx of Chinese and Japanese decorative arts. Gibbons symbolize good fortune, but as paired with the red autumn foliage, specifically refer to professional success, such as passing the government examination and getting promoted to a higher position. The large ripe peach held by one gibbon bears another symbolic meaning: prosperity and longevity.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477258"], "internet_archive": ["https://archive.org/details/clevelandart-1996.256-gibbons-in-a-landsca"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRare Korean Screen Painting, Important Baroque Drawing, Sheeler Drawing Join the Museum Collection,\u201d October 10, 1996, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4074"}, {"citation": "<em>Art of Korean Empire: The Emergence of Modern Art </em>[\ub300\ud55c\uc81c\uad6d\uc758 \ubbf8\uc220-\ube5b\uc758 \uae38\uc744 \uafc8\uafb8\ub2e4]. Seoul: Museum of Modern and Contemporary Art, 2018.", "page_number": null, "url": null}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "<em>Modern Traditions in Korean Calligraphy and Painting </em>[\uadfc\ub300\uc11c\ud654]. Seoul: National Museum of Korea, 2019.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1996.256", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1996.256/1996.256_web.jpg", "width": "1263", "height": "638", "filesize": "143171", "filename": "1996.256_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1996.256/1996.256_print.jpg", "width": "3400", "height": "1717", "filesize": "928358", "filename": "1996.256_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1996.256/1996.256_full.tif", "width": "13075", "height": "6604", "filesize": "259072120", "filename": "1996.256_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt0_web.jpg", "width": "1263", "height": "615", "filesize": "663655"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt0_print.jpg", "width": "2048", "height": "998", "filesize": "1728860"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt0_full.tif", "width": "2048", "height": "998", "filesize": "6133892"}}, {"date_created": "2012-05-18T16:47:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt1_web.jpg", "width": "600", "height": "893", "filesize": "92359"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt1_print.jpg", "width": "2286", "height": "3400", "filesize": "1201114"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt1_full.tif", "width": "4439", "height": "6600", "filesize": "87915560"}}, {"date_created": "2012-05-18T16:50:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt2_web.jpg", "width": "607", "height": "893", "filesize": "98181"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt2_print.jpg", "width": "2310", "height": "3400", "filesize": "1284786"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt2_full.tif", "width": "4477", "height": "6587", "filesize": "88493468"}}, {"date_created": "2012-05-18T16:54:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt3_web.jpg", "width": "618", "height": "893", "filesize": "83953"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt3_print.jpg", "width": "2354", "height": "3400", "filesize": "1108397"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.256/1996.256_alt3_full.tif", "width": "4559", "height": "6583", "filesize": "90059136"}}], "creditline": "Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 159482, "creators": [], "legal_status": "accessioned", "accession_date": "1996-09-16T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:04.742000"}, {"id": 393219, "accession_number": "2020.225", "share_license_status": "CC0", "tombstone": "View from the Battery toward the City, 1836. Christoffer Wilhelm Eckersberg (Danish, 1783\u20131853). Graphite, pen and black and gray ink, and brush and gray wash on wove paper; sheet: 18.5 x 31.5 cm (7 5/16 x 12 3/8 in.). The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund, 2020.225", "current_location": null, "title": "View from the Battery toward the City", "creation_date": "1836", "creation_date_earliest": 1836, "creation_date_latest": 1836, "artists_tags": ["male"], "culture": ["Denmark"], "technique": "graphite, pen and black and gray ink, and brush and gray wash on wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - Misc. Countries", "type": "Drawing", "measurements": "Sheet: 18.5 x 31.5 cm (7 5/16 x 12 3/8 in.)", "dimensions": {"sheet": {"height": 0.185, "width": 0.315}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed and dated, at lower right: Eckersberg fec. 1836; inscribed on verso: Eckersberg 7 Sept. 1836; perspective indications in graphite across lower border at 4 cm intervals; vertical line through center", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Melbye: Maler des Meeres, Painter of the Ocean</em>. Altonaer Museum, Hamburg (September 20, 2017 - February 4, 2018).", "opening_date": "2017-09-20T00:00:00"}]}, "provenance": [{"description": "Estate of the artist [1785-1853], Copenhagen, Denmark", "citations": [], "footnotes": null, "date": "1836-1853", "sortorder": 1}, {"description": "(his sale, Copenhagen, January 1854, no. 375)", "citations": [], "footnotes": null, "date": "1854", "sortorder": 2}, {"description": "Private collection, Denmark", "citations": [], "footnotes": null, "date": "?-2015", "sortorder": 3}, {"description": "(sale, Bruun Rasmussen, Copenhagen, November 24, 2015, no. 61)", "citations": [], "footnotes": null, "date": "November 24, 2015", "sortorder": 4}, {"description": "(Le Claire Kunst, Hamburg, Germany, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "?-2020", "sortorder": 5}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2020-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Christoffer Wilhelm Eckersberg depicted the view seen in this work, of Copenhagen from the small island of Trekroner, in several other works including a painting in Denmark\u2019s Hirschsprung Collection.", "description": "Christoffer Wilhelm Eckersberg is known for initiating Danish painting\u2019s Golden Age\u2014a period of cultural efflorescence during the first half of the 19th century. Marine subjects were among the artist\u2019s favorite, and the primary focus of his work beginning in the 1820s. Dating from this period, this drawing depicts Russian ships viewed from a fortress in Copenhagen\u2019s harbor. In his journal, Eckersberg described making the trip to see the fleet with friends and waiting for the waters to become calm enough for sailing. To convey this experience, he juxtaposed precise perspective of the landscape with expressively rendered clouds.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244818"], "internet_archive": ["https://archive.org/details/clevelandart-2020.225-view-from-the-batter"]}, "citations": [{"citation": "Conisbee, Philip, Kasper Monrad, and Lene B\u00f8gh R\u00f8nberg. <em>Christoffer Wilhelm Eckersberg, 1783-1853</em>. Exh. Cat. Washington: National Gallery of Art, 2003.", "page_number": "Mentioned: p. 145", "url": null}, {"citation": "<em>C.W. Eckersbergs dagb\u00f8ger 1870-1837</em>. Vol. 1 (Copenhagen: Nyt Nordisk, 2009).", "page_number": "Mentioned: p. 703", "url": null}, {"citation": "Dauschek, Anja. Regine Gerhardt, and Vanessa Hirsch. <em>Melbye: Maler des Meeres, Painter of the Ocean</em>. Exh. Cat. Hamburg: Altonaer Museum, 2017.", "page_number": "Mentioned and reproduced: pp. 65, 96", "url": null}, {"citation": "Kehlembeck, Gerhard and Thomas le Claire. <em>The Danish Golden Age: Ten Drawings from Private Collections</em>. Hamburg: Le Claire Kunst, 2019", "page_number": "Mentioned and reproduced: no. 6", "url": null}], "url": "https://clevelandart.org/art/2020.225", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.225/2020.225_web.jpg", "width": "900", "height": "540", "filesize": "215053", "filename": "2020.225_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.225/2020.225_print.jpg", "width": "3400", "height": "2041", "filesize": "2411722", "filename": "2020.225_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.225/2020.225_full.tif", "width": "11707", "height": "7027", "filesize": "246821292", "filename": "2020.225_full.tif"}}, "alternate_images": [{"date_created": "2020-08-13T13:05:56", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.225/2020.225_alt0_web.jpg", "width": "900", "height": "540", "filesize": "161551"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.225/2020.225_alt0_print.jpg", "width": "3400", "height": "2040", "filesize": "2023258"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.225/2020.225_alt0_full.tif", "width": "11844", "height": "7107", "filesize": "252550220"}}], "creditline": "Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 393219, "creators": [{"id": 393209, "description": "Christoffer Wilhelm Eckersberg (Danish, 1783\u20131853)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1853", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-09-14T00:00:00-04:00", "sortable_date": 1836, "date_added_to_oa": null, "date_text": "1836", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:41.851000"}, {"id": 331583, "accession_number": "2020.87", "share_license_status": "CC0", "tombstone": "General Guo Ziyi\u2019s Birthday Banquet (\uacfd\ubd84\uc591\ud589\ub77d\ub3c4[\u90ed\u6c7e\u967d\u884c\u6a02\u5716]), early or mid-1800s. Korea, Joseon dynasty (1392\u20131910). Eight-panel folding screen, embroidery on silk; painting: 60.9 x 30 cm (24 x 11 13/16 in.); overall framed: 195.2 x 332.4 cm (76 7/8 x 130 7/8 in.). The Cleveland Museum of Art, gift of the honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D., in recognition of the contribution of Marjorie Williams to the development of The Cleveland Museum of Art, 2020.87", "current_location": null, "title": "General Guo Ziyi\u2019s Birthday Banquet", "title_in_original_language": "\uacfd\ubd84\uc591\ud589\ub77d\ub3c4[\u90ed\u6c7e\u967d\u884c\u6a02\u5716]", "creation_date": "early or mid-1800s", "creation_date_earliest": 1800, "creation_date_latest": 1866, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Eight-panel folding screen, embroidery on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Textile", "measurements": "Painting: 60.9 x 30 cm (24 x 11 13/16 in.); Overall framed: 195.2 x 332.4 cm (76 7/8 x 130 7/8 in.)", "dimensions": {"painting": {"height": 0.609, "width": 0.3}, "overall": {"height": 1.908, "width": 3.28}, "overall framed": {"height": 1.952, "width": 3.324}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 439071, "title": "Popular Art from Early Modern Korea", "description": "<i>Popular Art from Early Modern Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 29, 2021-April 17, 2022).", "opening_date": "2021-10-29T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Sotheby's, New York, NY, 21 September 2000, lot 442, sold to Joseph Carroll)", "citations": [], "footnotes": null, "date": "September 21, 2000", "sortorder": 1}, {"description": "The Honorable Joseph P. Carroll and Roberta L. Carroll, MD, New York City, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2000\u20132020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["6.2019"], "did_you_know": "This folding screen is highly likely to have been created by an amateur woman embroiderer.", "description": "The subject of this folding screen is a banquet in honor of Guo Ziyi (697\u2013781), who is considered one of the greatest generals in Chinese history. He had a long and successful military career as well as a blissful family life. Thus, his image surrounded by his numerous family members symbolize the paragon of success and happiness. Using a wide spectrum of colorful silk threads, the artist colorfully depicts Guo enjoying his full-fledged retirement life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117237389"], "internet_archive": ["https://archive.org/details/clevelandart-2020.87-general-guo-ziyis-bi"]}, "citations": [{"citation": "Sotheby's, New York. <em>Japanese and Korean Works of Art</em>. 21 September 2000. Lot 442.", "page_number": null, "url": null}, {"citation": "Kim, Hong-nam. \"A Study of Painting of Guo Fenyang\u2019s Enjoyment-of-Life in Korea [\ud55c\uad6d \u3008\u90ed\u6c7e\u967d\u884c\u6a02\u5716\u3009 \uc5f0\uad6c].\" <em>Misulsa nondan</em> (2012): 67\u2013104.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01909571"}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: pp. 352\u2013353, no. 005", "url": ""}], "url": "https://clevelandart.org/art/2020.87", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.87/2020.87_web.jpg", "width": "900", "height": "206", "filesize": "89505", "filename": "2020.87_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.87/2020.87_print.jpg", "width": "3400", "height": "777", "filesize": "850048", "filename": "2020.87_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.87/2020.87_full.tif", "width": "26039", "height": "5949", "filesize": "464746788", "filename": "2020.87_full.tif"}}, "alternate_images": [{"date_created": "2019-02-05T16:06:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt0_web.jpg", "width": "900", "height": "526", "filesize": "124725"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt0_print.jpg", "width": "3400", "height": "1987", "filesize": "1572248"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt0_full.tif", "width": "13657", "height": "7980", "filesize": "326978032"}}, {"date_created": "2019-02-05T08:34:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt1_web.jpg", "width": "900", "height": "793", "filesize": "265121"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt1_print.jpg", "width": "3400", "height": "2995", "filesize": "3730902"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt1_full.tif", "width": "6083", "height": "5358", "filesize": "97810820"}}, {"date_created": "2019-02-05T08:39:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt2_web.jpg", "width": "900", "height": "774", "filesize": "257563"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt2_print.jpg", "width": "3400", "height": "2923", "filesize": "3625463"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt2_full.tif", "width": "5926", "height": "5095", "filesize": "90611940"}}, {"date_created": "2019-02-05T08:44:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt3_web.jpg", "width": "900", "height": "772", "filesize": "266490"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt3_print.jpg", "width": "3400", "height": "2915", "filesize": "3695834"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt3_full.tif", "width": "5993", "height": "5138", "filesize": "92409004"}}, {"date_created": "2019-02-05T08:50:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt4_web.jpg", "width": "900", "height": "784", "filesize": "261454"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt4_print.jpg", "width": "3400", "height": "2960", "filesize": "3675213"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.87/2020.87_alt4_full.tif", "width": "5953", "height": "5182", "filesize": "92577936"}}], "creditline": "gift of the honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D., in recognition of the contribution of Marjorie Williams to the development of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 331583, "creators": [], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early or mid-1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["General Guo Zi-yi\u2019s Birthday Banquet"], "is_highlight": false, "updated_at": "2026-04-07 20:01:17.392000"}, {"id": 74601, "accession_number": "2021.108", "share_license_status": "CC0", "tombstone": "Two Boats at the Harbor of Dieppe, 1854. Eug\u00e8ne Delacroix (French, 1798\u20131863). Watercolor and pencil on paper laid down on board; image: 22.5 x 34.6 cm (8 7/8 x 13 5/8 in.); sheet: 22.5 x 34.6 cm (8 7/8 x 13 5/8 in.); mounted: 24 x 36 cm (9 7/16 x 14 3/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2021.108", "current_location": null, "title": "Two Boats at the Harbor of Dieppe", "creation_date": "1854", "creation_date_earliest": 1854, "creation_date_latest": 1854, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "watercolor and pencil on paper laid down on board", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Image: 22.5 x 34.6 cm (8 7/8 x 13 5/8 in.); Sheet: 22.5 x 34.6 cm (8 7/8 x 13 5/8 in.); Mounted: 24 x 36 cm (9 7/16 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.225, "width": 0.346}, "image": {"height": 0.225, "width": 0.346}, "mounted": {"height": 0.24, "width": 0.36}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, at bottom center, in brown ink: 1er 7b [septembre]; inscribed along lower margin of board, in pencil: 1854 [illeg.]; at lower left, in black ink: stamp of Marcel Louis Gu\u00e9rin [1873-1948; Lugt 1872b]; at lower right, in red ink: Delacroix studio stamp [Lugt 838a]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>The Non-Dissenters</em>. Shepherd Gallery, New York (November 1 \u2013 December 31, 1976).", "opening_date": "1976-12-31T00:00:00"}]}, "provenance": [{"description": "Studio of the artist [1798-1863]", "citations": [], "footnotes": null, "date": "1854-1864", "sortorder": 1}, {"description": "(his posthumous sale, H\u00f4tel Drouot, Paris, February 22-27, 1864, probably part of no. 600 [\u201c\u00c9tudes faites dans le port de Dieppe et dans les environs: vagues, soleils couchants, etc. (1852, 1854 et 1855)\u201d])", "citations": [], "footnotes": null, "date": "1864", "sortorder": 2}, {"description": "Marcel Louis Gu\u00e9rin [1873-1948]", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 3}, {"description": "(M. Knoedler & Co., New York, NY)", "citations": [], "footnotes": null, "date": "?-before 1976", "sortorder": 4}, {"description": "(sale, Sotheby Parke Bernet, New York, May 14, 1976, no. 285, sold to Mrs. Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": null, "date": "1976", "sortorder": 5}, {"description": "Mrs. Muriel Butkin, Shaker Heights, OH, bequeathed to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1976-2008", "sortorder": 6}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 7}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Eug\u00e8ne Delacroix described making this drawing in his journal, writing on September 1, 1854: \u201cDrew from my window, before dinner, some boats.\u201d", "description": "In this late drawing, Eug\u00e8ne Delacroix used spare layers of watercolor to record two large boats floating in a harbor, contrasting the bright tones of the French flags flying on both with the subdued hues of the water surrounding them. The artist recorded the scene during one of five stays in Dieppe, a coastal town that became a popular vacation destination after it was connected to Paris by train in 1848. Delacroix was passionate about depicting the sea and its environs and created numerous variations of this subject over the course of about a decade.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q107273153"], "internet_archive": ["https://archive.org/details/clevelandart-2021.108-two-boats-at-the-har"]}, "citations": [{"citation": "<em>Catalogue de la vente\u2026Eug\u00e8ne Delacroix</em>. Paris: Hotel Drouot, 1864", "page_number": "Mentioned: p. 70, no. 600 (probably included in this lot of 20 drawings)", "url": ""}, {"citation": "Robaut, Alfred, Ernest Chesneau, and Fernand Calmettes. L'\u0153uvre complet de Euge\u0300ne Delacroix, peintures, dessins, gravures, lithographies. Paris: Charavay Fre\u0300res, 1885.", "page_number": "Mentioned and reproduced: p. 339, no. 1270", "url": "https://gallica.bnf.fr/ark:/12148/bpt6k65582518/f416.item"}, {"citation": "<em>19th Century European Paintings</em>. New York: Sotheby Parke Bernet, 1976", "page_number": "Mentioned and reproduced: no. 285", "url": ""}, {"citation": "<em>Eug\u00e8ne Delacroix: Journal (1822-1857)</em>. Paris: Jos\u00e9 Corti, 2009", "page_number": "Mentioned p. 820, no. 365", "url": ""}], "url": "https://clevelandart.org/art/2021.108", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.108/2021.108_web.jpg", "width": "900", "height": "603", "filesize": "217970", "filename": "2021.108_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.108/2021.108_print.jpg", "width": "3400", "height": "2277", "filesize": "2859604", "filename": "2021.108_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.108/2021.108_full.tif", "width": "9225", "height": "6179", "filesize": "171030022", "filename": "2021.108_full.tif"}}, "alternate_images": [{"date_created": "2021-06-22T09:56:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.108/2021.108_alt0_web.jpg", "width": "900", "height": "606", "filesize": "186400"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.108/2021.108_alt0_print.jpg", "width": "3400", "height": "2289", "filesize": "2874266"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2021.108/2021.108_alt0_full.tif", "width": "9394", "height": "6325", "filesize": "178275866"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 74601, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2021-06-07T04:00:00Z", "sortable_date": 1854, "date_added_to_oa": null, "date_text": "1854", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:08:43.060000"}, {"id": 114162, "accession_number": "1933.418.a", "share_license_status": "CC0", "tombstone": "Armored Figure on Horseback (recto), c. 1828. Eug\u00e8ne Delacroix (French, 1798\u20131863). Graphite and brush and brown wash; sheet: 27 x 39.7 cm (10 5/8 x 15 5/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1933.418.a", "current_location": null, "title": "Armored Figure on Horseback (recto)", "creation_date": "c. 1828", "creation_date_earliest": 1823, "creation_date_latest": 1833, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "graphite and brush and brown wash", "support_materials": [{"description": "beige(1) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 27 x 39.7 cm (10 5/8 x 15 5/8 in.)", "dimensions": {"sheet": {"height": 0.27, "width": 0.397}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 361204, "title": "Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections", "description": "<i>Exhibition of Drawings from the Museum Collection Supplemented by Loans from Local Collections</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 12-September 15, 1935).", "opening_date": "1935-07-12T04:00:00"}, {"id": 356272, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 28-December 9, 1937).", "opening_date": "1937-05-28T04:00:00"}, {"id": 346109, "title": "Old Master Drawings from the Museum Collection", "description": "<i>Old Master Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 4-March 26, 1939).", "opening_date": "1939-01-04T05:00:00"}, {"id": 347233, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-October 3, 1940).", "opening_date": "1940-07-11T04:00:00"}, {"id": 347343, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-April 27, 1941).", "opening_date": "1941-03-04T05:00:00"}, {"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. The Cleveland Museum of Art, Cleveland, OH (January 6-February 15, 1942).", "opening_date": "1942-01-06T05:00:00"}, {"id": 347490, "title": "Drawings from the Museum Collection", "description": "<i>Drawings from the Museum Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 17-August 24, 1942).", "opening_date": "1942-06-17T04:00:00"}, {"id": 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": 361104, "title": "19th-Century French Drawings", "description": "<i>19th-Century French Drawings</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (March 8-April 6, 1947).", "opening_date": "1947-03-08T05:00:00"}, {"id": 300853, "title": "Baron Gros, Painter of Battles: The First Romantic Painter", "description": "<i>Baron Gros, Painter of Battles: The First Romantic Painter</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 8-April 15, 1956).", "opening_date": "1956-03-08T05:00:00"}, {"id": 301184, "title": "Department of Prints and Drawings Opening Exhibition", "description": "<i>Department of Prints and Drawings Opening Exhibition</i>. The Cleveland Museum of Art (organizer) (March 3, 1958-October 11, 1959).", "opening_date": "1958-03-03T05:00:00"}, {"id": 360892, "title": "French Drawings from American Collections: Clouet to Matisse", "description": "<i>French Drawings from American Collections: Clouet to Matisse</i>. Museum Boijmans Van Beuningen, Rotterdam, Netherlands (July 31-September 28, 1958); Mus\u00e9e de l'Orangerie, Paris, France (October 24, 1958-January 2, 1959); The Metropolitan Museum of Art, New York, NY (February 3-March 15, 1959).", "opening_date": "1958-07-31T04:00:00"}, {"id": 301678, "title": "Italian and French Drawings", "description": "<i>Italian and French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 13, 1959-February 2, 1960).", "opening_date": "1959-10-13T04:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 304645, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 11-September 10, 1963).", "opening_date": "1963-01-11T05:00:00"}, {"id": 350931, "title": "Drawings: France, Italy, Netherlands", "description": "<i>Drawings: France, Italy, Netherlands</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 1-March 24, 1965).", "opening_date": "1965-01-01T05:00:00"}, {"id": 304726, "title": "French Drawings", "description": "<i>French Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1965-February 16, 1966).", "opening_date": "1965-11-16T05:00:00"}, {"id": 442448, "title": "Eugene Delacroix et la Bataille de Nancy (Eugene Delacroix and the Battle of Nancy)", "description": "<i>Eugene Delacroix et la Bataille de Nancy (Eugene Delacroix and the Battle of Nancy)</i>. Mus\u00e9e des Beaux-Arts de Nancy, 5400 Nancy, France (organizer) (November 15, 1978-February 12, 1979).", "opening_date": "1978-11-15T05:00:00"}, {"id": 357309, "title": "Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings", "description": "<i>Seventeenth-, Eighteenth-, and Early Nineteenth-Century Genre and French Prints and Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 31-August 19, 1979).", "opening_date": "1979-05-31T04:00:00"}, {"id": 304539, "title": "Brush Drawings", "description": "<i>Brush Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (March 3-May 10, 1981).", "opening_date": "1981-03-03T05:00:00"}, {"id": 309584, "title": "Northern European Drawings from the Cleveland Museum of Art", "description": "<i>Northern European Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1982-January 9, 1983).", "opening_date": "1982-11-16T05:00:00"}, {"id": 441997, "title": "Eugene Delacroix", "description": "<i>Eugene Delacroix</i>. Kunsthaus Z\u00fcrich, Zurich, Switzerland (organizer) (June 4-August 23, 1987); St\u00e4del Museum, Franfurt am Main, Germany (September 23, 1987-January 4, 1988).", "opening_date": "1987-06-04T04:00:00"}, {"id": 310251, "title": "Rococo, Revolution, Restoration", "description": "<i>Rococo, Revolution, Restoration</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 11-September 24, 1989).", "opening_date": "1989-07-11T04:00:00"}, {"id": 311635, "title": "French Drawings from the Collection", "description": "<i>French Drawings from the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 13, 1994-March 12, 1995).", "opening_date": "1994-12-13T05:00:00"}], "legacy": [{"description": "<em>Forty Drawings from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (May 21-Dec. 13, 1936).", "opening_date": "1936-05-21T00:00:00"}, {"description": "<em>Lace and Drawings from the Museum Collection. </em>Cleveland Museum of Art, Cleveland, OH (Dec. 16, 1936-Jan. 3, 1937).", "opening_date": "1936-12-16T00:00:00"}, {"description": "<em>Drawings by Old and Modern Masters from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (June 21-Sep. 30, 1938).", "opening_date": "1938-06-21T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (Oct. 28, 1941-before Jan. 6, 1942)", "opening_date": "1941-10-28T00:00:00"}, {"description": "<em>Paintings and Drawings from the Collection.</em> Cleveland Museum of Art, Cleveland, OH (Dec. 14, 1943-Jan. 4, 1944).", "opening_date": "1943-12-14T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. (Director's Corridor) Cleveland Museum of Art, Cleveland, OH (May 14, 1946-Feb. 7, 1947).", "opening_date": "1946-05-14T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. (Director's Corridor) Cleveland Museum of Art, Cleveland, OH (July 27, 1944-May 14, 1946).", "opening_date": "1944-07-27T00:00:00"}, {"description": "<em>Drawings from the Collection</em>. Cleveland Museum of Art, Cleveland, OH (rearranged Jan. 21, 1953).", "opening_date": "1953-01-21T00:00:00"}, {"description": "\"Gallery List of Drawings\" Cleveland Museum of Art, Cleveland, OH (Mar. 7-Apr. 26, 1962).", "opening_date": "1962-03-07T00:00:00"}, {"description": "\"Gallery List of Drawings\" Cleveland Museum of Art, Cleveland, OH (Sep. 19-Nov. 5, 1962).", "opening_date": "1962-09-19T00:00:00"}, {"description": "\"Gallery List of Drawings\" Cleveland Museum of Art, Cleveland, OH (Apr. 27, 1972-Feb. 2, 1973).", "opening_date": "1972-04-27T00:00:00"}, {"description": "<em>Eug\u00e8ne Delacroix et La Bataille de Nancy</em>. Mus\u00e9e des Beaux Arts, Nancy, France (Nov. 15, 1978-Feb. 12, 1979).", "opening_date": "1978-11-15T00:00:00"}, {"description": "<em>Eug\u00e8ne Delacroix: Zeichnungen, Aquarelle, Graphik</em>. Kunsthaus Z\u00fcrich (June 5-Aug. 23, 1987).", "opening_date": "1987-06-05T00:00:00"}]}, "provenance": [{"description": "(Richard Owen [1873-1946], Paris, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1933", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1933-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": null, "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759018"], "internet_archive": ["https://archive.org/details/clevelandart-1933.418.a-armored-figure-on-ho"]}, "citations": [{"citation": "<em>19th-Century French Drawings</em>. Exh. Cat. San Francisco: California Palace of the Legion of Honor, 1947.", "page_number": "Mentioned: no. 29", "url": null}, {"citation": "Shoolman, Regina, and Charles E. Slatkin. <em>Six Centuries of French Master Drawings in America</em>. New York: Oxford University Press, 1950.", "page_number": "Mentioned: p. 132; Reproduced: pl. 74", "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. 599", "url": "https://archive.org/details/CMAHandbook1958/page/n112"}, {"citation": "<em>French Drawings from American Collections, Clouet to Matisse</em>. Exh. Cat. New York: Metropolitan Museum of Art, 1959.", "page_number": "Mentioned: p. 83, cat. no. 111; Reproduced: pl. 120", "url": null}, {"citation": "\"Mostre Musei Gallerie\" <em>Sele Arte</em>, vol. XI (March-April, 1963): 41-49.", "page_number": "Reproduced: p. 44, fig. 61", "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. 167", "url": "https://archive.org/details/CMAHandbook1966/page/n191"}, {"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. 167", "url": "https://archive.org/details/CMAHandbook1969/page/n191"}, {"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. 206", "url": "https://archive.org/details/CMAHandbook1978/page/n226"}, {"citation": "Szeemann, Harald. <em>Euge\u0300ne Delacroix: Zeichnungen, Aquarelle, Graphik</em> : Zu\u0308rich: Kunsthaus Zu\u0308rich, 1987.", "page_number": "Mentioned: p. 13; Reproduced: p. 14, fig. 26", "url": null}, {"citation": "Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art.</em> Cleveland, Ohio: The Cleveland Museum of Art, 1991.", "page_number": "Reproduced: p. 124", "url": null}, {"citation": "Sjo\u0308berg, Yves. <em>Delacroix (798-1863): Chevaux et Fe\u0301lins: Aquarelles, Dessins, Peintures</em>. Paris: Bibliothe\u0300que de l'image, 2011.", "page_number": "Reproduced: p. 74", "url": null}], "url": "https://clevelandart.org/art/1933.418.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1933.418.a/1933.418.a_web.jpg", "width": "1263", "height": "864", "filesize": "174849", "filename": "1933.418.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1933.418.a/1933.418.a_print.jpg", "width": "3400", "height": "2325", "filesize": "1525416", "filename": "1933.418.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1933.418.a/1933.418.a_full.tif", "width": "7588", "height": "5190", "filesize": "118167220", "filename": "1933.418.a_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418.a/1933.418.a_alt0_web.jpg", "width": "1263", "height": "866", "filesize": "923579"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418.a/1933.418.a_alt0_print.jpg", "width": "2048", "height": "1405", "filesize": "2525880"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418.a/1933.418.a_alt0_full.tif", "width": "2048", "height": "1405", "filesize": "8635316"}}, {"date_created": "2011-04-21T15:25:45", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418.a/1933.418.a_alt1_web.jpg", "width": "1263", "height": "867", "filesize": "788542"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418.a/1933.418.a_alt1_print.jpg", "width": "3400", "height": "2335", "filesize": "6549710"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1933.418.a/1933.418.a_alt1_full.tif", "width": "6314", "height": "4338", "filesize": "82197740"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114162, "creators": [{"id": 1658, "description": "Eug\u00e8ne Delacroix (French, 1798\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eug\u00e8ne Delacroix studied under history painter Pierre-Narcisse Gu\u00e9rin (1774-1833) and at the \u00c9cole des Beaux-Arts, though he did not succeed in competitions there. He soon befriended romantic painter Th\u00e9odore G\u00e9ricault (1791-1824) and exhibited at his first Salon in 1822 his powerful, moody The Barque of Dante (Mus\u00e9e du Louvre, Paris). In the next Salon, inspired by the recent events in the Greeks' struggle for independence against the Turks, Delacroix showed Scenes from the Massacres at Chios (Mus\u00e9e du Louvre, Paris), a painting whose anti-academic composition, free brushwork, and brilliant color caused hostile critics to accuse the artist of the \"massacre of painting.\" Nevertheless, he was awarded a Salon medal and the state purchased the picture. \r\nAfter the early death of G\u00e9ricault, the young artist became the titular head of the French romantic artistic movement, as much for his innovative technique as his new themes. Widely read and an Anglophile, Delacroix drew frequently from British literature, especially Shakespeare, Byron, and Sir Walter Scott. He also developed a strong interest in orientalist subjects, spurred by the five-month trip to Morocco and southern Spain he took in 1832. He stressed the creative and imaginative elements of painting and opposed the academy for its rote learning and the bourgeoisie for its overly materialistic interests. Delacroix discussed his aesthetic ideas with an ever-expanding circle of writers, musicians, and artists that he frequented, including pianist-composer Fr\u00e9d\u00e9ric Chopin and writer George Sand. But ultimately he developed a personal conception of beauty that could only be expressed in an individualized manner. \r\nRecent studies have revised the long-standing interpretation of Delacroix as a radical, anticlassical, misunderstood, and unsupported genius. He greatly admired antiquity and the classical authors but insisted on avoiding the narrow or didactic view of them offered by the academies. He may not have emulated classical statuary as sources for his figures, but he did often represent heroic nude figures. For all his insistence on invention, Delacroix retained some sense of documentary reconstruction, for he made numerous studies of costumes and weapons and did other kinds of research before tackling certain subjects. From the beginning and throughout his career, Delacroix received many religious and historical painting commissions, from provincial churches to government buildings, under different rulers and even political systems. His allegorical work Liberty Leading the Barricades (1830-31, Mus\u00e9e du Louvre, Paris) represents the only painting in which the artist referred to a contemporary political event in France, the revolution that overthrew Louis XVIII and the Bourbon monarchy. This, too, was purchased by the state. In 1833 he was asked to decorate with allegories the Salon du Roi of the Palais Bourbon, the seat of the deputies. Their success brought him additional commissions in the same building, such as the library (1838), and then the library in the senate (1841-46), housed in the Palais du Luxembourg. His historical, religious, and allegorical paintings were often criticized by more conservative critics for a lack of decorum, anatomical distortions, too-bright or unnaturalistic color, and free brushwork, but he continued to find work because he was one of the few artists who continued to explore these \"elevated\" genres and had a sure sense of the decorative. \r\nExtremely prolific, Delacroix accomplished a major mural commission for the church of Saint-Sulpice in Paris (1850-63) the year before his death. He was even elected in 1857 to the Acad\u00e9mie des Beaux-Arts, but younger artists consistently regarded him as antiestablishment and a paragon of artistic experimentation. He wrote extensively on art and aesthetic issues, both in his private diaries and for published journals.1\r\n1. Recently, scholars such as Michele Hannoosh, Painting and the Journal of Eugene Delacroix (Princeton, 1995), have examined the content and style of Delacroix's texts for what they might tell about Delacroix the writer as well as the work and creative process of Delacroix the artist.\r\nDelacroix was one of the most innovative and successful painters of the first half of the 19th century. He is known as the last great history painter and his art is the ideal of Romanticism in the visual arts. Delacroix's career is marked by the paradox between the revolutionary and the conventional. He was in conflict with the artist Ingres and was seen as the leading figure of the French Romantic movement; he was famed for undermining the tradition of painting established by David, yet he benefited from official patronage from the beginning of the Restoration (1814-1830) until the Second Empire (1852-1870).", "name_in_original_language": null, "birth_year": "1798", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1933-12-28T00:00:00", "sortable_date": 1823, "date_added_to_oa": null, "date_text": "c. 1828", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1933.418", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:29.676000"}, {"id": 121098, "accession_number": "1941.86", "share_license_status": "Copyrighted", "tombstone": "The Letter (recto); The Letter (verso), 1891. Mary Cassatt (American, 1844\u20131926). Black crayon and graphite; sheet: 34.6 x 23 cm (13 5/8 x 9 1/16 in.). The Cleveland Museum of Art, Bequest of Charles T. Brooks, 1941.86", "current_location": null, "title": "The Letter (recto); The Letter (verso)", "creation_date": "1891", "creation_date_earliest": 1891, "creation_date_latest": 1891, "artists_tags": ["female"], "culture": ["America"], "technique": "black crayon and graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 34.6 x 23 cm (13 5/8 x 9 1/16 in.)", "dimensions": {"sheet": {"height": 0.346, "width": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed lower right, in graphite: Mary Cassatt; lower left in graphite: 4423-oss; verso, lower right, in graphite: 136\r\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312341, "title": "The Silver Jubilee Exhibition", "description": "<i>The Silver Jubilee Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 23-September 28, 1941).", "opening_date": "1941-06-23T04:00:00"}, {"id": 302020, "title": "Aspects of Drawing", "description": "<i>Aspects of Drawing</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 10-April 2, 1961).", "opening_date": "1961-01-10T05:00:00"}, {"id": 304210, "title": "What Was the Armory Show?", "description": "<i>What Was the Armory Show?</i>. The Cleveland Museum of Art, Cleveland, OH (June 27-September 15, 1963).", "opening_date": "1963-06-27T04:00:00"}, {"id": 309571, "title": "The Impressionist Aesthetic", "description": "<i>The Impressionist Aesthetic</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 10-October 31, 1982).", "opening_date": "1982-08-10T04:00:00"}, {"id": 309655, "title": "National Schools of Style", "description": "<i>National Schools of Style</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 14-September 18, 1983).", "opening_date": "1983-06-14T04:00:00"}, {"id": 309860, "title": "America Draws", "description": "<i>America Draws</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1984-March 17, 1985).", "opening_date": "1984-12-28T05:00:00"}, {"id": 361631, "title": "Mary Cassatt: The Color Prints", "description": "<i>Mary Cassatt: The Color Prints</i>. National Gallery of Art, Landover, MD (organizer) (June 18-August 27, 1989); Museum of Fine Arts, Boston, Boston, MA (September 8-November 5, 1989); Williams College Museum of Art, Williamstown, MA (November 25, 1989-January 21, 1990).", "opening_date": "1989-06-18T04:00:00"}, {"id": 311553, "title": "Mary Cassatt and Berthe Morisot", "description": "<i>Mary Cassatt and Berthe Morisot</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 7, 1993-January 2, 1994).", "opening_date": "1993-11-07T05:00:00"}, {"id": 192019, "title": "Master Drawings from the Cleveland Museum of Art", "description": "<i>Master Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27-October 17, 2000); The Morgan Library & Museum, New York, NY (May 23-August 19, 2001); Museum of Fine Arts, Houston, Houston, TX (October 14, 2001-January 6, 2002).", "opening_date": "2000-08-27T00:00:00"}, {"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 454246, "title": "Mary Cassatt at Work", "description": "<i>Mary Cassatt at Work</i>. Philadelphia Museum of Art, Philadelphia, PA (organizer) (May 18-September 8, 2024) https://www.philamuseum.org/calendar/exhibition/mary-cassatt-at-work.", "opening_date": "2024-05-18T04:00:00"}], "legacy": []}, "provenance": [{"description": "Galerie Durand-Ruel, Paris (according to Breeskin 1970, under no. 805); Charles T. Brooks.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In this study for the color drypoint and aquatint of the same title, Cassatt worked out the placement of the figure at a writing table. Details such as the precise incline of her head, the curls on her forehead, and the position of her fingers on the envelope are echoed in the print.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80016740"], "internet_archive": ["https://archive.org/details/clevelandart-1941.86-the-letter-recto-the"]}, "citations": [{"citation": "DeGrazia, Diane and Carter E. Foster. <em>Master Drawings from the Cleveland Museum of Art.</em> Cleveland, OH: Cleveland Museum of Art in association with Rizzoli International Publications, New York, 2000.", "page_number": "Mentioned: P. 214-215, 295-296; Reproduced: P. 215, cat. no. 89", "url": null}, {"citation": "Nash, Julie. \"Paper Trail: Navigating NcNicoll's Sketchbooks.\" In <em>Cassatt - McNicoll: Impressionists Between Worlds, </em>Caroline Shields, ed.,117-137. Toronto, Ontario: Art Gallery of Ontario; Fredericton, New Brunswick: Goose Lane Editions, 2023.", "page_number": "Reproduced: P. 132", "url": ""}, {"citation": "Thompson, Jennifer A., and Laurel Garber. <em>Mary Cassatt at Work.</em> Philadelphia, PA: Philadelphia Museum of Art, 2024.", "page_number": "Reproduced: p. 138, fig. 76 a & b", "url": ""}], "url": "https://clevelandart.org/art/1941.86", "images": {}, "alternate_images": [], "creditline": "Bequest of Charles T. Brooks", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 121098, "creators": [{"id": 3995, "description": "Mary Cassatt (American, 1844\u20131926)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1844", "death_year": "1926", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1941-06-10T00:00:00", "sortable_date": 1891, "date_added_to_oa": null, "date_text": "1891", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:01.186000"}, {"id": 159532, "accession_number": "1996.295", "share_license_status": "CC0", "tombstone": "Vase, c. 1862. Firm of Ferdinand Barbedienne (French, 1810\u20131892), Louis-Constant S\u00e9vin (French, 1821\u20131888). Gilt bronze with enamel decoration; overall: 78.7 x 27.3 cm (31 x 10 3/4 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 1996.295", "current_location": "221 19th Century Decorative Arts", "title": "Vase", "creation_date": "c. 1862", "creation_date_earliest": 1857, "creation_date_latest": 1867, "artists_tags": ["gender unknown", "male"], "culture": ["France, 19th century"], "technique": "gilt bronze with enamel decoration", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Metalwork", "measurements": "Overall: 78.7 x 27.3 cm (31 x 10 3/4 in.)", "dimensions": {"overall": {"height": 0.787, "width": 0.273}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 223326, "title": "Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939", "description": "<i>Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (April 14-August 19, 2012); Carnegie Museum of Art, Pittsburgh, PA (October 13, 2012-February 24, 2013); New Orleans Museum of Art, New Orleans, LA (April 12-August 4, 2013); Mint Museum of Art, Charlotte, NC (September 21, 2013-January 19, 2014).", "opening_date": "2012-04-14T00:00:00"}], "legacy": [{"description": "The Nelson-Atkins Museum of Art, Kansas City (April 14-August 19, 2012), Carnegie Museum of Art, Pittsburgh (October 13, 2012-February 24, 2013), New Orleans Museum of Art (April 12-August 4, 2013), and the The Mint Museum, Charlotte (September 21, 2013-January 19, 2014):  \"Inventing the Modern World: Decorative Arts at the World's Fairs, 1851-1939\"", "opening_date": "2012-04-14T00:00:00"}]}, "provenance": [{"description": "Gustave Leblanc-Barbedienne", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This vase vibrantly encapsulates the admiration for historical works of art and architecture that dominated the 1800s. It features stylistic qualities of ancient Egyptian, ancient Greek, and medieval Islamic art with its cat legs, amphora shape, and spiraling foliage ornamentation. The enameling technique itself, called champlev\u00e9, has roots in the ancient world. Champlev\u00e9 enameling involves carving out sections of metal before filling those areas with colored enamel. The vase model was introduced at the International Exhibition of London in 1862, and its popularity resulted in several color and shape variations.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60760091"], "internet_archive": []}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRenaissance Armor, Early Islamic Ceramic, French Vase, Gleitsman Painting Added to Museum Collection,\u201d December 13, 1996, Cleveland Museum of Art Archives.", "page_number": null, "url": "https://archive.org/details/cmapr4085"}], "url": "https://clevelandart.org/art/1996.295", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1996.295/1996.295_web.jpg", "width": "693", "height": "893", "filesize": "364416", "filename": "1996.295_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1996.295/1996.295_print.jpg", "width": "1536", "height": "1978", "filesize": "1946770", "filename": "1996.295_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1996.295/1996.295_full.tif", "width": "1536", "height": "1978", "filesize": "9117972", "filename": "1996.295_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.295/1996.295_alt0_web.jpg", "width": "724", "height": "893", "filesize": "364352"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.295/1996.295_alt0_print.jpg", "width": "2756", "height": "3400", "filesize": "4249400"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.295/1996.295_alt0_full.tif", "width": "3072", "height": "3790", "filesize": "34943980"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.295/1996.295_alt1_web.jpg", "width": "724", "height": "893", "filesize": "351426"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.295/1996.295_alt1_print.jpg", "width": "2756", "height": "3400", "filesize": "4570763"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1996.295/1996.295_alt1_full.tif", "width": "3622", "height": "4468", "filesize": "48555872"}}], "creditline": "The Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Victoire and Alfred Rankin Jr. Gallery", "athena_id": 159532, "creators": [{"id": 5557, "description": "Firm of Ferdinand Barbedienne (French, 1810\u20131892)", "extent": null, "qualifier": null, "role": "made by", "biography": null, "name_in_original_language": null, "birth_year": "1810", "death_year": "1892", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 5554, "description": "Louis-Constant S\u00e9vin (French, 1821\u20131888)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1821", "death_year": "1888", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1996-12-02T00:00:00", "sortable_date": 1857, "date_added_to_oa": null, "date_text": "c. 1862", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:56.776000"}, {"id": 161765, "accession_number": "2001.106", "share_license_status": "Copyrighted", "tombstone": "Ornamental Comb, c. 1900. F. Walter Lawrence (American, 1864\u20131929), Gustav Manz (German, 1865\u20131946). Gold, ancient glass, gem stones, tortoiseshell; overall: 14.3 x 5.8 x 1.9 cm (5 5/8 x 2 5/16 x 3/4 in.). The Cleveland Museum of Art, Gift of the Trideca Society, 2001.106", "current_location": "221 19th Century Decorative Arts", "title": "Ornamental Comb", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["male"], "culture": ["America, late 19th-early 20th Century"], "technique": "gold, ancient glass, gem stones, tortoiseshell", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Jewelry", "measurements": "Overall: 14.3 x 5.8 x 1.9 cm (5 5/8 x 2 5/16 x 3/4 in.)", "dimensions": {"overall": {"height": 0.143, "width": 0.058, "depth": 0.019}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 212566, "title": "Unearthing Hidden Treasure: The Work of F. Walter Lawrence", "description": "<i>Unearthing Hidden Treasure: The Work of F. Walter Lawrence</i>. Newark Museum, Newark, NJ (organizer) (March 24, 2003-October 3, 2004).", "opening_date": "2004-03-24T00:00:00"}, {"id": 194450, "title": "Artistic Luxury: Faberg\u00e9 Tiffany Lalique ", "description": "<i>Artistic Luxury: Faberg\u00e9 Tiffany Lalique </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 19, 2008-January 18, 2009).", "opening_date": "2008-10-19T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Lawrence was active as a jeweler and silversmith working in New York in the early 20th century. At the 1904 St. Louis Exposition, he showed 27 pieces of gold jewelry, many including fragments of \"Cyprian\" glass.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60759910"], "internet_archive": ["https://archive.org/details/clevelandart-2001.106-ornamental-comb"]}, "citations": [{"citation": "Harrison, Stephen, Emmanuel Ducamp, Jeannine J Falino. <em>Artistic Luxury: Faberge\u0301 Tiffany Lalique.</em> Cleveland, Ohio:  Cleveland Museum of Art in association with New Haven; London: Yale University Press, 2008.", "page_number": "Reproduced: P. 233; Mentioned: P. 335, no. 197", "url": ""}], "url": "https://clevelandart.org/art/2001.106", "images": {}, "alternate_images": [], "creditline": "Gift of the Trideca Society", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 161765, "creators": [{"id": 40907, "description": "F. Walter Lawrence (American, 1864\u20131929)", "extent": null, "qualifier": null, "role": "designed by", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1929", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 57103, "description": "Gustav Manz (German, 1865\u20131946)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "birth_year": "1865", "death_year": "1946", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2001-09-05T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:55.913000"}, {"id": 152265, "accession_number": "1985.145", "share_license_status": "CC0", "tombstone": "Construction Site in Amsterdam, c. 1902. George Hendrik Breitner (Dutch, 1857\u20131923). Oil on fabric; framed: 80 x 100 x 8.6 cm (31 1/2 x 39 3/8 x 3 3/8 in.); unframed: 60.5 x 80.7 cm (23 13/16 x 31 3/4 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1985.145", "current_location": null, "title": "Construction Site in Amsterdam", "creation_date": "c. 1902", "creation_date_earliest": 1897, "creation_date_latest": 1907, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 80 x 100 x 8.6 cm (31 1/2 x 39 3/8 x 3 3/8 in.); Unframed: 60.5 x 80.7 cm (23 13/16 x 31 3/4 in.)", "dimensions": {"framed": {"height": 0.8, "width": 1.0, "depth": 0.086}, "unframed": {"height": 0.605, "width": 0.807}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed bottom left corner: G. H. Breitner\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309910, "title": "The Year in Review for 1985", "description": "<i>The Year in Review for 1985</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 12-April 20, 1986).", "opening_date": "1986-02-12T05:00:00"}, {"id": 182153, "title": "Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art", "description": "<i>Monet to Dal\u00ed: Modern Masters from the Cleveland Museum of Art</i>. Beijing World Art Museum (May 26-August 27, 2006); Mori Art Center (September 16-November 26, 2006); Seoul Art Center, South Korea (December 22, 2006-March 28, 2007); Seoul Olympic Museum of Art, South Korea (April 7-May 20, 2007); Vancouver Art Gallery, Vancouver, Canada (June 9-September 16, 2007); The Cleveland Museum of Art, Cleveland, OH (organizer) (October 21, 2007-January 13, 2008); Frist Art Museum, Nashville, TN (February 15-June 1, 2008); Utah Museum of Fine Arts, Salt Lake City, UT (June 22-September 21, 2008); The Detroit Institute of Arts, Detroit, MI (October 12, 2008-January 18, 2009).", "opening_date": "2006-05-27T00:00:00"}], "legacy": [{"description": "Pittsburgh, Carnegie Institute. Ninth Annual Exhibition (1904), no. 34, Making a New Street in Amsterdam (repr.).", "opening_date": "1904-01-01T00:00:00"}, {"description": "Possibly The Hague, Pulchri Studio. Derde tentoonstelling van schilderijen enz. Gehouden door E. J. Van Wisselingh &amp; Co. (1905), no. 32, Bouwerij [Building Activity].", "opening_date": "1905-01-01T00:00:00"}, {"description": "Amsterdam, Arti et Amicitiae. Tentoonstelling van Kunstwerken vervaardigd door leden der Maatschappij (1906), no. 23, Bouwerij.", "opening_date": "1906-01-01T00:00:00"}, {"description": "Amsterdam, E. J. van Wisselingh &amp; Co. Catalogus der tentoonstelling van Schilderijen en Aquarellen door G. H. Breitner (1916), no. 17, Bouwerij; Winter, S (painting) 59 x 78 cm, 1902.", "opening_date": "1916-01-01T00:00:00"}, {"description": "Possibly Rotterdam, Kunstzalen Unger en Van Mens. Tentoonstelling van werken van G. H. Breitner (1918), no. 2, Doorbraak Raadhuisstraat, Eigendom (property), not repr.", "opening_date": "1918-01-01T00:00:00"}, {"description": "London, Royal Academy. Exhibition of Dutch Art (1929), no. 383, Rebuilding at Amsterdam, lent by M. P. Vo\u00fbte, canvas, 58 x 78 cm.", "opening_date": "1929-01-01T00:00:00"}, {"description": "CMA (organizer). Beijing World Art Museum, China, May 26 - Aug. 27, 2006; Mori Arts Center, Tokyo, Japan: Sept. 9 - Nov. 26, 2006; Seoul Arts Center, Seoul, Korea: Dec. 18, 2006 - March 31, 2007; Seoul Olympic Museum of Art, Seoul, Korea: Apr. 7 - May 20, 2007; Vancouver Art Gallery, Vancouver, British Columbia, Canada: June 9 - Sept. 16, 2007; Cleveland Museum of Art, Oct. 21, 2007- January 13, 2008;  Frist Center for the Visual Arts, Nashville, TN, Feb. 21-June 1, 2008; Utah Museum of Fine Arts, Salt Lake City, UT, June 22 - September 21, 2008; and the Detroit Institute of Arts, MI, October 12, 2008 - January 18, 2009:  \"Modern Masters from the Cleveland Museum of Art\"", "opening_date": "2006-05-26T00:00:00"}]}, "provenance": [{"description": "E. J. van Wisselingh & Co., Amsterdam in 1902. Sold to A. Prins, Amsterdam/Hamburg, 31 May 1902, for Dfl 2.000. (Arij Prins [1860-1922] was a Dutch man of letters and a close friend of Breitner with whom he corresponded, and who lived in Hamburg from 1885 to 1905. Breitner's account book, which is in the Breitner Archive at the rkd in The Hague, lists the name of Arij Prins as the purchaser of the painting for Fl. 2.000. There is also a list of his works sold through the dealer van Wisselingh; there W. Prins, Hamburg, is mentioned as the purchaser of this work. W. is most likely a brother of Arij.) A. Terwindt. M. P. Vo\u00fbte, Amsterdam, by 1922. Dr. W. L. Ladenius, Haarlem. Amsterdam sale, F. Muller & Co., 15-22 December 1942 (lot 129), Doorbraak Raadhuisstraat in den Winter, signed, canvas, 60.5 x 81 cm, repr., for Dfl 2.200. Amsterdam sale, Sotheby Mak van Waay, 15 May 1984 (lot 175), repr., for Dfl 47.560, to E. J. van Wisselingh & Co., Amsterdam. Purchased by the CMA in 1985.", "citations": [], "footnotes": [], "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A leader of the Dutch Impressionists, Breitner based this painting on a series of photographs he took of a construction site in Amsterdam. Although seemingly executed rapidly on site, the painting was in fact carefully composed in the studio. Aided by his own photographs and sketches, Breitner portrayed a city in transition. Like his friend Vincent van Gogh, Breitner admired naturalist literature and was determined to become a \u201cpainter of the people.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475399"], "internet_archive": ["https://archive.org/details/clevelandart-1985.145-construction-site-in"]}, "citations": [{"citation": "Turner, Evan H. \"Year in Review for 1985.\" <em>The Bulletin of The Cleveland Museum of Art </em>LXXIII<em>, </em>no. 2 (February, 1986): 27-71.", "page_number": "Reproduced: p. 55, fig. 81; Mentioned: p.65, no. 81", "url": null}, {"citation": "Bergsma,Rieta, Paul Hefting, and Jan Frederik Heijbroek. <em>George Hendrik Breitner, 1857-1923: schilderijen, tekeningen, foto's</em>. Bussum, Netherlands: Thoth, 1994.", "page_number": null, "url": null}, {"citation": "Robinson, William. \"George Hendrik Breitner and the Emergence of Dutch Modernism.\" <em>The Bulletin of The Cleveland Museum of Art</em> LXXXI, no.2 (February, 1994): 27-43.", "page_number": "Reproduced: cover", "url": null}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 90-94, Vol. I, no. 34", "url": ""}, {"citation": "Heijbroek, J.F., and Erik Schmitz. <em>George Hendrik Breitner in Amsterdam</em>. Bussum, Netherlands : Uitgeverij Thoth, 2014.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1985.145", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.145/1985.145_web.jpg", "width": "1197", "height": "893", "filesize": "872031", "filename": "1985.145_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.145/1985.145_print.jpg", "width": "3400", "height": "2536", "filesize": "6908399", "filename": "1985.145_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.145/1985.145_full.tif", "width": "5666", "height": "4227", "filesize": "71887504", "filename": "1985.145_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152265, "creators": [{"id": 3032, "description": "George Hendrik Breitner (Dutch, 1857\u20131923)", "extent": null, "qualifier": null, "role": "artist", "biography": "History painter Charles Rochussen (1814-1894) advised George Hendrik Breitner to attend the academy in The Hague, which he did in 1876. Not impressed with the training methods there, which mainly involved copying plaster models, he was expelled for unruly behavior in 1880. He made contacts with members of The Hague school of painters, such as Israels (q.v.), Willem Maris (1844-1910), Anton Mauve (1838-1888), and Hendrik Willem Mesdag (1831-1915), who painted plein-air landscapes in the tradition of the Barbizon painters, investigating the atmospheric qualities of the landscape. Mesdag asked Breitner in 1880 to assist him on his famous panorama of Scheveningen (Museum Panorama Mesdag, The Hague). Although these modern artists exposed him to many new influences, Breitner preferred to focus on human figures rather than pure landscape. In the spirit of naturalist authors such as Gustave Flaubert and \u00c9mile Zola, he wanted to be a \"painter of the people.\" He also favored military painting, which he had been practicing since his youth. The merchant C. E. van Stolk, Breitner's early supporter and his father's employer, unsuccessfully urged the young painter to change his loose impressionist style in order to have a better chance of success. In May 1884 the artist left for Paris and briefly entered the studio of the academic painter Fernand Cormon (1854-1924). Breitner complained about his own lack of technical skills and, probably because of financial problems, left Paris within half a year. In 1886 he moved to Amsterdam and eventually became the main chronicler of street life in the city. His reputation was established that same year when the state bought his painting Horse Artillery for the new Rijksmuseum. He became one of the leading figures of Amsterdam's strongly developed avant-garde intellectual scene. A group of painters and writers called De Tachtigers (The Eighties Movement) used their publication De Nieuwe Gids (The New Guide) to voice their ideas against the establishment. In addition to his contemporary genre painting, Breitner often returned to the female nude; these works, however, met with some criticism because of the artist's realistic approach. Breitner photographed frequently and used the images for his paintings, both nudes and cityscapes. In 1901 he married his model Marie Jordan (1866-1948). By the turn of the century Breitner was a famous artist in the Netherlands, as demonstrated by a highly successful retrospective exhibition at Arti et Amicitiae in Amsterdam (1901). That accomplishment also meant, however, that he now belonged to the cultural establishment while other artists, such as Piet Mondriaan (1872-1944), or new movements, such as cubism and expressionism, were waiting in the wings. Breitner traveled frequently in the last decades of his life, visiting Paris, London, and Berlin, among other cities, and continued to take photographs. In 1909 he went to the United States as a member of the jury for the Carnegie International Exhibition in Pittsburgh, where the Cleveland painting had been exhibited in 1904.", "name_in_original_language": null, "birth_year": "1857", "death_year": "1923", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-11-13T00:00:00", "sortable_date": 1897, "date_added_to_oa": null, "date_text": "c. 1902", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": true, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:40.920000"}, {"id": 98644, "accession_number": "1918.344", "share_license_status": "CC0", "tombstone": "Pipa (\u7435\u7436), 1800s. China, Qing dynasty (1644-1911). Wood, ivory, bone, gut; overall: 95.4 x 27.4 x 8 cm (37 9/16 x 10 13/16 x 3 1/8 in.). The Cleveland Museum of Art, The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr., 1918.344", "current_location": null, "title": "Pipa", "title_in_original_language": "\u7435\u7436", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["China, Qing dynasty (1644-1911)"], "technique": "Wood, ivory, bone, gut", "support_materials": [], "department": "Chinese Art", "collection": "Chinese Art", "type": "Musical Instrument", "measurements": "Overall: 95.4 x 27.4 x 8 cm (37 9/16 x 10 13/16 x 3 1/8 in.)", "dimensions": {"overall": {"height": 0.954, "width": 0.274, "depth": 0.08}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 438711, "title": "Migrations of Memory\u2014The Poetry and Power of Music", "description": "<i>Migrations of Memory\u2014The Poetry and Power of Music</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 19, 2021-May 8, 2022).", "opening_date": "2021-11-19T05:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855\u20131926], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The string holder is made of bone.", "description": "The term <em>pipa</em>, known since the 3rd century BC, describes the playing motion of the right hand: <em>pi</em>, \u201cto play forward\u201d (left), and <em>pa</em>, \u201cto play backward\u201d (right). A type of lute played with the fingers, it is used in opera and storytelling ensembles and has an impressive, virtuosic solo repertoire. Historic imagery, such as wall paintings, documents the spread of the pipa, along the Silk Road from western and central Asia to China. The bat finial here is a commonly used device on 19th-century Chinese lutes symbolizing good luck.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79485128"], "internet_archive": ["https://archive.org/details/clevelandart-1918.344-pipa"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 8/9 (1918): 82-85.", "page_number": "Mentioned: p. 82", "url": "http://www.jstor.org/stable/25136230"}, {"citation": "D. S. M. \"Exhibition of Musical Instruments.\" <em>The Bulletin of the Cleveland Museum of Art</em> 8, no. 9 (1921): 134-43.", "page_number": "Mentioned: pp. 134-137", "url": "http://www.jstor.org/stable/25136517"}, {"citation": "Peng, Wei \u5f6d\u8587, and Clarissa von Spee. <em>Migrations of Memory: The Poetry and Power of Music by Chinese Artist Peng Wei in Collaboration with the Cleveland Museum of Art </em>= \u5e73\u6c99\u843d\u96c1\u2014\u97f3\u6a02\u7684\u8a69\u610f\u8207\u529b\u91cf: \u4e2d\u570b\u85dd\u8853\u5bb6\u5f6d\u8587\u8207\u514b\u5229\u592b\u862d\u85dd\u8853\u535a\u7269\u9928\u5408\u4f5c. Cleveland, OH: The Cleveland Museum of Art, 2021.", "page_number": "Mentioned and Reproduced: p. 14", "url": ""}], "url": "https://clevelandart.org/art/1918.344", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.344/1918.344_web.jpg", "width": "538", "height": "900", "filesize": "136988", "filename": "1918.344_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.344/1918.344_print.jpg", "width": "2032", "height": "3400", "filesize": "739187", "filename": "1918.344_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.344/1918.344_full.tif", "width": "5479", "height": "9169", "filesize": "150735360", "filename": "1918.344_full.tif"}}, "alternate_images": [{"date_created": "2021-03-25T15:45:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.344/1918.344_alt0_web.jpg", "width": "519", "height": "900", "filesize": "131152"}, "print": {"url": 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King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98644, "creators": [], "legal_status": "accessioned", "accession_date": "1918-06-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["P'i-p'a"], "is_highlight": false, "updated_at": "2026-03-27 00:06:09.268000"}, {"id": 116182, "accession_number": "1936.95", "share_license_status": "CC0", "tombstone": "Cloth with Unicorns, Dragons, Other Animals, and Floral Patterns, 1800s. Italy, 1800s. Bleached linen: needle lace, filet/lacis (knotted ground and darned in two directions) and alternating cutwork, embroidered squares, and bobbin lace edging; overall: 113.5 x 138 cm (44 11/16 x 54 5/16 in.); mounted: 121.9 x 146.1 cm (48 x 57 1/2 in.). The Cleveland Museum of Art, The Frances McIntosh Sherwin Collection, 1936.95", "current_location": null, "title": "Cloth with Unicorns, Dragons, Other Animals, and Floral Patterns", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Italy, 1800s"], "technique": "Bleached linen: needle lace, filet/lacis (knotted ground and darned in two directions) and alternating cutwork, embroidered squares, and bobbin lace edging", "support_materials": [], "department": "Textiles", "collection": "T - Lace", "type": "Lace", "measurements": "Overall: 113.5 x 138 cm (44 11/16 x 54 5/16 in.); Mounted: 121.9 x 146.1 cm (48 x 57 1/2 in.)", "dimensions": {"overall": {"height": 1.135, "width": 1.38}, "mounted": {"height": 1.219, "width": 1.461}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 324165, "title": "Renaissance lace rotation", "description": "<i>Renaissance lace rotation</i>. 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This large textile was perhaps meant for use as a table cover.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80010694"], "internet_archive": []}, "citations": [{"citation": "Underhill, Gertrude. \"The Frances McIntosh Sherwin Collection of Lace.\" <em>The Bulletin of the Cleveland Museum of Art </em>23, no. 4 (1936): 53-54.", "page_number": "53-54", "url": "http://www.jstor.org/stable/25137765."}, {"citation": "\"New in the Galleries.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>59, no. 3 (May/June 2019): Back cover.", "page_number": "Reproduced and Mentioned: Back cover.", "url": ""}, {"citation": "related work in the collection of The Art Institute of Chicago. Object accession number 1986.11, Cover, France, c. 1620/30. 105.3 x 137.3 cm (41-1/2 x 54 in.). linen.", "page_number": null, "url": "https://www.artic.edu/artworks/105090/cover"}], "url": "https://clevelandart.org/art/1936.95", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1936.95/1936.95_web.jpg", "width": "900", "height": "752", "filesize": "368839", "filename": "1936.95_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1936.95/1936.95_print.jpg", "width": "3400", "height": "2841", "filesize": "4878961", "filename": "1936.95_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1936.95/1936.95_full.tif", "width": "7882", "height": "6586", "filesize": "155768928", "filename": "1936.95_full.tif"}}, "alternate_images": [], "creditline": "The Frances McIntosh Sherwin Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 116182, "creators": [], "legal_status": "accessioned", "accession_date": "1936-02-14T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Needlepoint and Bobbin Lace Cloth"], "is_highlight": false, "updated_at": "2026-03-27 00:02:40.092000"}, {"id": 148746, "accession_number": "1976.187", "share_license_status": "CC0", "tombstone": "Eg\u00fang\u00fan Masquerade Dance Costume, 1900s. Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker. Cotton, velvet, flannel, dye, faux fur, leather, cowrie shells; overall: 167.6 x 66 x 40.6 cm (66 x 26 x 16 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1976.187", "current_location": null, "title": "Eg\u00fang\u00fan Masquerade Dance Costume", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1975, "artists_tags": [], "culture": ["Africa, West Africa, Nigeria, Yor\u00f9b\u00e1-style maker"], "technique": "cotton, velvet, flannel, dye, faux fur, leather, cowrie shells", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 167.6 x 66 x 40.6 cm (66 x 26 x 16 in.)", "dimensions": {"overall": {"height": 1.676, "width": 0.66, "depth": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302374, "title": "Year in Review, 1976", "description": "<i>Year in Review, 1976</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 1-March 6, 1977).", "opening_date": "1977-02-01T05:00:00"}], "legacy": []}, "provenance": [{"description": "Katherine C. White", "citations": [], "footnotes": null, "date": "?-1977", "sortorder": 1}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1977-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The striped netting on the \"face\" of this masquerade costume allows the wearer to see out while keeping their identity concealed.", "description": "Swirling into motion, <em>egu\u0301ngu\u0301n </em>masquerade costumes appear during annual festivities to bless the community. Manifesting ancestral spirits, they serve as a bridge between the living and the otherworld. The fabric panels create a dwelling place for ancestral spirits. Arranged and selected according to Yoru\u0300ba\u0301 design sense (oju\u0301-o\u0323na\u0300), this mask incorporates hundreds of African, Asian, and European fabrics. These include imported damasks, velvets, faux furs, and embroideries, as well as local indigo-dyed cottons.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1976.187-egungun-masquerade-d"]}, "citations": [{"citation": "Aremu, P. S. O. \"Between Myth and Reality: Yoruba Egungun Costumes as Commemorative Clothes.\" <em>Journal of Black Studies</em> 22, no. 1 (1991).", "page_number": "p. 6-14", "url": "www.jstor.org/stable/2784493."}, {"citation": "Fitzgerald, Mary Ann, Henry J. Drewal, and Moyo Okediji. \"Transformation through Cloth: An Egungun Costume of the Yoruba.\" <em>African Arts</em> 28, no. 2 (1995)", "page_number": "p. 55-57", "url": "doi:10.2307/3337226."}, {"citation": "Drewal, Margaret Thompson. Yoruba Ritual: Performers, Play, Agency. 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The Cleveland Museum of Art, Bequest of Mrs. A. Dean Perry, 1997.78", "current_location": null, "title": "Portrait of Miss Mary Tadman", "creation_date": "1809", "creation_date_earliest": 1809, "creation_date_latest": 1809, "artists_tags": ["male"], "culture": ["England, 18th century"], "technique": "watercolor and graphite, heightened with traces of white gouache on paper", "support_materials": [{"description": "wove paper (discolored to light brown)", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Portrait Miniature", "measurements": "Image: 14.2 x 12.2 cm (5 9/16 x 4 13/16 in.); Sheet: 15.4 x 13.4 cm (6 1/16 x 5 1/4 in.)", "dimensions": {"sheet": {"height": 0.154, "width": 0.134}, "image": {"height": 0.142, "width": 0.122}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in gray watercolor: John Smart pinxit / Novr. 1809 ; by artist, lower left, in gray watercolor: Miss Mary Tadman ;  VERSO, upper left, in graphite: B/8", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "John Smart (1741-1811); by inheritance to his son John James Smart", "citations": [], "footnotes": null, "date": "Until 1811", "sortorder": 1}, {"description": "John James Smart (1805-1870); by inheritance to his daughter Mary Ann Bose", "citations": [], "footnotes": null, "date": "1811-70", "sortorder": 2}, {"description": "Mary Ann Bose (n\u00e9e Smart, 1856-1934), by inheritance to her daughter Lilian Mary Dyer", "citations": [], "footnotes": null, "date": "1870-1934", "sortorder": 3}, {"description": "Lilian Mary Dyer (n\u00e9e Bose, 1876-1955), great-granddaughter of the artist.", "citations": [], "footnotes": null, "date": "1934-37", "sortorder": 4}, {"description": "Sale: Christie\u2019s, London, November 26, 1937 (lot 42)", "citations": [], "footnotes": null, "date": "November 26, 1937", "sortorder": 5}, {"description": "(Colnaghi, London)", "citations": [], "footnotes": null, "date": "After 1937", "sortorder": 6}, {"description": "Edward B. Greene (1878-1957), Cleveland, OH; by inheritance to his daughter Helen Perry", "citations": [], "footnotes": null, "date": "Before 1957", "sortorder": 7}, {"description": "Helen Perry (n\u00e9e Greene, 1911-1996), Cleveland, OH", "citations": [], "footnotes": null, "date": "c. 1957-96", "sortorder": 8}, {"description": "Estate of Mrs. Helen Perry; gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1996-97", "sortorder": 9}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997-", "sortorder": 10}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This drawing was passed on through the generations of the artist John Smart's family until 1937 when his great-granddaughter sold it.", "description": "Mary Tadman\u2019s head and shoulders face right. Her eyes are brown, and she wears a necklace of small pearls and a drop pearl earring. She wears her dark brown hair high in a classically inspired bun, with a braid across the hairline and many curls falling over her forehead and in front of her ears. Her white dress is delicately embroidered at the edges along the bust and is tied at the empire style waist, with a small pin fastened to the front. The translucent <br>white sleeves worn beneath the dress are probably made of muslin and detachable, since they do not appear in the ivory version of the portrait. Detachable sleeves were popular during the late eighteenth and early nineteenth centuries and enabled a dress to function as day- and eveningwear. The nature of this work as a finished drawing rather than exclusively a preparatory sketch for a miniature on ivory is evident in the degree of finish of the sitter\u2019s clothing, heightened with white gouache and painted to the elaborated penciled oval border.<br>In December 1809, the year this drawing was executed, Mary Tadman (1786\u20131862) married Major William Jolliffe Eldridge. He died in 1818 in Poona, India, and three years later, his widow married Colonel Daniel Hutchins Bellasis (1785\u20131836), with whom she had two children: Flora and Augustus Fortunatus. Mary lived for nearly two decades in India, where she was a celebrated beauty, and where her second marriage into the militarily distinguished Bellasis family seems to have secured her presence in high society. On the occasion of her marriage in 1821, she wrote her spinster sister, \u201cI forgot I have not told you a word of my marriage, which by the by was the grandest affair known in Bombay, I am almost tired of the subject\u2014visits and congratulations, etc. The Governor and Staff went with me to Church . . . and all the people of any consequence in Bombay about 100 came to a Breakfast at Randall Lodge\u2014since which it has been one constant scene of gaiety. Last week, pity me when I tell you, how I was obliged to exert myself\u2014we gave a dinner party to 40 people. The Governor\u2019s family . . . and all the Big Wigs who gave me parties\u2014the same evening 160 came at ten to a dance\u2014afterwards a supper very splendid I assure you.\u201d<br>A related ivory version of this miniature is in the Fitzwilliam Museum, Cambridge, signed and dated at the lower left: \u201cJ S / 1809.\u201d While Miss Tadman\u2019s coiffure, countenance, jewelry, and dress are identical to the Cleveland sketch, in this portrait she wears an elaborate black and red, flowered Indian shawl with white border over her white dress, the under-sleeves omitted. Indian shawls, particularly those from Kashmir, were extremely expensive signifiers of social status in India and Europe, and by the end of the eighteenth century, they often formed part of the trousseau of a wealthy French or English bride. The shawls were particularly fashionable worn in contrast with the high-waisted gauzy white dresses of the Empire period. While many portraits and miniatures from the early nineteenth century depict women conspicuously displaying their Indian shawls, Miss Tadman wears hers in a manner not often seen in European portraits: across one shoulder and around the waist, like a sari. Mary and William Eldridge wed in December 1809, one month after Smart signed this sketch. Because Smart depicted Miss Tadman during her engagement, the shawl worn in the finished ivory portrait may have been a gift from her betrothed, who had been stationed in Bombay in 1809. While appropriate for a half-length portrait, the under-sleeves were probably deemed unnecessary for the miniature, which shows little of the arm and instead depicts the sitter more formally, wrapped in her shawl. <br>The existence of a larger, finished drawing as well as a miniature on ivory suggests that the finished drawing may have served a variety of roles, while also implying that another preparatory sketch for both may exist. At nearly twice the size of the ivory, Cleveland\u2019s drawing is not likely to have been the sole preparatory exercise for the finished miniature. There is no question that as a young bride-to-be, Miss Tadman was thinking carefully about how she wished to be represented at a pivotal moment in her life, and that a single portrait was insufficient to accommodate all of the accoutrements that were of significance to her. The neo-Grec coiffure, au courant empire waist dress with detachable sleeves, pearl parure, ornamental pin, and costly shawl communicate clearly the social ambitions to which her <br>biography is also a testament.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79980807"], "internet_archive": ["https://archive.org/details/clevelandart-1997.78-portrait-of-miss-mar"]}, "citations": [{"citation": "Christie, Manson &amp; Woods.<em> Ancient and Modern Pictures and Drawings</em>. 1937.", "page_number": "lot 42", "url": ""}, {"citation": "Foskett, Daphne. <em>John Smart: the Man and His Miniatures</em>. [London]: Cory, Adams &amp; Mackay, 1964.", "page_number": "pp. 74, 88", "url": ""}, {"citation": "Korkow, Cory, and Jon L. Seydl.<em> British Portrait Miniatures: The Cleveland Museum of Art</em>. 2013.", "page_number": "Cat. no. 50, pp. 204-207", "url": ""}], "url": "https://clevelandart.org/art/1997.78", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.78/1997.78_web.jpg", "width": "784", "height": "893", "filesize": "115506", "filename": "1997.78_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.78/1997.78_print.jpg", "width": "2984", "height": "3400", "filesize": "2079343", "filename": "1997.78_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.78/1997.78_full.tif", "width": "5601", "height": "6381", "filesize": "107242168", "filename": "1997.78_full.tif"}}, "alternate_images": [{"date_created": "2005-02-07T16:03:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt0_web.jpg", "width": "772", "height": "893", "filesize": "493964"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt0_print.jpg", "width": "2939", "height": "3400", "filesize": "6879746"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt0_full.tif", "width": "3368", "height": "3896", "filesize": "39387472"}}, {"date_created": "2009-10-02T19:52:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt1_web.jpg", "width": "761", "height": "893", "filesize": "480186"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt1_print.jpg", "width": "2898", "height": "3400", "filesize": "7628357"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt1_full.tif", "width": "4125", "height": "4839", "filesize": "59914992"}}, {"date_created": "2009-10-02T19:51:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt2_web.jpg", "width": "770", "height": "893", "filesize": "471223"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt2_print.jpg", "width": "2933", "height": "3400", "filesize": "8118048"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt2_full.tif", "width": "4664", "height": "5406", "filesize": "75667004"}}, {"date_created": "2011-05-06T16:21:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt3_web.jpg", "width": "782", "height": "893", "filesize": "434933"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt3_print.jpg", "width": "2977", "height": "3400", "filesize": "7390437"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt3_full.tif", "width": "4002", "height": "4570", "filesize": "54893588"}}, {"date_created": "2013-02-19T15:34:26", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt4_web.jpg", "width": "771", "height": "893", "filesize": "82448"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt4_print.jpg", "width": "2937", "height": "3400", "filesize": "1666135"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt4_full.tif", "width": "5532", "height": "6404", "filesize": "106303044"}}, {"date_created": "2013-02-19T16:16:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt5_web.jpg", "width": "670", "height": "893", "filesize": "123999"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt5_print.jpg", "width": "2550", "height": "3400", "filesize": "2163325"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.78/1997.78_alt5_full.tif", "width": "6000", "height": "8000", "filesize": "144022056"}}], "creditline": "Bequest of Mrs. A. Dean Perry", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 160114, "creators": [{"id": 3691, "description": "John I Smart (British, 1741\u20131811)", "extent": null, "qualifier": null, "role": "artist", "biography": "John Smart is often regarded as the most skilled painter of portrait miniatures at the height of the art form\u2019s popularity in late-eighteenth-century Britain. While the free style and white and blue color palette of his rival Richard Cosway (1742\u20131821) conjured up the glamour of fashionable society, Smart\u2019s attention to minute detail, saturated colors, and frank conveyance of likeness and character attracted a different type of clientele, one who prized these qualities <br>above Cosway\u2019s homogenized modishness.  <br>Information is limited about Smart\u2019s life and career, so much so that while G. C. Williamson had penned the definitive biographies of Cosway, George Engleheart (1752\u20131829), and Andrew Plimer (1763\u20131837) by 1905, it wasn\u2019t until 1964 that a biography of Smart appeared.  Little is known about the artist\u2019s early training beyond evidence suggesting that before the age of fourteen, he was winning prizes from the Society of Arts for his drawings and, like Cosway, was an apprentice in William Shipley\u2019s London school in St. Martin\u2019s Lane.  Smart exhibited for several years as an active member and eventually president of the Society of Artists of Great Britain before seeking his fortune as a miniature painter in India, where he lived between 1785 and 1795, hoping to secure patronage from wealthy princes and those <br>involved in England\u2019s growing trade market. Works from this period are signed with the initial I, signifying India. <br>Unlike Cosway, an ostentatious showman, Smart lived and worked quietly, settling in London after his return from India and exhibiting at the Royal Academy. His style, which changed little throughout his career, is characterized by a meticulous description of a sitter\u2019s countenance through the use of delicate stippling, often featuring wrinkles, crow\u2019s feet around the eyes, and a slightly upturned mouth that suggests joviality. Unlike his contemporaries Cosway, Engleheart, and Plimer, whose backgrounds most often featured blue and white cloudy skies, Smart painted his backgrounds in varying shades of browns, greens, and grays. The size of the artist\u2019s miniatures expanded over time, measuring around 11/ 2 inches until about 1775, then 2 inches until around 1790, and 3 inches thereafter. Though <br>highly sought after in his time, Smart\u2019s work grew even more popular among collectors following his death. The Cleveland Museum of Art has a total of twenty-three portraits by Smart: seven gentlemen sitters painted on ivory and sixteen preparatory drawings of men and women.  Of the seven miniatures on ivory, two date from 1770, three from <br>Smart\u2019s years in India, and two after his 1795 return to London.", "name_in_original_language": null, "birth_year": "1741", "death_year": "1811", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1997-06-02T00:00:00", "sortable_date": 1809, "date_added_to_oa": null, "date_text": "1809", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:08.245000"}, {"id": 168748, "accession_number": "2010.452", "share_license_status": "CC0", "tombstone": "Female Figure, late 1800s-early 1900s. Africa, Democratic Republic of the Congo, Songye people. Wood, upholstery studs, antelope horns, and animal hair; overall: 34.8 x 6.2 x 14.5 cm (13 11/16 x 2 7/16 x 5 11/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.452", "current_location": null, "title": "Female Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Democratic Republic of the Congo, Songye people"], "technique": "Wood, upholstery studs, antelope horns, and animal hair", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 34.8 x 6.2 x 14.5 cm (13 11/16 x 2 7/16 x 5 11/16 in.)", "dimensions": {"overall": {"height": 0.348, "width": 0.062, "depth": 0.145}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Jean Dierickx, Brussels, BE, 1960, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "?-1960", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1960-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Because this Mankishi is neither small or quite large in size, it was most likely used by a family rather than an individual.", "description": "Mankishi figures were believed to have magical powers and were used by diviners to contact spirits in otherworldly realms. Smaller, personal power figures were used to connect with \u201ccommon\u201d ancestors, while the larger Mankishi figures contacted higher-ranking ancestral spirits. These power figures were kept in their own personal spaces because of their powerful status, and could only be handled by their designated <em>nkunja</em>, or guardian.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075123"], "internet_archive": ["https://archive.org/details/clevelandart-2010.452-female-figure"]}, "citations": [{"citation": "Petridis, Constantine. \"Ren\u00e9 and Odette Delenne.\" In <em>Tribal Art</em> XV-4, no. 61 (Autumn 2011): 123.", "page_number": "p. 123", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 23, 68-75.", "page_number": "Mentioned: pp. 23, 114: reproduced:pp. 76-77, cat. 25", "url": null}, {"citation": "Neyt, Francois. <em>Songye: The Formidable Statuary of Central Africa</em>. Munich/Berlin/London/New York: Prestel Verlag, 2009, 262.", "page_number": "Reproduced: p. 262, no. 230; mentioned: 392, no. 230", "url": null}], "url": "https://clevelandart.org/art/2010.452", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.452/2010.452_web.jpg", "width": "580", "height": "893", "filesize": "245354", "filename": "2010.452_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.452/2010.452_print.jpg", "width": "2209", "height": "3400", "filesize": "4600624", "filename": "2010.452_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.452/2010.452_full.tif", "width": "3105", "height": "4779", "filesize": "44547760", "filename": "2010.452_full.tif"}}, "alternate_images": [{"date_created": "2011-05-24T15:17:03", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt0_web.jpg", "width": "613", "height": "893", "filesize": "250559"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt0_print.jpg", "width": "2333", "height": "3400", "filesize": "4749811"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt0_full.tif", "width": "3299", "height": "4806", "filesize": "47594144"}}, {"date_created": "2011-05-24T15:37:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt1_web.jpg", "width": "572", "height": "893", "filesize": "239597"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt1_print.jpg", "width": "2178", "height": "3400", "filesize": "4548864"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt1_full.tif", "width": "3126", "height": "4878", "filesize": "45777424"}}, {"date_created": "2011-05-24T15:56:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt2_web.jpg", "width": "583", "height": "893", "filesize": "248654"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt2_print.jpg", "width": "2219", "height": "3400", "filesize": "4709983"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt2_full.tif", "width": "3111", "height": "4765", "filesize": "44502268"}}, {"date_created": "2011-05-24T17:25:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt3_web.jpg", "width": "634", "height": "893", "filesize": "268201"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt3_print.jpg", "width": "2413", "height": "3400", "filesize": "5083434"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt3_full.tif", "width": "3339", "height": "4703", "filesize": "47145060"}}, {"date_created": "2011-05-24T17:43:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt4_web.jpg", "width": "591", "height": "893", "filesize": "243592"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt4_print.jpg", "width": "2252", "height": "3400", "filesize": "4668497"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt4_full.tif", "width": "3157", "height": "4766", "filesize": "45167448"}}, {"date_created": "2011-05-24T17:55:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt5_web.jpg", "width": "758", "height": "893", "filesize": "355132"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt5_print.jpg", "width": "2887", "height": "3400", "filesize": "6041177"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.452/2010.452_alt5_full.tif", "width": "4632", "height": "5454", "filesize": "75821844"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168748, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:25.203000"}, {"id": 86106, "accession_number": "2015.509", "share_license_status": "CC0", "tombstone": "Egret and Reeds (\ubc31\ub85c\ub3c4 [\u767d\u9dfa\u5716]), late 1800s. Yang Ki-hun (Seuk-Eun) (Korean, 1843\u20131919?). Hanging scroll; ink on paper; overall: 196 x 61 cm (77 3/16 x 24 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.509", "current_location": null, "title": "Egret and Reeds", "title_in_original_language": "\ubc31\ub85c\ub3c4 [\u767d\u9dfa\u5716]", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1898, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "hanging scroll; ink on paper", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Hanging scroll", "type": "Painting", "measurements": "Overall: 196 x 61 cm (77 3/16 x 24 in.)", "dimensions": {"overall": {"height": 1.96, "width": 0.61}, "painting only": {"height": 1.245, "width": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 315373, "title": "Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation", "description": "<i>Mountains and Rivers Beyond the DMZ \u2013 Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (January 21-July 21, 2019).", "opening_date": "2019-01-23T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Sotheby's, New York, NY, Korean Works of Art, sale 6508, December 3, 1993, lot 46)", "citations": [], "footnotes": null, "date": "December 3, 1993", "sortorder": 1}, {"description": "George Gund III [1937\u20132013], bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1993\u20132015", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2015\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Yang Ki-hun was one of the most commercially successful painters known for decorative bird-and-flower subjects.", "description": "In this hanging scroll, an egret walks along the shores of a salt marsh where reeds abundantly grow. Native to Pyongyang, the artist Yang Ki-hun had no rival in bird-and-flower themes. The Taedong River estuary, one of Pyongyang\u2019s beloved natural sites, may have been Yang\u2019s favorite spot to observe and sketch various water birds.<br><br>Yang treated his subjects of flora and fauna with an observant naturalist\u2019s view, yet his choice of subjects\u2014an egret and reeds\u2014is deeply rooted in traditional symbolic language: the egret stands for the scholarly reclusive life, while reeds indicate humility and modesty.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60493451"], "internet_archive": ["https://archive.org/details/clevelandart-2015.509-egret-and-reeds"]}, "citations": [{"citation": "Seo, Jeong-min. \u201cYang Gi-hun\"s Painting of Geese and Reeds [\uc11d\uc5f0 \uc591\uae30\ud6c8 \ub178\uc548\ub3c4 \uc5f0\uad6c].\u201d <em>Hanguk geunhyundai misul sahak </em>(2015): 107\u2013133.", "page_number": null, "url": "http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE06401515"}, {"citation": "<em>Modern Traditions in Korean Calligraphy and Painting</em> [\uadfc\ub300\uc11c\ud654]. Seoul: National Museum of Korea, 2019.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and Reproduced: p. 224, no. 124", "url": ""}], "url": "https://clevelandart.org/art/2015.509", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.509/2015.509_web.jpg", "width": "346", "height": "900", "filesize": "94679", "filename": "2015.509_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.509/2015.509_print.jpg", "width": "1307", "height": "3400", "filesize": "834628", "filename": "2015.509_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.509/2015.509_full.tif", "width": "3022", "height": "7863", "filesize": "71312332", "filename": "2015.509_full.tif"}}, "alternate_images": [{"date_created": "2017-01-18T09:44:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt0_web.jpg", "width": "324", "height": "900", "filesize": "90658"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt0_print.jpg", "width": "1225", "height": "3400", "filesize": "905123"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt0_full.tif", "width": "2766", "height": "7679", "filesize": "63746124"}}, {"date_created": "2017-01-18T09:18:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt1_web.jpg", "width": "725", "height": "900", "filesize": "162476"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt1_print.jpg", "width": "2738", "height": "3400", "filesize": "1940540"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt1_full.tif", "width": "4997", "height": "6205", "filesize": "93047596"}}, {"date_created": "2017-01-18T09:24:31", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt2_web.jpg", "width": "339", "height": "900", "filesize": "111250"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt2_print.jpg", "width": "1282", "height": "3400", "filesize": "1281033"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.509/2015.509_alt2_full.tif", "width": "2819", "height": "7475", "filesize": "63241836"}}], "creditline": "Gift from the Collection of George Gund III", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86106, "creators": [{"id": 21220, "description": "Yang Ki-hun (Seuk-Eun) (Korean, 1843\u20131919?)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\uc591\uae30\ud6c8", "birth_year": "1843", "death_year": "1919", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-08-24T00:00:00-04:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-08 11:09:01.606000"}, {"id": 375948, "accession_number": "2020.66", "share_license_status": "CC0", "tombstone": "Jacket with Octopus (\u86f8\u6587\u69d8\u7fbd\u7e54), c. 1800\u20131868. Japan, Edo period (1615\u20131868). Silk crepe (chirimen); neck edge to hem: 79.1 cm (31 1/8 in.); across shoulders: 128.6 cm (50 5/8 in.). The Cleveland Museum of Art, L. E. Holden Fund, 2020.66", "current_location": null, "title": "Jacket with Octopus", "title_in_original_language": "\u86f8\u6587\u69d8\u7fbd\u7e54", "creation_date": "c. 1800\u20131868", "creation_date_earliest": 1800, "creation_date_latest": 1868, "artists_tags": [], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Silk crepe (chirimen)", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Textile", "measurements": "neck edge to hem: 79.1 cm (31 1/8 in.); Across shoulders: 128.6 cm (50 5/8 in.)", "dimensions": {"neck edge to hem": {"height": 0.791}, "across shoulders": {"width": 1.286}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 455863, "title": "Animals in Japanese Art", "description": "<i>Animals in Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-December 10, 2023).", "opening_date": "2023-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Elizabeth Wilson sold to Julia Meech)", "citations": [], "footnotes": [], "date": "?\u2013c. 2000", "sortorder": 1}, {"description": "(Julia Meech, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "c. 2000\u20132020", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Crepe results from the weft thread being kept tighter than the warp thread during weaving.", "description": "With its many long arms, the octopus lends itself to a tantalizing design, with the front of this garment displaying tentacles and the back revealing the face. An octopus motif sometimes appears on costumes for the role of the Catfish Priest, a sidekick of the main villain in the Kabuki play <em>Shibaraku</em> (Stop a Moment!). It is also seen in genre painting during the 1600s as a logo on the uniforms of transportation staff, perhaps indicating just how much they can carry. This jacket may have recycled the idea as a fashion statement.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117244310"], "internet_archive": ["https://archive.org/details/clevelandart-2020.66-jacket-with-octopus"]}, "citations": [{"citation": "Yamanaka, Norio. <em>The Book of Kimono</em>. New York: Kodansha USA, 2012.", "page_number": "p. 58", "url": ""}, {"citation": "Lynch, Annette, and Mitchell D. Strauss. <em>Ethnic Dress in the United States: A Cultural Encyclopedia</em>. Lanham: Rowman &amp; Littlefield, 2015.", "page_number": "p. 136", "url": ""}, {"citation": "Permanent Collection Installations.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 3 (2023): 12\u201313.", "page_number": "Reproduced and Mentioned: p. 13", "url": "https://archive.org/details/CMAMM2023-03/page/12/mode/2up"}], "url": "https://clevelandart.org/art/2020.66", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.66/2020.66_web.jpg", "width": "900", "height": "611", "filesize": "160933", "filename": "2020.66_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.66/2020.66_print.jpg", "width": "3400", "height": "2308", "filesize": "1618610", "filename": "2020.66_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.66/2020.66_full.tif", "width": "13805", "height": "9372", "filesize": "388173788", "filename": "2020.66_full.tif"}}, "alternate_images": [{"date_created": "2022-01-20T11:12:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt0_web.jpg", "width": "900", "height": "642", "filesize": "205239"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt0_print.jpg", "width": "3400", "height": "2426", "filesize": "2102108"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt0_full.tif", "width": "8147", "height": "5814", "filesize": "142127076"}}, {"date_created": "2022-01-20T11:07:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt1_web.jpg", "width": "900", "height": "606", "filesize": "171707"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt1_print.jpg", "width": "3400", "height": "2291", "filesize": "1962897"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt1_full.tif", "width": "8036", "height": "5416", "filesize": "130597204"}}, {"date_created": "2023-05-10T10:15:57", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt2_web.jpg", "width": "900", "height": "611", "filesize": "190809"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt2_print.jpg", "width": "", "height": "", "filesize": ""}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt2_full.tif", "width": "", "height": "", "filesize": ""}}, {"date_created": "2022-01-20T11:15:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt3_web.jpg", "width": "900", "height": "638", "filesize": "230022"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt3_print.jpg", "width": "3400", "height": "2409", "filesize": "2669211"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt3_full.tif", "width": "13452", "height": "9533", "filesize": "384743460"}}, {"date_created": "2022-01-20T11:17:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt4_web.jpg", "width": "900", "height": "675", "filesize": "318830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt4_print.jpg", "width": "3400", "height": "2550", "filesize": "5307642"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.66/2020.66_alt4_full.tif", "width": "14196", "height": "10646", "filesize": "453419580"}}], "creditline": "L. E. Holden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 375948, "creators": [], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "c. 1800\u20131868", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:27.079000"}, {"id": 331582, "accession_number": "2020.86", "share_license_status": "CC0", "tombstone": "Ancient Chinese Bronzes (\uc900\uc774\uc885\uc815\ub3c4), late 1800s. Korea, Joseon dynasty (1392\u20131910). Ten-panel folding screen; embroidery, gold silk threads on black silk; each panel: 147.3 x 34.5 cm (58 x 13 9/16 in.); overall framed: 224.9 x 493.2 cm (88 9/16 x 194 3/16 in.). The Cleveland Museum of Art, Gift of the Honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D., in recognition of the contribution of Marjorie Williams to the development of The Cleveland Museum of Art, 2020.86", "current_location": null, "title": "Ancient Chinese Bronzes", "title_in_original_language": "\uc900\uc774\uc885\uc815\ub3c4", "creation_date": "late 1800s", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "Ten-panel folding screen; embroidery, gold silk threads on black silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Textile", "measurements": "Each panel: 147.3 x 34.5 cm (58 x 13 9/16 in.); Overall framed: 224.9 x 493.2 cm (88 9/16 x 194 3/16 in.)", "dimensions": {"each panel": {"height": 1.473, "width": 0.345}, "overall": {"height": 2.197, "width": 4.88}, "overall framed": {"height": 2.249, "width": 4.932}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 373312, "title": "Gold Needles: Embroidery Arts from Korea", "description": "<i>Gold Needles: Embroidery Arts from Korea</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 7-October 25, 2020).", "opening_date": "2020-03-07T05:00:00"}], "legacy": []}, "provenance": [{"description": "Kwon Ok-yeon [1923-2011], Seoul, Korea", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Roger Chambard [1904-1982], Paris, France, to the Honorable Joseph P. Carroll and Roberta Carroll, MD", "citations": [], "footnotes": ["<div><!--block-->French Ambassador to Republic of Korea, 1959-1969</div>"], "date": "?-1978", "sortorder": 2}, {"description": "The Honorable Joseph P. Carroll and Prof. Roberta L. Carroll, MD, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1978-2020", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": ["5.2019"], "did_you_know": "The written text that accompanies each bronze vessel depicted in this embroidered screen expresses the idea of evoking good fortune and wishing for many children.", "description": "This embroidered folding screen depicts a set of bronze vessels. While the subject of bronze vessels is part of mainstream male elite culture, which centered on ancestral rituals, the written text that accompanies each bronze vessel expresses the idea of evoking good fortune and wishing for many children. The is perhaps related to the idea that those who diligently perform rituals for the spirit of ancestors could have all their aspirations realized.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117237383"], "internet_archive": ["https://archive.org/details/clevelandart-2020.86-ancient-chinese-bron"]}, "citations": [{"citation": "Kim, Yeong-suk. \"Junijongjeongdo jasubyeongpung gochal: osaka sagai siripbangmulgwan sojang \uc900\uc774\uc885\uc815\ub3c4(\u5c0a\u5f5b\u9418\u9f0e\u5716) \uc790\uc218\ubcd1\ud48d \uace0\ucc30: \uc624\uc0ac\uce74 \uc0ac\uac00\uc774 \uc2dc\ub9bd\ubc15\ubb3c\uad00 \uc18c\uc7a5.\" National Research Institute of Cultural Heritage, <em>Munhwajae </em>13 (1998): 221-254.", "page_number": null, "url": "https://www.koreascience.or.kr/article/JAKO199871663776863.do"}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}, {"citation": "Ch'a, Mi-rae, Kwi-suk An, Cleveland Museum of Art, and \uad6d\uc678\uc18c\uc7ac\ubb38\ud654\uc7ac\uc7ac\ub2e8. <em>The Korean Collection of the Cleveland Museum of Art</em>. Edited by An Min-hu\u0306i. First edition, English ed. Overseas Korean Cultural Heritage Series, 16. Seoul, Republic of Korea: Overseas Korean Cultural Heritage Foundation, 2021.", "page_number": "Mentioned and reproduced: p. 350-351, no. 004", "url": ""}], "url": "https://clevelandart.org/art/2020.86", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.86/2020.86_web.jpg", "width": "900", "height": "408", "filesize": "130512", "filename": "2020.86_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.86/2020.86_print.jpg", "width": "3400", "height": "1542", "filesize": "1331987", "filename": "2020.86_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.86/2020.86_full.tif", "width": "17330", "height": "7861", "filesize": "408727852", "filename": "2020.86_full.tif"}}, "alternate_images": [{"date_created": "2019-02-08T12:52:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt0_web.jpg", "width": "601", "height": "900", "filesize": "175617"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt0_print.jpg", "width": "2271", "height": "3400", "filesize": "2578556"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt0_full.tif", "width": "5344", "height": "8000", "filesize": "128287184"}}, {"date_created": "2019-02-08T12:56:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt1_web.jpg", "width": "588", "height": "900", "filesize": "167484"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt1_print.jpg", "width": "2223", "height": "3400", "filesize": "2465077"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt1_full.tif", "width": "5230", "height": "8000", "filesize": "125551212"}}, {"date_created": "2019-02-08T13:00:24", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt2_web.jpg", "width": "675", "height": "900", "filesize": "170345"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "2512656"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144031172"}}, {"date_created": "2019-02-08T13:08:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt3_web.jpg", "width": "581", "height": "900", "filesize": "172743"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt3_print.jpg", "width": "2196", "height": "3400", "filesize": "2523627"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt3_full.tif", "width": "5167", "height": "8000", "filesize": "124039308"}}, {"date_created": "2019-02-08T13:13:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt4_web.jpg", "width": "602", "height": "900", "filesize": "172726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt4_print.jpg", "width": "2273", "height": "3400", "filesize": "2422521"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.86/2020.86_alt4_full.tif", "width": "5349", "height": "8000", "filesize": "128407068"}}], "creditline": "Gift of the Honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D., in recognition of the contribution of Marjorie Williams to the development of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 331582, "creators": [], "legal_status": "accessioned", "accession_date": "2020-03-02T00:00:00-05:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-09 19:35:04.926000"}, {"id": 441006, "accession_number": "2021.141", "share_license_status": "CC0", "tombstone": "Washerwomen Descending a Quai Staircase, 1888. Alexandre Lunois (French, 1863\u20131916), after Honor\u00e9 Daumier (French, 1808\u20131879). Transfer lithograph; image: 57.1 x 41.8 cm (22 1/2 x 16 7/16 in.); sheet: 64.7 x 49 cm (25 1/2 x 19 5/16 in.). The Cleveland Museum of Art, Carole W. and Charles B. Rosenblatt Endowment Fund, 2021.141", "current_location": null, "title": "Washerwomen Descending a Quai Staircase", "creation_date": "1888", "creation_date_earliest": 1888, "creation_date_latest": 1888, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "transfer lithograph", "support_materials": [{"description": null, "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 57.1 x 41.8 cm (22 1/2 x 16 7/16 in.); Sheet: 64.7 x 49 cm (25 1/2 x 19 5/16 in.)", "dimensions": {"sheet": {"height": 0.647, "width": 0.49}, "image": {"height": 0.571, "width": 0.418}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower right, in pencil: Alex. Lunois", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 371563, "title": "Degas and the Laundress: Women, Work, and Impressionism", "description": "<i>Degas and the Laundress: Women, Work, and Impressionism</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 8, 2023-January 14, 2024).", "opening_date": "2023-10-08T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Jan Johnson Old Master & Modern Prints, Quebec, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-2021", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2021-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "An impression of this print was selected for display at the prestigious annual exhibition of the Soci\u00e9t\u00e9 des Artistes Fran\u00e7ais in 1888.", "description": "Alexandre Lunois worked extensively in lithography, a relatively recent invention during his time that was rarely used by artists, making both reproductive and original works. This print reinterprets Honor\u00e9 Daumier\u2019s <em>Washerwomen of the Quai d\u2019Anjou</em>, an 1850 canvas depicting laundresses carrying heavy bundles on a staircase adjacent to Paris\u2019s Seine River. Although Lunois worked closely from Daumier\u2019s painting, he reinterpreted some details, such as the shadows on the woman\u2019s face, emphasizing the strenuousness of her labor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q115755084"], "internet_archive": ["https://archive.org/details/clevelandart-2021.141-washerwomen-descendi"]}, "citations": [{"citation": "Be\u0301raldi, Henri. <em>Les Graveurs du XIXe si\u00e8cle</em>. Paris: L. Conquet, 1885.", "page_number": "Mentioned vol. 11, p. 196, no. 10", "url": ""}, {"citation": "Andre\u0301, Edouard. <em>Alexandre Lunois, peintre, graveur et lithographe</em>. Paris: H. Floury, 1914.", "page_number": "Mentioned: p. 198, 214", "url": ""}, {"citation": "Salsbury, Britany. <em>Degas and the Laundress: Women, Work, and Impressionism</em> Exh. Cat. Cleveland: Cleveland Museum of Art, 2023.", "page_number": "Preproduced: p. 123, no. 16", "url": ""}], "catalogue_raisonne": "Andr\u00e9 p. 214", "url": "https://clevelandart.org/art/2021.141", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2021.141/2021.141_web.jpg", "width": "683", "height": "900", "filesize": "291139", "filename": "2021.141_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2021.141/2021.141_print.jpg", "width": "2579", "height": "3400", "filesize": "4299274", "filename": "2021.141_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2021.141/2021.141_full.tif", "width": "9461", "height": "12475", "filesize": "354104976", "filename": "2021.141_full.tif"}}, "alternate_images": [], "creditline": "Carole W. and Charles B. Rosenblatt Endowment Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 441006, "creators": [{"id": 29818, "description": "Alexandre Lunois (French, 1863\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1638, "description": "Honor\u00e9 Daumier (French, 1808\u20131879)", "extent": null, "qualifier": "after", "role": "artist", "biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2021-09-13T04:00:00Z", "sortable_date": 1888, "date_added_to_oa": null, "date_text": "1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:21.394000"}, {"id": 447737, "accession_number": "2022.171", "share_license_status": "CC0", "tombstone": "Tea Set with Chinese Landscapes, 1893\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Tea set with tea pot, hot water cooler, and five cups; porcelain with underglaze blue; teapot height with lid: 9.2 cm (3 5/8 in.); width with handle: 11.2 cm (4 7/16 in.); hot water cooler: 5.4 x 11.9 x 7.4 cm (2 1/8 x 4 11/16 x 2 15/16 in.); (each) drinking cup: 5 x 8.5 cm (1 15/16 x 3 3/8 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.171", "current_location": null, "title": "Tea Set with Chinese Landscapes", "creation_date": "1893\u20131914", "creation_date_earliest": 1893, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Tea set with tea pot, hot water cooler, and five cups; porcelain with underglaze blue", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "teapot height with lid: 9.2 cm (3 5/8 in.); width with handle: 11.2 cm (4 7/16 in.); hot water cooler: 5.4 x 11.9 x 7.4 cm (2 1/8 x 4 11/16 x 2 15/16 in.); (each) drinking cup: 5 x 8.5 cm (1 15/16 x 3 3/8 in.)", "dimensions": {"lid": {"height": 0.025, "width": 0.045}, "teapot height with lid": {"height": 0.092}, "with handle": {"height": 0.083}, "width with handle": {"width": 0.112}, "width with spout": {"width": 0.1}, "diameter": {"width": 0.084}, "hot water cooler": {"height": 0.054, "width": 0.119, "depth": 0.074}, "(each) drinking cup": {"height": 0.05, "width": 0.085}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "James and Christine Heusinger, Berea, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Images of famous <em>sencha</em> events that shows that these kinds of porcelains fit with objects, such as a stove and kettle, to form a complete set of utensils for tea preparation, and with ensembles of decorative objects meant to inspire creativity.", "description": "The theme of this <em>sencha </em>tea set is the Chinese scholar-recluse in an idyllic landscape. The teapot depicts two friends playing a board game on a promontory beyond a two-storied residence, while another figure comes across the entry bridge bearing bags of provisions, hung from the ends of a pole balanced across his shoulders. <br><br>The kidney-shaped water cooler has a scene of a man gazing at a full moon in a dramatic mountain-scape stretching before a large compound in the woods. Another man, hunched over and carrying a heavy parcel tied to a pole over his shoulder, struggles to make his way up a hill to the site. The cooler also has a pair of applied <em>nyoi </em>staff\u0016-head forms for resting the tips of one\u2019s thumb and index finger, like those on the water cooler with pine trees (see [19\u001c\u001e]). <br><br>Each of the five teacups has a landscape with an architectural structure and some human activity. <br><br>One cup shows a man with a staff walking away from a residence toward a boat, loaded with what might be a musical instrument wrapped for travel. <br><br>A second cup shows a man rowing a little skiff\u0016, which disturbs the otherwise still water. Behind him in the distance is an open-air pavilion. He is making his way toward a pair of figures playing a board game, much like the scene on the teapot. Down the hill from them is a residence; beyond this, a flock of geese approaches through the sky. <br><br>A third cup shows a man in a traveling robe leaning upon his staff\u0016 as he crosses a bridge to reach a two-story building with a pitched roof, possibly a temple, set between trees. Past this structure, another man sits fishing in a boat. <br><br>A fourth cup shows a humbly dressed man with a broad-brimmed hat lugging a package tied to the end of a rod slung over his shoulder. In front of him is a two-story building flanked by deciduous trees and a man resting against the side of a sturdy stone bridge as he looks at a residence, or perhaps a set of roofed gates, further up the path. <br><br>The last cup has a man walking toward a group of three pavilions announced with a banner hanging from a tall post; beyond this are two large deciduous trees sheltering a stand of small conifers. Across the water from this site is another man sitting on the bank fishing with a large woven basket for his catch beside him.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117706838"], "internet_archive": ["https://archive.org/details/clevelandart-2022.171-tea-set-with-chinese"]}, "citations": [{"citation": "Vilbar, Sinead. \"Colors of Kyoto: Modern ceramics of Japan.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>63, no. 2 (2023): 14\u201317.", "page_number": "Reproduced and Mentioned: p. 14", "url": "https://archive.org/details/CMAMM2023-02/page/14/mode/2up"}, {"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 27, pp. 100\u2013101", "url": ""}, {"citation": "Goodall, Hollis. \"Seif\u016b Yohei III: Master of Finesse.\" <em>Impressions: The Journal of the Japanese Art Society of America</em> 45, part 2 (2024): 178-193.", "page_number": "Mentioned: p. 186; Reproduced: p. 187, fig. 5", "url": ""}], "url": "https://clevelandart.org/art/2022.171", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.171/2022.171_web.jpg", "width": "900", "height": "513", "filesize": "135452", "filename": "2022.171_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.171/2022.171_print.jpg", "width": "3400", "height": "1938", "filesize": "513685", "filename": "2022.171_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.171/2022.171_full.tif", "width": "12903", "height": "7356", "filesize": "284770784", "filename": "2022.171_full.tif"}}, "alternate_images": [{"date_created": "2023-01-31T23:12:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt0_web.jpg", "width": "900", "height": "679", "filesize": "221283"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt0_print.jpg", "width": "3400", "height": "2566", "filesize": "2712122"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt0_full.tif", "width": "10646", "height": "8034", "filesize": "256617568"}}, {"date_created": "2023-01-31T23:09:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt1_web.jpg", "width": "900", "height": "694", "filesize": "234829"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt1_print.jpg", "width": "3400", "height": "2622", "filesize": "2811850"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt1_full.tif", "width": "10590", "height": "8167", "filesize": "259493468"}}, {"date_created": "2023-01-31T23:12:11", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt2_web.jpg", "width": "900", "height": "680", "filesize": "221553"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt2_print.jpg", "width": "3400", "height": "2569", "filesize": "2713804"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.171/2022.171_alt2_full.tif", "width": "10646", "height": "8045", "filesize": "256968912"}}], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 447737, "creators": [{"id": 299428, "description": "Seif\u016b Yohei III (Japanese, 1851\u20131914)", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": "\u4e09\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1851", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "1893\u20131914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:02:00.468000"}, {"id": 519473, "accession_number": "2022.171.1", "share_license_status": "CC0", "tombstone": "Teapot from Tea Set with Chinese Landscape, 1893\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with underglaze blue; height with lid: 9.2 cm (3 5/8 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.171.1", "current_location": null, "title": "Teapot from Tea Set with Chinese Landscape", "creation_date": "1893\u20131914", "creation_date_earliest": 1893, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with underglaze blue", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height with lid: 9.2 cm (3 5/8 in.)", "dimensions": {"height": {"height": 0.074}, "height with lid": {"height": 0.092}, "with handle": {"height": 0.083}, "diameter with handle": {"width": 0.112}, "diameter with spout": {"width": 0.1}, "diameter": {"width": 0.084}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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Unlike some others, this set also has a <em>yuzamashi</em>, a container used to cool boiled water to just the right temperature for the best flavor when steeping. 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In front of him is a two-story building flanked by deciduous trees and a man resting against the side of a sturdy stone bridge as he looks at a residence, or perhaps a set of roofed gates, further up the path.", "description": "The theme of this <em>sencha </em>tea set is the Chinese scholar-recluse in an idyllic landscape. Each of the five teacups has a landscape with an architectural structure and some human activity.<br><br>This tea set has a side-handled pot called a <em>ky\u016bsu</em>, used for steeping, straining, and serving tea. Unlike some others, this set also has a <em>yuzamashi</em>, a container used to cool boiled water to just the right temperature for the best flavor when steeping. 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Edgar Degas (French, 1834\u20131917). Etching on wove paper; sheet: 14.7 x 11.2 cm (5 13/16 x 4 7/16 in.); plate: 11.9 x 8.7 cm (4 11/16 x 3 7/16 in.); image: 10.2 x 7.5 cm (4 x 2 15/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2022.257", "current_location": null, "title": "Woman in a Ruffled Cap", "creation_date": "1859\u201360", "creation_date_earliest": 1859, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": [], "technique": "etching on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Etching", "type": "Print", "measurements": "Sheet: 14.7 x 11.2 cm (5 13/16 x 4 7/16 in.); Plate: 11.9 x 8.7 cm (4 11/16 x 3 7/16 in.); Image: 10.2 x 7.5 cm (4 x 2 15/16 in.)", "dimensions": {"plate": {"height": 0.119, "width": 0.087}, "sheet": {"height": 0.147, "width": 0.112}, "image": {"height": 0.102, "width": 0.075}}, "state_of_the_work": "State III/III", "edition_of_the_work": "Edition of 4", "copyright": null, "inscriptions": [], "exhibitions": {"current": [], "legacy": [{"description": "<em>Edgar Degas, 1834\u20131917: Etchings, Lithographs, Monotypes, &amp; Copper Plates</em>. N.G. Stogdon and C.G. Boerner, London (October 26\u2013November 10, 2006).", "opening_date": "2006-10-26T04:00:00Z"}]}, "provenance": [{"description": "Studio of the artist, by descent", "citations": [], "footnotes": null, "date": "1860\u20131917", "sortorder": 1}, {"description": "(sale, Estampes par Edgar Degas, Galerie Manzi-Joyant, Paris, France)", "citations": [], "footnotes": null, "date": "November 22\u201323, 1918", "sortorder": 2}, {"description": "Ren\u00e9 de Gas [1845\u20131927], Paris, by descent", "citations": [], "footnotes": null, "date": "1917\u20131927", "sortorder": 3}, {"description": "Odette de Gas [1887\u20131932] and Roland Nepveu [1885\u20131962], Paris, by descent", "citations": [], "footnotes": null, "date": "1927\u2013?", "sortorder": 4}, {"description": "Arlette Nepveu-Degas, Paris, by descent", "citations": [], "footnotes": null, "date": null, "sortorder": 5}, {"description": "Private Collection - ?-2006", "citations": [], "footnotes": null, "date": "?\u20132006", "sortorder": 6}, {"description": "(sale, Christie\u2019s, Paris, May 24, 2006, no. 19, sold to C.G. Boerner) \u2013 2006", "citations": [], "footnotes": null, "date": "May 24, 2006", "sortorder": 7}, {"description": "(C.G. Boerner, New York, NY, sold to a private collection) \u2013 2006", "citations": [], "footnotes": null, "date": "2006", "sortorder": 8}, {"description": "Private collection \u2013 2006\u201322", "citations": [], "footnotes": null, "date": "2006\u201322", "sortorder": 9}, {"description": "(Mireille Mosler, Ltd., New York, NY), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022", "sortorder": 10}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 5, 2022-", "sortorder": 11}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Early scholars believed that this print might be a portrait of Edgar Degas\u2019s mother. Today, instead, it has been tied to a drawing of the same year that depicts a similar but unidentified woman sewing.", "description": "Although Edgar Degas is known for his depictions of modern Parisian life, early in his career the artist focused on portraiture. This etching was created after time spent closely studying the prints of Northern master Rembrandt van Rijn at the Biblioth\u00e8que Nationale de France. Degas emulated the elder artist\u2019s distinctive mark making to record the likeness of this woman, whose identity is unknown today. Like many of Degas\u2019s prints, this work was never editioned and exists in only four impressions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117247732"], "internet_archive": ["https://archive.org/details/clevelandart-2022.257-a-woman-in-a-ruffled", "https://archive.org/details/clevelandart-2022.257-woman-in-a-ruffled-c"]}, "citations": [{"citation": "Galerie Manzi-Joyant (Paris, France). Eaux-fortes, vernis-mous, aqua-tintes par Edgar Degas et provenant de son atelier. 1918.", "page_number": "Mentioned: p. 4, probably no. 7", "url": ""}, {"citation": "<em>Art Impressionniste et modern, dont un ensemble d\u2019\u0153uvres provenant de l\u2019atelier Degas</em>. Paris: Christie\u2019s, 2006.", "page_number": "Mentioned and reproduced: p. 42, no. 19", "url": ""}, {"citation": "Degas, Edgar. Edgar Degas, 1834-1917: Etchings, Lithographs, Monotypes &amp; Copper Plates. Islip [England]: N.G. Stogdon, 2006.", "page_number": "Mentioned: no. 4", "url": ""}], "catalogue_raisonne": "Reed and Shapiro 10, Adh\u00e9mar 12, Delteil 6", "url": "https://clevelandart.org/art/2022.257", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.257/2022.257_web.jpg", "width": "706", "height": "900", "filesize": "303093", "filename": "2022.257_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.257/2022.257_print.jpg", "width": "2666", "height": "3400", "filesize": "3959060", "filename": "2022.257_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.257/2022.257_full.tif", "width": "8848", "height": "11282", "filesize": "299498868", "filename": "2022.257_full.tif"}}, "alternate_images": [{"date_created": "2023-03-28T10:47:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt0_web.jpg", "width": "706", "height": "900", "filesize": "404100"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt0_print.jpg", "width": "2666", "height": "3400", "filesize": "5484616"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt0_full.tif", "width": "8848", "height": "11282", "filesize": "299499980"}}, {"date_created": "2023-03-28T10:47:48", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt1_web.jpg", "width": "706", "height": "900", "filesize": "250503"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt1_print.jpg", "width": "2666", "height": "3400", "filesize": "3320010"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt1_full.tif", "width": "8848", "height": "11282", "filesize": "299496976"}}, {"date_created": "2023-03-28T10:47:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt2_web.jpg", "width": "706", "height": "900", "filesize": "416166"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt2_print.jpg", "width": "2666", "height": "3400", "filesize": "5605876"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.257/2022.257_alt2_full.tif", "width": "8848", "height": "11282", "filesize": "299499432"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 535703, "creators": [{"id": 286012, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "French painter, sculptor, 1834-1917", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1859, "date_added_to_oa": null, "date_text": "1859\u201360", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:03:50.275000"}, {"id": 150119, "accession_number": "1980.40", "share_license_status": "CC0", "tombstone": "Dante and Virgil Meeting the Shades of Francesca da Rimini and Paolo, 1851. Ary Scheffer (Dutch, 1795\u20131858). Oil on fabric; framed: 45.5 x 53 x 7.5 cm (17 15/16 x 20 7/8 x 2 15/16 in.); unframed: 24.7 x 33.2 cm (9 3/4 x 13 1/16 in.). The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund, 1980.40", "current_location": "219 19th Century European", "title": "Dante and Virgil Meeting the Shades of Francesca da Rimini and Paolo", "creation_date": "1851", "creation_date_earliest": 1851, "creation_date_latest": 1851, "artists_tags": ["male"], "culture": ["Netherlands"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Framed: 45.5 x 53 x 7.5 cm (17 15/16 x 20 7/8 x 2 15/16 in.); Unframed: 24.7 x 33.2 cm (9 3/4 x 13 1/16 in.)", "dimensions": {"framed": {"height": 0.455, "width": 0.53, "depth": 0.075}, "unframed": {"height": 0.247, "width": 0.332}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left corner in red paint: Ary Scheffer. / 1851 \r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Herman de Zoete sale, London, Christie's, 8-9 May 1885 (lot 96), Francesca da Rimini, small replica, 9\u00bd x 13 in., to Agnew for 46-4-0 gns. Sold to F. Denison on 2 April 1886. Sale of the collection of Mrs. B. M. Denison, Christie's, London, 13 May 1927 (lot 113), Paolo e Francesco [sic], 9\u00bd x 12\u00bd in. Bought by L. Carroll. London sale, Christie's, 7 July 1930 (lot 152), Paol\u00f6 e Francesco [sic], 1851, 9 x 13 in., 10 gns to Mrs. Samuels. To H. D. Samuels. London sale, Christie's, 31 October 1947 (lot 106), Paolo e Francesco [sic], 1851, 9 x 12\u00bd in., for 4 gns to Maxwell. London sale, Christie's, 5 October 1979 (lot 110, repr.), Paolo and Francesca, s.d. 1851, for \u00a33,200 to Hazlitt. Bought by the CMA in 1980.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Based on The Divine Comedy, Dante's epic poem of the 1300s, this painting depicts Dante and the ancient Roman poet Virgil encountering the souls of Paolo and Francesca on a visit to Hell. Although in love with Paolo, Francesca was forced to marry his deformed brother for political reasons. When the jilted husband discovered the lovers embracing, he murdered them, apparently consigning them to Hell due to their adulterous affair.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474716"], "internet_archive": ["https://archive.org/details/clevelandart-1980.40-dante-and-virgil-mee"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: p. 213, no. 69", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "\u201cAnnual Report for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 7 (July 1981): 223\u2013266.", "page_number": "Mentioned: p. 231", "url": "http://www.jstor.org/stable/25159734"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 577-579, Vol. II, no. 204", "url": ""}], "url": "https://clevelandart.org/art/1980.40", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.40/1980.40_web.jpg", "width": "1193", "height": "893", "filesize": "639303", "filename": "1980.40_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.40/1980.40_print.jpg", "width": "3400", "height": "2546", "filesize": "5796227", "filename": "1980.40_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.40/1980.40_full.tif", "width": "5690", "height": "4260", "filesize": "72753052", "filename": "1980.40_full.tif"}}, "alternate_images": [], "creditline": "Mr. and Mrs. William H. Marlatt Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "Norma and Alfred Lerner Gallery", "athena_id": 150119, "creators": [{"id": 2783, "description": "Ary Scheffer (Dutch, 1795\u20131858)", "extent": null, "qualifier": null, "role": "artist", "biography": "Ary Scheffer was initially taught by his parents, painters Johann-Bernhard Scheffer (1764-1809) and Cornelia Scheffer-Lamme (1769-1839), and he attended the drawing academy in Amsterdam from 1806 until 1809. After his mother became a widow, she moved with her three sons to Paris in 1811. Scheffer entered the studio of the neoclassical painter Pierre Gu\u00e9rin (1774-1833), where he would meet Delacroix (q.v.) and Th\u00e9odore G\u00e9ricault (1791-1824), and made his debut at the Salon in 1812. His early work received little attention, but in 1817 he won both his first medal at the Salon and the support of painter Baron Fran\u00e7ois G\u00e9rard (1770-1837), who recommended him as teacher for the children of Louis-Philippe, duc d'Orl\u00e9ans. Scheffer, a republican at heart, was much engaged in politics. The revolts of July 1830 ended the reign of the Bourbon dynasty, and the liberals made Louis-Philippe the new king of France (July Monarchy, 1830-48). Scheffer received many state commissions (history paintings and portraits), and his paintings of literary and religious subjects made him one of the foremost romantic painters. He was disappointed by the course of political events, as Louis-Philippe's reign resulted in fewer democratic changes than he had hoped. Scheffer exhibited at the Salon until 1846, after which he withdrew increasingly from public life. He traveled frequently, for example, to the Netherlands, where he also exhibited. In 1850 he became a French citizen and married Sophie Marin, who died six years later. In 1859, one year after his own death, a large exhibition of his work was organized in Paris. In general, Scheffer had been an immensely popular artist, working in various styles; at times, however, he was criticized for overt sentimentality and lack of technique.", "name_in_original_language": null, "birth_year": "1795", "death_year": "1858", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-05-23T00:00:00", "sortable_date": 1851, "date_added_to_oa": null, "date_text": "1851", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:39.178000"}, {"id": 320651, "accession_number": "2018.305", "share_license_status": "CC0", "tombstone": "Portrait of Carl Philipp Fohr, 1818. Samuel Amsler (German, born Switzerland, 1791\u20131849), after Carl Barth (German, 1787\u20131853). Engraving and etching on wove paper; sheet: 14.5 x 11.4 cm (5 11/16 x 4 1/2 in.). The Cleveland Museum of Art, Gift of Margaret and Peter Dobbins, 2018.305", "current_location": null, "title": "Portrait of Carl Philipp Fohr", "creation_date": "1818", "creation_date_earliest": 1818, "creation_date_latest": 1818, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "engraving and etching on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Engraving", "type": "Print", "measurements": "Sheet: 14.5 x 11.4 cm (5 11/16 x 4 1/2 in.)", "dimensions": {"sheet": {"height": 0.145, "width": 0.114}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "In plate: \u201cC. FOHR PICTOR HEIDELBERG.S/OB. 1818/AET. 22\u201d upper \nright; three monograms of artists lower left.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Inscription, graphite, verso: \u201cG861 / S. Amsler Sc\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": []}, "provenance": [{"description": "John S. Phillips, Philadelphia, PA", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Pennsylvania Academy of Fine Arts, Philadelphia, PA", "citations": [], "footnotes": [], "date": "1876-1985", "sortorder": 2}, {"description": "Philadelphia Museum of Art, Philadelphia, PA", "citations": [], "footnotes": [], "date": "1985-2017", "sortorder": 3}, {"description": "C.G. Boerner, New York, NY", "citations": [], "footnotes": [], "date": "2017-2018", "sortorder": 4}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "December 3, 2018", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print was made to commemorate the friendship between the two artists who made it, and the sitter, who had drowned while swimming in the Tiber River in Rome.", "description": "This print was made by two artists as a memorial to their friend\u2014a fellow German artist\u2014who drowned while swimming in the Tiber River in Rome. Such \u201cfriendship portraits\u201d were common in the early nineteenth century, especially among artists who lived or worked together as they traveled through Europe. Samuel Amsler used the technique of engraving to refer to Germany\u2019s distinguished history in that medium, and he also clothed his friend in Renaissance garb. Such connections to the past were aspects of the Romantic ideal shared by the artists.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874531"], "internet_archive": ["https://archive.org/details/clevelandart-2018.305-portrait-of-carl-phi"]}, "citations": [{"citation": "Meyer, Julius, ed. <em>Nagler, G. K. Allgemeines K\u00fcnstler-Lexikon: Unter Mitwirkung der namhaftesten Fachgelehrten des In- un Auslandes.</em> Leipzig: Wilhelm Engelmann, vol. 1 (1872)", "page_number": "no. 23", "url": null}, {"citation": "Apell, Aloys. Handbuch fu\u0308r Kupferstichsammler ; oder. Lexicon der vorzu\u0308glichsten Kupferstecher des XIX. Jahrhunderts welche in Linienmanier gearbeitet habe\u0300n, sowie Beschreibung ihrer besten und gesuchtesten Bla\u0308tter. [Walluf bei Wiesbaden]: M. Sa\u0308ndig, 1972.", "page_number": "no. 29", "url": null}, {"citation": "Seeliger, Stephan, and Norbert Suhr.<em> Unter Glas un Rahmen: Druckgraphik der Romantik aus den Best\u00e4nden des Landesmuseums Mainz und aus Privatbesitz. </em>Exh. Cat., Landesmuseum Mainz, 1993", "page_number": "no. 1", "url": null}, {"citation": "Griffiths, Antony, and Frances Carey. German Printmaking in the Age of Goethe. London: Published for the Trustees of the British Museum by British Museum Press, 1994.", "page_number": "no. 120", "url": null}, {"citation": "Bartrum, Giulia, Gu\u0308nter Grass, Joseph Leo Koerner, and Ute Kuhlemann. Albrecht Du\u0308rer and His Legacy: The Graphic Work of a Renaissance Artist. London: British Museum, 2002.", "page_number": "p. 46, no. 261", "url": null}, {"citation": "Schroedter, Beate. ---<em>den lebensgross gezeichnet und vermessen stehst Du im K\u00fcnstlerbuch: Portr\u00e4ts deutscher K\u00fcnstler in Rom zur Zeit der Romantik. </em>Exh. Cat. Winckelmann-Museum, Stendal, 2008", "page_number": "no. VIII.44", "url": null}, {"citation": "Bartrum, Giulia. German Romantic Prints and Drawings: From an English Private Collection. London: Contemporary Editions, 2011.", "page_number": "p. 46, fig. 12", "url": null}, {"citation": "Philadelphia Museum of Art, John W. Ittmann, Cordula Grewe, Warren Breckman, Mitchell Benjamin Frank, Catriona MacLeod, and F. Carlo Schmid. The Enchanted World of German Romantic Prints, 1770-1850. 2017.", "page_number": "no. 5, p. 194, fig. 162", "url": null}], "url": "https://clevelandart.org/art/2018.305", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.305/2018.305_web.jpg", "width": "714", "height": "900", "filesize": "266184", "filename": "2018.305_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.305/2018.305_print.jpg", "width": "2697", "height": "3400", "filesize": "3438550", "filename": "2018.305_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.305/2018.305_full.tif", "width": "5045", "height": "6360", "filesize": "96291180", "filename": "2018.305_full.tif"}}, "alternate_images": [], "creditline": "Gift of Margaret and Peter Dobbins", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 320651, "creators": [{"id": 320644, "description": "Samuel Amsler (German, born Switzerland, 1791\u20131849)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1849", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 320649, "description": "Carl Barth (German, 1787\u20131853)", "extent": null, "qualifier": "after", "role": null, "biography": null, "name_in_original_language": null, "birth_year": "1787", "death_year": "1853", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1818, "date_added_to_oa": null, "date_text": "1818", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:44.065000"}, {"id": 148967, "accession_number": "1977.124", "share_license_status": "CC0", "tombstone": "Young Woman with a Mandolin, Portrait of Louison K\u00f6hler, c. 1873\u20131874. Fran\u00e7ois Bonvin (French, 1817\u20131887). Oil on fabric; framed: 70.5 x 62.2 x 7.6 cm (27 3/4 x 24 1/2 x 3 in.); unframed: 54.9 x 46 cm (21 5/8 x 18 1/8 in.). The Cleveland Museum of Art, Gift of Mr. and Mrs. Noah L. Butkin, 1977.124", "current_location": null, "title": "Young Woman with a Mandolin, Portrait of Louison K\u00f6hler", "creation_date": "c. 1873\u20131874", "creation_date_earliest": 1873, "creation_date_latest": 1874, "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: 70.5 x 62.2 x 7.6 cm (27 3/4 x 24 1/2 x 3 in.); Unframed: 54.9 x 46 cm (21 5/8 x 18 1/8 in.)", "dimensions": {"framed": {"height": 0.705, "width": 0.622, "depth": 0.076}, "unframed": {"height": 0.549, "width": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower left: F. Bonvin\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 302666, "title": "Year in Review: 1977", "description": "<i>Year in Review: 1977</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 28, 1977-January 22, 1978).", "opening_date": "1977-12-28T05:00:00"}, {"id": 304507, "title": "The Realist Tradition: French Painting and Drawing 1830 - 1900", "description": "<i>The Realist Tradition: French Painting and Drawing 1830 - 1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 12, 1980-January 18, 1981).", "opening_date": "1980-11-12T05:00:00"}, {"id": 229926, "title": "Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art", "description": "<i>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</i>. Snite Museum, University of Notre Dame, Notre Dame, IN (organizer) (September 2-December 2, 2012).", "opening_date": "2012-09-26T00:00:00"}], "legacy": [{"description": "Paris, Palais des Champs-\u00c9lys\u00e9es. Salon (1874), no. 218, Portrait de Mlle L. de K . . .", "opening_date": null}, {"description": "CMA; Brooklyn Museum, Saint Louis Art Museum; Glasgow Art Gallery and Museum. The Realist Tradition: French Painting and Drawing 1830-1900 (1980-82), 246-47, no. 217 (repr.). Text by Gabriel P. Weisberg.", "opening_date": "1900-01-01T00:00:00"}, {"description": "Snite Museum of Art, Notre Dame University, South Bend, IN (8/26/2012 - 11/15/2012):  \"Breaking the Mold: The Legacy of Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art\", ex. cat. no. 12, p. 54-55.", "opening_date": "2012-08-26T00:00:00"}]}, "provenance": [{"description": "(Sale, H\u00f4tel Drouot, December 19, 1973 (lot 213)", "citations": [], "footnotes": null, "date": "1973", "sortorder": 1}, {"description": "Vachet collection, Paris", "citations": [], "footnotes": ["<div><!--block-->Robert Caby, the French composer and writer who later owned the Bonvin, provided the reference to the Vachet collection, but further details about the identity of Vachet are unknown.&nbsp; The estate sale of one Raymond Vachet was held at H\u00f4tel Drouot on June 24, 1942, but it consisted only of decorative objects and sculptures.&nbsp; If Raymond Vachet was indeed the prior owner of the Bonvin, he should, of course, appear in the provenance prior to the 1973 Drouot sale, and in any case, Caby did not specifiy Vachet\u2019s approximate years of ownership.&nbsp; There is also a Galerie Vachet that appears in the provenance of a painting by Lucien Simon (inv 85 19) in the Mus\u00e9e d\u00e9partemental de l\u2019Oise. &nbsp;</div><div><!--block--><br></div><ul><li><!--block--><br></li></ul>"], "date": "?", "sortorder": 2}, {"description": "Robert Caby [1905-1992], Paris, sold to Noah L. and Muriel S. Butkin", "citations": [], "footnotes": null, "date": "After 1973", "sortorder": 3}, {"description": "Noah L. [1918-1980] and Muriel S. Butkin [1915-1908], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "Until 1977", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1977-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Bonvin was fascinated by the realism of 17th-century Dutch, Flemish, and Spanish still life paintings. He was also aware of the French Realist movement, a highly candid, straightforward style with political overtones. This work embodies both the realism for which Bonvin was famous and the still life paintings of earlier periods. The woman in the painting is Louison K\u00f6hler (1850\u2013?), the artist's mistress. After two failed marriages, Bonvin met her in 1870, and she remained with him until his death, appearing in several of his paintings. The image of the reclining woman hanging directly over Louison's head probably suggests the carnal nature of their relationship. Bonvin borrowed this image\u2014a swooning, overjoyed female\u2014from the famous painting <em>Bacchanal </em>by Titian (1485\u20131576), now in the Prado Museum in Madrid.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60473257"], "internet_archive": ["https://archive.org/details/clevelandart-1977.124-young-woman-with-a-m"]}, "citations": [{"citation": "Gabriel Weisberg, email to Victoria Sears Goldman, Aug. 5, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</em>. Notre Dame, Indiana: Snite Museum of Art, University of Notre Dame, 2012.<br><br><ul><li><br></li></ul>", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>Bonvin</em>. Paris: E\u0301ditions Geoffroy-Dechaume, 1979.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>Bonvin</em>. Paris: E\u0301ditions Geoffroy-Dechaume, 1979", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</em>. Notre Dame, Indiana: Snite Museum of Art, University of Notre Dame, 2012.", "page_number": null, "url": null}, {"citation": "Gabriel Weisberg, email to Victoria Sears Goldman, Aug. 5, 2014, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Estampes anciennes et modernes</em>. 1973.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. <em>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</em>. Notre Dame, Indiana: Snite Museum of Art, University of Notre Dame, 2012.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. \u201cThe Traditional Realism of Fran\u00e7ois Bonvin.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 9 (November 1978): 281\u2013298.", "page_number": "Mentioned and reproduced: p. 280-281, fig. 1", "url": "http://www.jstor.org/stable/25159602"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 59-60, Vol. I, no. 22", "url": ""}, {"citation": "Marrinan, Michael, <em>Gustave Caillebotte: Painting the Paris of Naturalism, 1872-1887</em>. Los Angeles: Getty Research Institute, 2016.", "page_number": "Mentioned & Reproduced: pp. 6-7", "url": null}, {"citation": "Guichane\u0301, Maud, Gabriel P. Weisberg, Le\u0301on Bonvin, Jo Briggs, Ger Luijten, and Miche\u0300le Quentin. <em>Drawn to the Everyday: Le\u0301on Bonvin 1834-1866 : Catalogue Raisonne\u0301.</em> Paris : Fondation Custodia, 2022.", "page_number": "Mentioned and reproduced: p. 54-55, fig. 30", "url": ""}], "url": "https://clevelandart.org/art/1977.124", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1977.124/1977.124_web.jpg", "width": "749", "height": "893", "filesize": "67128", "filename": "1977.124_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1977.124/1977.124_print.jpg", "width": "2850", "height": "3400", "filesize": "1029347", "filename": "1977.124_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1977.124/1977.124_full.tif", "width": "4639", "height": "5533", "filesize": "77047600", "filename": "1977.124_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.124/1977.124_alt0_web.jpg", "width": "746", "height": "893", "filesize": "377873"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.124/1977.124_alt0_print.jpg", "width": "1536", "height": "1838", "filesize": "1584193"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1977.124/1977.124_alt0_full.tif", "width": "1536", "height": "1838", "filesize": "8472628"}}], "creditline": "Gift of Mr. and Mrs. Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 148967, "creators": [{"id": 1562, "description": "Fran\u00e7ois Bonvin (French, 1817\u20131887)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a poor family, Fran\u00e7ois Bonvin was chiefly a self-taught artist. His childhood was an unhappy one, marked by the death of his mother when he was four, his father's remarriage, and the growing family's constant moving and change of fortune. From 1828 through 1830 he was lucky enough to be sent to the \u00c9cole de Dessin in Paris, but his artistic education was short-lived and he began working as a typesetter in 1832. He became a father one month after his marriage in 1837 and, in order to achieve financial security, applied for a clerk's job at the Paris Police Department-where he remained until 1850-while still working as a printer. Painting was still part of his life as attested by one of his first known oils, a still life from 1839. His health declined, and during a hospital-ization in 1842, Bonvin took up drawing again. He eventually returned to study at the \u00c9cole de Dessin and also at the Manufacture des Gobelins and in 1843 attended classes at the Acad\u00e9mie Suisse where he could sketch from nude models. Around this time Bonvin was also introduced to Granet (q.v.), whom he would consider his true mentor, although never officially studying with him. Bonvin began painting scenes from everyday life, reflecting the simplicity and often the drudgery of the lower classes. He was encouraged in his choice of subject matter by Granet, who suggested he study the Dutch masters. Bonvin exhibited at the Salon from 1847 to 1880, receiving a second-class medal in 1850. The artist became involved in the realist movement, meeting regularly at the Brasserie Andler with, among others, his friends Jules Champfleury, a novelist and art critic, and Courbet (q.v.). During the Second Empire (1852-70) Bonvin earned a reputation with his still lifes and genre paintings that often paid tribute to the Dutch Old Masters. He traveled several times to the Netherlands in order to study such works. Bonvin also encour-aged younger painters, such as J. A. M. Whistler (1834-1903) and Fantin-Latour (q.v.), holding an exhibition of their works in his studio after they were rejected at the Salon. During his final years, Bonvin suffered from blindness and paralysis and died a broken man in 1887.", "name_in_original_language": null, "birth_year": "1817", "death_year": "1887", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1977-10-20T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "c. 1873\u20131874", "collapse_artists": false, "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": "2026-03-27 00:03:08.191000"}, {"id": 94882, "accession_number": "1915.442", "share_license_status": "CC0", "tombstone": "Whistle, late 1800s. Africa, Central Africa, Democratic Republic of the Congo or Angola, Chokwe-style maker. Probably hippopotamus ivory; overall: 5.7 x 3.2 cm (2 1/4 x 1 1/4 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1915.442", "current_location": null, "title": "Whistle", "creation_date": "late 1800s", "creation_date_earliest": 1880, "creation_date_latest": 1900, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of the Congo or Angola, Chokwe-style maker"], "technique": "Probably hippopotamus ivory", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Musical Instrument", "measurements": "Overall: 5.7 x 3.2 cm (2 1/4 x 1 1/4 in.)", "dimensions": {"overall": {"height": 0.057, "width": 0.032}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301191, "title": "Materials of the Artist", "description": "<i>Materials of the Artist</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 4-December 12, 1958).", "opening_date": "1958-03-04T05:00:00"}], "legacy": [{"description": "Cleveland Public Library, Cleveland Museum of Art Educational Extension display, Cleveland, OH, 1931. <a href=\"https://digitalarchives.clevelandart.org/digital/collection/p17142coll1/id/4239/rec/2\">https://digitalarchives.clevelandart.org/digital/collection/p17142coll1/id/4239/rec/2</a>", "opening_date": "1931-01-01T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This whistle is the first piece from sub-Saharan Africa acquired by the CMA.", "description": "Carved out of ivory or wood in a variety of shapes, Chokwe whistles often bear miniature, stylized renderings of masks. Cikunza, the \"patron saint\" of the boys' initiation into manhood, is depicted with a pointed extension imitating the horn of a road antelope, symbolizing the fertility spirit. Typically such whistles were used by men during the hunt to communicate with their co-hunters and to call their dogs. They were either worn attached to a string as a necklace or tied to a spear.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79475735"], "internet_archive": ["https://archive.org/details/clevelandart-1915.442-whistle"]}, "citations": [], "url": "https://clevelandart.org/art/1915.442", "images": {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/1915.442/1915.442_web.jpg", "width": "675", "height": "893", "filesize": "254453", "filename": "1915.442_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1915.442/1915.442_print.jpg", "width": "2224", "height": "2944", "filesize": "2988328", "filename": "1915.442_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1915.442/1915.442_full.tif", "width": "2224", "height": "2944", "filesize": "19652196", "filename": "1915.442_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt0_web.jpg", "width": "680", "height": "893", "filesize": "269947"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt0_print.jpg", "width": "2085", "height": "2738", "filesize": "2674326"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt0_full.tif", "width": "2085", "height": "2738", "filesize": "17136424"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt1_web.jpg", "width": "729", "height": "893", "filesize": "257989"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt1_print.jpg", "width": "2531", "height": "3102", "filesize": "3527562"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt1_full.tif", "width": "2531", "height": "3102", "filesize": "23565508"}}, {"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt2_web.jpg", "width": "698", "height": "893", "filesize": "261498"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt2_print.jpg", "width": "2220", "height": "2840", "filesize": "2883898"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1915.442/1915.442_alt2_full.tif", "width": "2220", "height": "2840", "filesize": "18924276"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 94882, "creators": [], "legal_status": "accessioned", "accession_date": "1915-11-19T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:39.133000"}, {"id": 95332, "accession_number": "1916.11", "share_license_status": "CC0", "tombstone": "Sumib\u014dshi (\u89d2\u5e3d\u5b50), 1800\u20131850. Japan, Edo period (1615\u20131868). Silksatin weave; metal thread weft; average: 257.2 x 67.3 cm (101 1/4 x 26 1/2 in.). The Cleveland Museum of Art, Worcester R. Warner Collection, 1916.11", "current_location": null, "title": "Sumib\u014dshi", "title_in_original_language": "\u89d2\u5e3d\u5b50", "creation_date": "1800\u20131850", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": [], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "silksatin weave; metal thread weft", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Garment", "measurements": "Average: 257.2 x 67.3 cm (101 1/4 x 26 1/2 in.)", "dimensions": {"average": {"height": 2.572, "width": 0.673}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 317001, "title": "Inaugural Exhibition", "description": "<i>Inaugural Exhibition</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (June 6-September 20, 1916).", "opening_date": "1916-06-06T05:00:00"}, {"id": 443393, "title": "Arts of Japan from the Cleveland Museum of Art", "description": "<i>Arts of Japan from the Cleveland Museum of Art</i>. Mansfield Art Center, Mansfield, OH (organizer) (March 25-April 22, 1979).", "opening_date": "1979-03-25T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Yamanaka and Company, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1916\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The design on this hat is meant to resemble metal hanging ornaments adorning the interiors of Japanese Buddhist temples.", "description": "<em>Sumib\u014dshi</em> literally means \"hat with corners\" in Japanese, and refers to the square shape made when this textile hat is tied on the head. Actors playing the roles of religious figures in N\u014d theater often wear this kind of cap. It derives from Buddhist vestments.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79476605"], "internet_archive": ["https://archive.org/details/clevelandart-1916.11-sumiboshi"]}, "citations": [], "url": "https://clevelandart.org/art/1916.11", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.11/1916.11_web.jpg", "width": "375", "height": "893", "filesize": "254071", "filename": "1916.11_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.11/1916.11_print.jpg", "width": "1427", "height": "3400", "filesize": "3586824", "filename": "1916.11_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.11/1916.11_full.tif", "width": "2168", "height": "5164", "filesize": "33619148", "filename": "1916.11_full.tif"}}, "alternate_images": [{"date_created": "2007-04-11T17:41:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.11/1916.11_alt0_web.jpg", "width": "584", "height": "893", "filesize": "261419"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.11/1916.11_alt0_print.jpg", "width": "2222", "height": "3400", "filesize": "4270066"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.11/1916.11_alt0_full.tif", "width": "2842", "height": "4349", "filesize": "37109900"}}], "creditline": "Worcester R. Warner Collection", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95332, "creators": [], "legal_status": "accessioned", "accession_date": "1916-03-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800\u20131850", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Headdress (Dzu-Kin)"], "is_highlight": false, "updated_at": "2026-03-27 00:02:50.971000"}, {"id": 107217, "accession_number": "1925.1204.4", "share_license_status": "CC0", "tombstone": "Elles: Woman Sleeping, 1896. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph. The Cleveland Museum of Art, Gift of Ralph King, 1925.1204.4", "current_location": null, "title": "Elles: Woman Sleeping", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}], "legacy": [{"description": "CMA 1996: Sets and Series: Five Centuries of Master Prints, February 20-May 5, 1996, no cat.", "opening_date": "1996-02-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1925.1207"], "did_you_know": "This print belongs to a portfolio published by the dealer Gustave Pellet, who created a special luxury paper that featured a watermark of his initials.", "description": "The French publisher Gustave Pellet, hoping to attract new customers, persuaded Lautrec to make a series of ten prints, plus frontispiece and cover, depicting brothels. Although it was not unusual to see prostitutes pictured in the popular press, Lautrec was the first well-known, successful artist to tackle this subject. The set was a commercial failure when it first appeared, perhaps because the scenes are not erotic. Lautrec had said that \"they are women to my liking\", and between 1892 and 1895 he often lived in various Parisian brothels for weeks at a time. This allowed him to witness the daily lives of the women, including the intimate acts of sleeping and bathing, and to sense their suffering. The result is that only two of the scenes show prostitutes as desirable temptresses. The remainder depict the mundane routine of the women's private world, their caring for each other, their boredom, and, living on the periphery of society, their sense of isolation. Lautrec did not take a direct moral stand. He portrayed the women sympathetically, restoring to them their humanity. One scene shows Juliette Baron, whose life of vice has led to premature aging, bringing her daughter Paulette breakfast. Other images depict the women at private moments, bathing or combing their hair in natural, relaxed poses, unaware of being observed. The beauty of the drawing and use of color makes this set one of the masterpieces of late nineteenth-century French color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894762"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204.4-elles-woman-sleeping"]}, "citations": [], "catalogue_raisonne": "Wittrock Vol.I.158 ; Delteil 182", "url": "https://clevelandart.org/art/1925.1204.4", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.4/1925.1204.4_web.jpg", "width": "900", "height": "693", "filesize": "144505", "filename": "1925.1204.4_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.4/1925.1204.4_print.jpg", "width": "3400", "height": "2619", "filesize": "1801451", "filename": "1925.1204.4_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.4/1925.1204.4_full.tif", "width": "5790", "height": "4460", "filesize": "77500232", "filename": "1925.1204.4_full.tif"}}, "alternate_images": [], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107217, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1925.1204", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Elles:  Woman Lying Down"], "is_highlight": false, "updated_at": "2026-03-27 00:06:22.684000"}, {"id": 107218, "accession_number": "1925.1204.5", "share_license_status": "CC0", "tombstone": "Elles: Woman at the Tub, 1896. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph; sheet: 40 x 52.6 cm (15 3/4 x 20 11/16 in.). The Cleveland Museum of Art, Gift of Ralph King, 1925.1204.5", "current_location": null, "title": "Elles: Woman at the Tub", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 40 x 52.6 cm (15 3/4 x 20 11/16 in.)", "dimensions": {"sheet": {"height": 0.4, "width": 0.526}}, "state_of_the_work": "W. I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309882, "title": "Prints by Toulouse-Lautrec and Bonnard", "description": "<i>Prints by Toulouse-Lautrec and Bonnard</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 3, 1985-March 2, 1986).", "opening_date": "1985-12-03T05:00:00"}], "legacy": [{"description": "CMA 1996:  Sets and Series:  Five Centuries of Master Prints, February 20-May 5, 1996, no cat.", "opening_date": "1996-02-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1925.1209"], "did_you_know": "This print belongs to a portfolio published by the dealer Gustave Pellet, who created a special luxury paper that featured a watermark of his initials.", "description": "The French publisher Gustave Pellet, hoping to attract new customers, persuaded Lautrec to make a series of ten prints, plus frontispiece and cover, depicting brothels. Although it was not unusual to see prostitutes pictured in the popular press, Lautrec was the first well-known, successful artist to tackle this subject. The set was a commercial failure when it first appeared, perhaps because the scenes are not erotic. Lautrec had said that \"they are women to my liking\", and between 1892 and 1895 he often lived in various Parisian brothels for weeks at a time. This allowed him to witness the daily lives of the women, including the intimate acts of sleeping and bathing, and to sense their suffering. The result is that only two of the scenes show prostitutes as desirable temptresses. The remainder depict the mundane routine of the women's private world, their caring for each other, their boredom, and, living on the periphery of society, their sense of isolation. Lautrec did not take a direct moral stand. He portrayed the women sympathetically, restoring to them their humanity. One scene shows Juliette Baron, whose life of vice has led to premature aging, bringing her daughter Paulette breakfast. Other images depict the women at private moments, bathing or combing their hair in natural, relaxed poses, unaware of being observed. The beauty of the drawing and use of color makes this set one of the masterpieces of late nineteenth-century French color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894765"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204.5-elles-woman-at-the-t"]}, "citations": [], "catalogue_raisonne": "Wittrock Vol.I.159 ; Delteil 183", "url": "https://clevelandart.org/art/1925.1204.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.5/1925.1204.5_web.jpg", "width": "900", "height": "691", "filesize": "255217", "filename": "1925.1204.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.5/1925.1204.5_print.jpg", "width": "3400", "height": "2612", "filesize": "3285247", "filename": "1925.1204.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.5/1925.1204.5_full.tif", "width": "5774", "height": "4436", "filesize": "76870368", "filename": "1925.1204.5_full.tif"}}, "alternate_images": [{"date_created": "2012-11-06T17:18:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.5/1925.1204.5_alt0_web.jpg", "width": "1145", "height": "893", "filesize": "277321"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.5/1925.1204.5_alt0_print.jpg", "width": "3400", "height": "2651", "filesize": "2707921"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.5/1925.1204.5_alt0_full.tif", "width": "6157", "height": "4802", "filesize": "88725280"}}], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107218, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1925.1204", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:31.553000"}, {"id": 107219, "accession_number": "1925.1204.6", "share_license_status": "CC0", "tombstone": "Elles: The Toilet, 1896. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph. The Cleveland Museum of Art, Gift of Ralph King, 1925.1204.6", "current_location": null, "title": "Elles: The Toilet", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "W. I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309882, "title": "Prints by Toulouse-Lautrec and Bonnard", "description": "<i>Prints by Toulouse-Lautrec and Bonnard</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 3, 1985-March 2, 1986).", "opening_date": "1985-12-03T05:00:00"}], "legacy": [{"description": "CMA 1996:  Sets and Series:  Five Centuries of Master Prints, February 20-May 5, 1996, no cat.", "opening_date": "1996-02-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1925.1206"], "did_you_know": "This print belongs to a portfolio published by the dealer Gustave Pellet, who created a special luxury paper that featured a watermark of his initials.", "description": "The French publisher Gustave Pellet, hoping to attract new customers, persuaded Lautrec to make a series of ten prints, plus frontispiece and cover, depicting brothels. Although it was not unusual to see prostitutes pictured in the popular press, Lautrec was the first well-known, successful artist to tackle this subject. The set was a commercial failure when it first appeared, perhaps because the scenes are not erotic. Lautrec had said that \"they are women to my liking\", and between 1892 and 1895 he often lived in various Parisian brothels for weeks at a time. This allowed him to witness the daily lives of the women, including the intimate acts of sleeping and bathing, and to sense their suffering. The result is that only two of the scenes show prostitutes as desirable temptresses. The remainder depict the mundane routine of the women's private world, their caring for each other, their boredom, and, living on the periphery of society, their sense of isolation. Lautrec did not take a direct moral stand. He portrayed the women sympathetically, restoring to them their humanity. One scene shows Juliette Baron, whose life of vice has led to premature aging, bringing her daughter Paulette breakfast. Other images depict the women at private moments, bathing or combing their hair in natural, relaxed poses, unaware of being observed. The beauty of the drawing and use of color makes this set one of the masterpieces of late nineteenth-century French color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894768"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204.6-elles-the-toilet"]}, "citations": [], "catalogue_raisonne": "Wittrock Vol.I.160 ; Delteil 184", "url": "https://clevelandart.org/art/1925.1204.6", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.6/1925.1204.6_web.jpg", "width": "701", "height": "900", "filesize": "129976", "filename": "1925.1204.6_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.6/1925.1204.6_print.jpg", "width": "2648", "height": "3400", "filesize": "1385823", "filename": "1925.1204.6_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.6/1925.1204.6_full.tif", "width": "4525", "height": "5810", "filesize": "78900304", "filename": "1925.1204.6_full.tif"}}, "alternate_images": [{"date_created": "2012-11-06T16:24:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.6/1925.1204.6_alt0_web.jpg", "width": "700", "height": "893", "filesize": "71514"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.6/1925.1204.6_alt0_print.jpg", "width": "2667", "height": "3400", "filesize": "1158281"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.6/1925.1204.6_alt0_full.tif", "width": "4812", "height": "6133", "filesize": "88569220"}}], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107219, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1925.1204", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:17.048000"}, {"id": 107222, "accession_number": "1925.1204.9", "share_license_status": "CC0", "tombstone": "Elles: Woman in Bed, 1896. Henri de Toulouse-Lautrec (French, 1864\u20131901). Color lithograph. The Cleveland Museum of Art, Gift of Ralph King, 1925.1204.9", "current_location": null, "title": "Elles: Woman in Bed", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": "W. I/I", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309882, "title": "Prints by Toulouse-Lautrec and Bonnard", "description": "<i>Prints by Toulouse-Lautrec and Bonnard</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (December 3, 1985-March 2, 1986).", "opening_date": "1985-12-03T05:00:00"}], "legacy": [{"description": "CMA 1996:  Sets and Series:  Five Centuries of Master Prints, February 20-May 5, 1996, no cat.", "opening_date": "1996-02-20T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1925.1210"], "did_you_know": "This print belongs to a portfolio published by the dealer Gustave Pellet, who created a special luxury paper that featured a watermark of his initials.", "description": "The French publisher Gustave Pellet, hoping to attract new customers, persuaded Lautrec to make a series of ten prints, plus frontispiece and cover, depicting brothels. Although it was not unusual to see prostitutes pictured in the popular press, Lautrec was the first well-known, successful artist to tackle this subject. The set was a commercial failure when it first appeared, perhaps because the scenes are not erotic. Lautrec had said that \"they are women to my liking\", and between 1892 and 1895 he often lived in various Parisian brothels for weeks at a time. This allowed him to witness the daily lives of the women, including the intimate acts of sleeping and bathing, and to sense their suffering. The result is that only two of the scenes show prostitutes as desirable temptresses. The remainder depict the mundane routine of the women's private world, their caring for each other, their boredom, and, living on the periphery of society, their sense of isolation. Lautrec did not take a direct moral stand. He portrayed the women sympathetically, restoring to them their humanity. One scene shows Juliette Baron, whose life of vice has led to premature aging, bringing her daughter Paulette breakfast. Other images depict the women at private moments, bathing or combing their hair in natural, relaxed poses, unaware of being observed. The beauty of the drawing and use of color makes this set one of the masterpieces of late nineteenth-century French color lithography.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79894775"], "internet_archive": ["https://archive.org/details/clevelandart-1925.1204.9-elles-woman-in-bed"]}, "citations": [], "catalogue_raisonne": "Wittrock Vol.I.163 ; Delteil 187", "url": "https://clevelandart.org/art/1925.1204.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.9/1925.1204.9_web.jpg", "width": "900", "height": "698", "filesize": "174644", "filename": "1925.1204.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.9/1925.1204.9_print.jpg", "width": "3400", "height": "2635", "filesize": "2017391", "filename": "1925.1204.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.1204.9/1925.1204.9_full.tif", "width": "5847", "height": "4531", "filesize": "79508792", "filename": "1925.1204.9_full.tif"}}, "alternate_images": [{"date_created": "2012-11-06T20:13:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.9/1925.1204.9_alt0_web.jpg", "width": "1138", "height": "893", "filesize": "166307"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.9/1925.1204.9_alt0_print.jpg", "width": "3400", "height": "2669", "filesize": "1609941"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.1204.9/1925.1204.9_alt0_full.tif", "width": "6067", "height": "4764", "filesize": "86739824"}}], "creditline": "Gift of Ralph King", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 107222, "creators": [{"id": 1856, "description": "Henri de Toulouse-Lautrec (French, 1864\u20131901)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1864", "death_year": "1901", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1925-12-08T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1925.1204", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:31.226000"}, {"id": 109097, "accession_number": "1927.260", "share_license_status": "CC0", "tombstone": "Blanket Strip, c. 1900. Native North America, Plains, Tsitsistas (Cheyenne). Native-tanned hide, glass beads, yellow trade cloth, brass beads, sinew thread; overall: 182.9 x 13 cm (72 x 5 1/8 in.). The Cleveland Museum of Art, Educational Purchase Fund, 1927.260", "current_location": null, "title": "Blanket Strip", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Native North America, Plains, Tsitsistas (Cheyenne)"], "technique": "Native-tanned hide, glass beads, yellow trade cloth, brass beads, sinew thread", "support_materials": [], "department": "Textiles", "collection": "T - Native North American", "type": "Leather", "measurements": "Overall: 182.9 x 13 cm (72 x 5 1/8 in.)", "dimensions": {"overall": {"height": 1.829, "width": 0.13}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348303, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2014-July 29, 2015).", "opening_date": "2014-08-26T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [{"description": "Purchased from Edward S. Sawyer.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This beaded strip was stitched to a hide or a blanket.", "description": "The animal-hide robes basic to Plains attire were often ornamented with quilled or beaded strips, which also were stitched to the blankets that replaced robes. This beaded example carries the cross-in-a-circle motif that symbolizes the world, the four directions, and the sacred center, concepts central to Plains worldviews. In the 1932 words of Black Elk, the Oglala Lakota (Sioux) holy man, \u201c[T]he power of the world always works in circles. . . . The flowering tree was at the center of the hoop, and the circle of the four quarters nourished it. . . . Everything the power of the world does is done in a circle.\u201d", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80001194"], "internet_archive": ["https://archive.org/details/clevelandart-1927.260-blanket-strip"]}, "citations": [], "url": "https://clevelandart.org/art/1927.260", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1927.260/1927.260_web.jpg", "width": "900", "height": "232", "filesize": "140672", "filename": "1927.260_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1927.260/1927.260_print.jpg", "width": "3400", "height": "875", "filesize": "880815", "filename": "1927.260_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1927.260/1927.260_full.tif", "width": "6524", "height": "1679", "filesize": "32886492", "filename": "1927.260_full.tif"}}, "alternate_images": [{"date_created": "2010-12-20T18:53:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.260/1927.260_alt0_web.jpg", "width": "900", "height": "678", "filesize": "331580"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.260/1927.260_alt0_print.jpg", "width": "1479", "height": "1114", "filesize": "724686"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1927.260/1927.260_alt0_full.tif", "width": "1479", "height": "1114", "filesize": "4972036"}}], "creditline": "Educational Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 109097, "creators": [], "legal_status": "accessioned", "accession_date": "1927-11-11T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:27.601000"}, {"id": 110818, "accession_number": "1929.343", "share_license_status": "CC0", "tombstone": "Drum (ngoma), by 1928. Africa, Eastern Africa, unknown maker. Wood, rawhide, and plant fiber; diameter: 31.2 cm (12 5/16 in.); overall: 40 cm (15 3/4 in.). The Cleveland Museum of Art, Gift of the African Art Sponsors of Karamu House, 1929.343", "current_location": null, "title": "Drum (ngoma)", "creation_date": "by 1928", "creation_date_earliest": 1900, "creation_date_latest": 1928, "artists_tags": [], "culture": ["Africa, Eastern Africa, unknown maker"], "technique": "Wood, rawhide, and plant fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Musical Instrument", "measurements": "Diameter: 31.2 cm (12 5/16 in.); Overall: 40 cm (15 3/4 in.)", "dimensions": {"diameter": {"width": 0.312}, "overall": {"height": 0.4}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 518209, "title": "African Art", "description": "<i>African Art</i>. Karamu House, Cleveland, OH (organizer) (March 1-May 30, 1960).", "opening_date": "1960-03-01T05:00:00"}, {"id": 309582, "title": "Paul Travis: Africa, 1927-1928", "description": "<i>Paul Travis: Africa, 1927-1928</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 2, 1982-January 2, 1983).", "opening_date": "1982-11-02T05:00:00"}], "legacy": []}, "provenance": [{"description": "Purchased by Paul Travis on behalf of the African Art Sponsors and the Gilpin Players in Kampala, Uganda", "citations": [], "footnotes": ["<ul><li><!--block-->Boger, Ann C et al. <em>Paul B. Travis Africa 1927-1928</em>. Cleveland Museum of Art, 1982. P. 24, 44</li><li><!--block-->It appears on a checklist of \"African Material\" circa 1928 as part of a group of five drums from Uganda. The place of collection is obscured by torn paper. Archives of the Cleveland Museum of Natural History.</li></ul>"], "date": "1928", "sortorder": 1}, {"description": "The African Art Sponsors and the Gilpin Players", "citations": [], "footnotes": [""], "date": "1928", "sortorder": 2}, {"description": "The Cleveland Museum of Art by Gift", "citations": [], "footnotes": ["<div><!--block-->12/3/1928 letter to the Cleveland Museum of Art and the Cleveland Museum of Natural History from Hazel Mountain Walker (Gilpin Players, president) and Harry E. Davis (African Art Sponsors, president) reproduced on p. 54 of Adams, Henry et al. <em>Paul Travis 1891-1975</em>. Cleveland Artists Foundation, 2001.</div>"], "date": "1929\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Paul Travis purchased this piece in Kampala, Uganda, shortly after receiving a telegram informing him that the African Art Sponsors and the Gilpin Players had commissioned him to collect African works with money they raised.", "description": "This musical instrument takes its name <em>ngoma</em> from the Kongo language word for \"drum.\" Specialized craftspeople often made these drums. The wooden base is hollow and covered with a first hide, then a second one held tight by plant fibers. This allows the sound to resonate when just the first membrane is struck. In Uganda, drums contain a ritual \"heart\" known only to its maker, which helps to imbue it with power. In contrast with royal drums (<em>mpango</em>), this instrument is not considered sacred. The sounds from men striking drums could be used as a kind of communication or as music in a performance setting.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q83556680"], "internet_archive": ["https://archive.org/details/clevelandart-1929.343-drum-ingoma"]}, "citations": [], "url": "https://clevelandart.org/art/1929.343", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.343/1929.343_web.jpg", "width": "811", "height": "893", "filesize": "509748", "filename": "1929.343_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.343/1929.343_print.jpg", "width": "3088", "height": "3400", "filesize": "6602134", "filename": "1929.343_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.343/1929.343_full.tif", "width": "4596", "height": "5061", "filesize": "69816016", "filename": "1929.343_full.tif"}}, "alternate_images": [{"date_created": "2009-08-11T15:51:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt0_web.jpg", "width": "814", "height": "893", "filesize": "520374"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt0_print.jpg", "width": "3099", "height": "3400", "filesize": "7055967"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt0_full.tif", "width": "4503", "height": "4940", "filesize": "133501860"}}, {"date_created": "2009-08-11T15:48:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt1_web.jpg", "width": "871", "height": "893", "filesize": "549544"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt1_print.jpg", "width": "3317", "height": "3400", "filesize": "7640635"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt1_full.tif", "width": "4734", "height": "4852", "filesize": "68943124"}}, {"date_created": "2009-08-11T15:41:30", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt2_web.jpg", "width": "748", "height": "893", "filesize": "473028"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt2_print.jpg", "width": "2847", "height": "3400", "filesize": "6468335"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1929.343/1929.343_alt2_full.tif", "width": "4370", "height": "5218", "filesize": "68442388"}}], "creditline": "Gift of the African Art Sponsors of Karamu House", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110818, "creators": [], "legal_status": "accessioned", "accession_date": "1929-04-23T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "by 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": ["Wooden Drum"], "is_highlight": false, "updated_at": "2026-03-27 00:04:47.636000"}, {"id": 111369, "accession_number": "1929.874", "share_license_status": "CC0", "tombstone": "The Nightmare, 1832. Honor\u00e9 Daumier (French, 1808\u20131879), Aubert. Lithograph; sheet: 27 x 35.6 cm (10 5/8 x 14 in.); image: 23.3 x 29.4 cm (9 3/16 x 11 9/16 in.). The Cleveland Museum of Art, Gift of Frank S. Lahm, 1929.874", "current_location": null, "title": "The Nightmare", "creation_date": "1832", "creation_date_earliest": 1832, "creation_date_latest": 1832, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "cream wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 27 x 35.6 cm (10 5/8 x 14 in.); Image: 23.3 x 29.4 cm (9 3/16 x 11 9/16 in.)", "dimensions": {"sheet": {"height": 0.27, "width": 0.356}, "image": {"height": 0.233, "width": 0.294}}, "state_of_the_work": "only state", "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Below image, printed: Le cauchemar.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Verso, in pencil: TR 2733/1 / Le portrait a celui du general Lafayette Chari...(?) du 23 Fer 1832 / Charicatur has Daumier qui a depuis(?) d'abore(?) Rogelin", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304642, "title": "Human Rights", "description": "<i>Human Rights</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 5, 1963-January 12, 1964).", "opening_date": "1963-11-05T05:00:00"}, {"id": 310009, "title": "From Block Books to Baskin: Artists as Illustrators", "description": "<i>From Block Books to Baskin: Artists as Illustrators</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 13-August 17, 1986).", "opening_date": "1986-05-13T04:00:00"}], "legacy": []}, "provenance": [{"description": "Frank S. Lahm, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-1929", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1929-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The man in the image is General Lafayette; the pear on top of him represents King Louis-Philippe, showing their uncomfortable relationship.", "description": "This print was published in the journal <em>La Caricature </em>(No. 69) as plate 139.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80003411"], "internet_archive": ["https://archive.org/details/clevelandart-1929.874-the-nightmare"]}, "citations": [], "catalogue_raisonne": "Daumier Register / Delteil 41 ; Hazard-Delteil 249", "url": "https://clevelandart.org/art/1929.874", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.874/1929.874_web.jpg", "width": "1115", "height": "893", "filesize": "682854", "filename": "1929.874_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.874/1929.874_print.jpg", "width": "3400", "height": "2722", "filesize": "5420734", "filename": "1929.874_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.874/1929.874_full.tif", "width": "4844", "height": "3878", "filesize": "56386240", "filename": "1929.874_full.tif"}}, "alternate_images": [], "creditline": "Gift of Frank S. Lahm", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 111369, "creators": [{"id": 1638, "description": "Honor\u00e9 Daumier (French, 1808\u20131879)", "extent": null, "qualifier": null, "role": "artist", "biography": "Honor\u00e9 Daumier was eight years old when his father, a glazier and frame maker who had decided to pursue his poetic talents in Paris, sent for the wife and three sons he lad left behind in Marseilles. In Paris Daumier studied drawing with Alexandre Lenoir (1761-1839) and at the Acad\u00e9mie Suisse. Around 1825 he began a five-year apprenticeship with the publisher and lithographer Z\u00e9pherin Belliard (1798-?). The July revolution of 1830, which established Louis-Philippe as the constitutional monarch in France, coincided with Daumier's creation of satirical lithographs aimed at this new government. That same year he joined La Caricature, a political journal founded by the republican artist-publisher, Charles Philipon (1802-1862). Daumier's antimonarchist and liberal subjects that were printed in this paper eventually cost the journal censorship and the artist six months in jail (31 August 1832 to 14 February 1833) plus a 300-franc fine. His prison sentence did not deter him from producing political statements and, in fact, only fueled his rage. The subjects of his lithographs became much more aggressive. In 1835 he worked for Philipon's second publication, Le Charivari, a humorous political newspaper that published Daumier's satirical caricature until it, too, suffered censorship under the new government. Although Daumier may be best known for his graphic art, he was also a sculptor and a prolific painter. Sculpture became another medium to produce his infamous caricatures. His friend, Honor\u00e9 de Balzac, French novelist and editor of La Caricature, saw in these works the force of Michelangelo. In 1834 Daumier began experimenting with painting, both in oil and watercolor. Apart from his Salon entries of 1849 and 1850, his paintings, which totaled over three hundred, were painted primarily for his own pleasure and virtually unknown to the public until after his death in 1879.", "name_in_original_language": null, "birth_year": "1808", "death_year": "1879", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67445, "description": "Aubert", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1929-11-12T00:00:00", "sortable_date": 1832, "date_added_to_oa": null, "date_text": "1832", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Caricature, plate 139: The Nightmare"], "is_highlight": false, "updated_at": "2026-03-27 00:08:41.990000"}, {"id": 114635, "accession_number": "1934.241", "share_license_status": "CC0", "tombstone": "Awl Case, c. 1890. Native North America, Plains, Gaigwu (Kiowa). Native-tanned hide, glass beads, cotton thread; overall: 33.7 cm (13 1/4 in.). The Cleveland Museum of Art, Gift of Mrs. Katherine Allen Perry, 1934.241", "current_location": null, "title": "Awl Case", "creation_date": "c. 1890", "creation_date_earliest": 1885, "creation_date_latest": 1895, "artists_tags": [], "culture": ["Native North America, Plains, Gaigwu (Kiowa)"], "technique": "Native-tanned hide, glass beads, cotton thread", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Leather", "measurements": "Overall: 33.7 cm (13 1/4 in.)", "dimensions": {"overall": {"height": 0.337}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348303, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2014-July 29, 2015).", "opening_date": "2014-08-26T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Plains women hung small bags often decorated with beads from their belts to keep their most important tools at hand.", "description": "Plains women hung small bags often decorated with beads from their belts to keep their most important tools at hand. This one contained an awl, a shaft of bone, stone, or metal that tapered to a point and had many functions. One of the most important was to sew animal hides into garments: the awl was used to punch small holes in the hide, and then a thread made of animal sinew was laced through the holes and pulled tight.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80007449"], "internet_archive": ["https://archive.org/details/clevelandart-1934.241-awl-case"]}, "citations": [], "url": "https://clevelandart.org/art/1934.241", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1934.241/1934.241_web.jpg", "width": "501", "height": "893", "filesize": "76809", "filename": "1934.241_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1934.241/1934.241_print.jpg", "width": "1907", "height": "3400", "filesize": "1425658", "filename": "1934.241_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1934.241/1934.241_full.tif", "width": "3428", "height": "6111", "filesize": "62877284", "filename": "1934.241_full.tif"}}, "alternate_images": [{"date_created": "2012-04-03T19:02:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.241/1934.241_alt0_web.jpg", "width": "510", "height": "893", "filesize": "73345"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.241/1934.241_alt0_print.jpg", "width": "1940", "height": "3400", "filesize": "1395476"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1934.241/1934.241_alt0_full.tif", "width": "3583", "height": "6278", "filesize": "67515844"}}], "creditline": "Gift of Mrs. Katherine Allen Perry", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 114635, "creators": [], "legal_status": "accessioned", "accession_date": "1934-12-12T00:00:00", "sortable_date": 1885, "date_added_to_oa": null, "date_text": "c. 1890", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:34.035000"}, {"id": 117283, "accession_number": "1937.850", "share_license_status": "CC0", "tombstone": "Storage Bag, late 1800s. Native North America, Plains, Lakota (Sioux). Native-tanned hide, glass beads, dyed horsehair, tin cones, sinew thread; overall: 38.8 cm (15 1/4 in.). The Cleveland Museum of Art, Gift of Amelia Elizabeth White, 1937.850", "current_location": null, "title": "Storage Bag", "creation_date": "late 1800s", "creation_date_earliest": 1880, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Native North America, Plains, Lakota (Sioux)"], "technique": "Native-tanned hide, glass beads, dyed horsehair, tin cones, sinew thread", "support_materials": [], "department": "Textiles", "collection": "T - Native North American", "type": "Leather", "measurements": "Overall: 38.8 cm (15 1/4 in.)", "dimensions": {"overall": {"width": 0.388, "length": 0.597}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348303, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2014-July 29, 2015).", "opening_date": "2014-08-26T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Bags like this were used to store personal items inside the tipi, where they doubled as pillows.", "description": "Rectangular bags made of soft hide\u2014known among early white traders as \u201cpossible bags\u201d because they could hold \u201canything possible\u201d\u2014were used to store personal items inside the tipi, where they doubled as pillows. When encampments moved, the bags were carried on the side of a saddle, where their decoration could be admired.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80011749"], "internet_archive": ["https://archive.org/details/clevelandart-1937.850-storage-bag"]}, "citations": [], "url": "https://clevelandart.org/art/1937.850", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.850/1937.850_web.jpg", "width": "900", "height": "590", "filesize": "199271", "filename": "1937.850_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.850/1937.850_print.jpg", "width": "3400", "height": "2230", "filesize": "2198372", "filename": "1937.850_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.850/1937.850_full.tif", "width": "6790", "height": "4454", "filesize": "90760748", "filename": "1937.850_full.tif"}}, "alternate_images": [{"date_created": "2010-02-10T16:44:38", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt0_web.jpg", "width": "1242", "height": "893", "filesize": "910031"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt0_print.jpg", "width": "3400", "height": "2444", "filesize": "7444864"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt0_full.tif", "width": "6045", "height": "4347", "filesize": "78865444"}}, {"date_created": "2014-08-20T10:53:25", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt1_web.jpg", "width": "900", "height": "608", "filesize": "193329"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt1_print.jpg", "width": "3400", "height": "2295", "filesize": "2055911"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt1_full.tif", "width": "6659", "height": "4495", "filesize": "89829080"}}, {"date_created": "2014-08-20T10:57:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt2_web.jpg", "width": "900", "height": "632", "filesize": "138818"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt2_print.jpg", "width": "3400", "height": "2386", "filesize": "1485053"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt2_full.tif", "width": "6611", "height": "4640", "filesize": "92055064"}}, {"date_created": "2014-08-20T11:10:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt3_web.jpg", "width": "876", "height": "900", "filesize": "232032"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt3_print.jpg", "width": "3310", "height": "3400", "filesize": "2240907"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt3_full.tif", "width": "4609", "height": "4734", "filesize": "65490828"}}, {"date_created": "2014-08-20T11:15:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt4_web.jpg", "width": "799", "height": "900", "filesize": "208461"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt4_print.jpg", "width": "3019", "height": "3400", "filesize": "1931177"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt4_full.tif", "width": "4182", "height": "4709", "filesize": "59112120"}}, {"date_created": "2014-08-20T11:18:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt5_web.jpg", "width": "900", "height": "349", "filesize": "100184"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt5_print.jpg", "width": "3400", "height": "1318", "filesize": "939188"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.850/1937.850_alt5_full.tif", "width": "6279", "height": "2434", "filesize": "45879216"}}], "creditline": "Gift of Amelia Elizabeth White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117283, "creators": [], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Carrying Bag"], "is_highlight": false, "updated_at": "2026-03-27 00:05:25.935000"}, {"id": 117311, "accession_number": "1937.871", "share_license_status": "CC0", "tombstone": "Pipe or Tobacco Bag, c. 1870. Native North America, Plains, Tsitsistas (Cheyenne). Native-tanned hide, yellow pigment, glass beads, red trade cloth, tin cones, sinew thread; overall: 71.1 x 12.7 cm (28 x 5 in.). The Cleveland Museum of Art, Gift of Amelia Elizabeth White, 1937.871", "current_location": null, "title": "Pipe or Tobacco Bag", "creation_date": "c. 1870", "creation_date_earliest": 1865, "creation_date_latest": 1875, "artists_tags": [], "culture": ["Native North America, Plains, Tsitsistas (Cheyenne)"], "technique": "Native-tanned hide, yellow pigment, glass beads, red trade cloth, tin cones, sinew thread", "support_materials": [], "department": "Textiles", "collection": "T - Native North American", "type": "Leather", "measurements": "Overall: 71.1 x 12.7 cm (28 x 5 in.)", "dimensions": {"overall": {"height": 0.711, "width": 0.127}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 348303, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26, 2014-July 29, 2015).", "opening_date": "2014-08-26T04:00:00"}, {"id": 449379, "title": "Native North America", "description": "<i>Native North America</i>. The Cleveland Museum of Art (organizer) (December 4, 2021-December 4, 2022).", "opening_date": "2021-12-04T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Glass and metal beads were imported from Europe.", "description": "The shape of this bag indicates it was made to hold tobacco and one of the pipes that played a paramount role in the lives of Plains nations. Smoking is a means of prayer\u2014the smoke carries thanks and entreaties into the other-than-human realm\u2014and pipes were lit to seek protection and guidance on new endeavors, during alliance and dispute negotiations, to mark life\u2019s milestones, and in many other situations. By the late 1800s, when this example was made, such bags were a standard element of prestigious men\u2019s formal dress regalia.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80011787"], "internet_archive": ["https://archive.org/details/clevelandart-1937.871-pipe-or-tobacco-bag"]}, "citations": [], "url": "https://clevelandart.org/art/1937.871", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1937.871/1937.871_web.jpg", "width": "307", "height": "893", "filesize": "220886", "filename": "1937.871_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1937.871/1937.871_print.jpg", "width": "1167", "height": "3400", "filesize": "3345875", "filename": "1937.871_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1937.871/1937.871_full.tif", "width": "1716", "height": "5000", "filesize": "25761552", "filename": "1937.871_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.871/1937.871_alt0_web.jpg", "width": "306", "height": "893", "filesize": "210814"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.871/1937.871_alt0_print.jpg", "width": "1166", "height": "3400", "filesize": "3352781"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1937.871/1937.871_alt0_full.tif", "width": "1715", "height": "5000", "filesize": "25745712"}}], "creditline": "Gift of Amelia Elizabeth White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117311, "creators": [], "legal_status": "accessioned", "accession_date": "1937-12-20T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "c. 1870", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Beaded Pipe Bag"], "is_highlight": false, "updated_at": "2026-03-27 00:03:31.765000"}, {"id": 136918, "accession_number": "1961.399", "share_license_status": "CC0", "tombstone": "Gold Weight (abrammuo): Fish, 1800s. Africa, West Africa, Ghana, Asante goldsmith. Copper alloy; overall: 2.8 x 6.6 x 0.4 cm (1 1/8 x 2 5/8 x 3/16 in.). The Cleveland Museum of Art, Gift of William Ellery Greene, 1961.399", "current_location": null, "title": "Gold Weight (abrammuo): Fish", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, West Africa, Ghana, Asante goldsmith"], "technique": "Copper alloy", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 2.8 x 6.6 x 0.4 cm (1 1/8 x 2 5/8 x 3/16 in.)", "dimensions": {"overall": {"height": 0.028, "width": 0.066, "depth": 0.004}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 302276, "title": "Year in Review - 1962", "description": "<i>Year in Review - 1962</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 24-November 25, 1962).", "opening_date": "1962-10-24T04:00:00"}], "legacy": [{"description": "CMA 1962:  \"Year in Review,\" Bulletin XLIX (November 1962), p. 223, no. 27.", "opening_date": "1962-11-01T00:00:00"}]}, "provenance": [{"description": "William Ellery Greene, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131961", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1961\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The prominence of fish-shaped weights in Asante cultures may be linked to the highly held value of wisdom, as the word for fish and wisdom in the Asante language is the same: <em>adwene</em>.", "description": "The wealth and power of the Asante kingdom was derived primarily from its massive gold resources. Since at least 1600, small weights in brass and bronze were used to weigh gold dust and nuggets. The royal court had the most elaborate store of weights, while commoners often had about a dozen. Their imagery falls into two broad cateogries: geometric and representational. The latter often refers to proverbs, which used judiciously, marked a wise person.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80031230"], "internet_archive": ["https://archive.org/details/clevelandart-1961.399-gold-weight-abrammuo"]}, "citations": [], "url": "https://clevelandart.org/art/1961.399", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1961.399/1961.399_web.jpg", "width": "1263", "height": "750", "filesize": "433475", "filename": "1961.399_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1961.399/1961.399_print.jpg", "width": "3400", "height": "2020", "filesize": "748472", "filename": "1961.399_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1961.399/1961.399_full.tif", "width": "5636", "height": "3348", "filesize": "56629052", "filename": "1961.399_full.tif"}}, "alternate_images": [{"date_created": "2009-11-05T16:13:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.399/1961.399_alt0_web.jpg", "width": "900", "height": "423", "filesize": "157491"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.399/1961.399_alt0_print.jpg", "width": "3400", "height": "1599", "filesize": "717440"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1961.399/1961.399_alt0_full.tif", "width": "5884", "height": "2768", "filesize": "48892888"}}], "creditline": "Gift of William Ellery Greene", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 136918, "creators": [], "legal_status": "accessioned", "accession_date": "1961-12-02T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Weight for Measuring Gold (mmramoo):  Fish"], "is_highlight": false, "updated_at": "2026-03-27 00:01:58.496000"}, {"id": 140327, "accession_number": "1964.28.b", "share_license_status": "CC0", "tombstone": "Sheet of Sketches (verso), 1819. Th\u00e9odore G\u00e9ricault (French, 1791\u20131824). Pen and ink; sheet: 22.8 x 35 cm (9 x 13 3/4 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1964.28.b", "current_location": null, "title": "Sheet of Sketches (verso)", "creation_date": "1819", "creation_date_earliest": 1819, "creation_date_latest": 1819, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "pen and ink", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 22.8 x 35 cm (9 x 13 3/4 in.)", "dimensions": {"sheet": {"height": 0.228, "width": 0.35}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 193792, "title": "Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900", "description": "<i>Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-May 23, 1999).", "opening_date": "1999-03-14T00:00:00"}], "legacy": [{"description": "Cleveland, Ohio:  The Cleveland Museum of Art; March 14 - May 23, 1999.  \"Drawn to the Body:  The Human Figure and the Graphic Arts, 1500 - 1900.\"", "opening_date": "1999-03-14T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "G\u00e9ricault died at a young age and had a professional career lasting only just over a decade.", "description": "The inscription at the upper left of the sheet states that G\u00e9ricault executed these studies at the spring of the Magdelaine, near the forest of Fontainebleau, which he visited in 1819. The male figures closely resemble the earlier studies he made while in Italy of peasants during horse races at annual Roman carnivals. Here, men struggle to keep control of their unseen animals during the moments before the race. The verso female figures, visible though the paper, derive directly from Pompeiian paintings of bacchanals, or revelers participating in festivals honoring Bacchus, the god of wine.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80038407"], "internet_archive": ["https://archive.org/details/clevelandart-1964.28.b-sheet-of-sketches-ve"]}, "citations": [], "url": "https://clevelandart.org/art/1964.28.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1964.28.b/1964.28.b_web.jpg", "width": "1263", "height": "829", "filesize": "850394", "filename": "1964.28.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1964.28.b/1964.28.b_print.jpg", "width": "3400", "height": "2231", "filesize": "6700454", "filename": "1964.28.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1964.28.b/1964.28.b_full.tif", "width": "6289", "height": "4128", "filesize": "77913728", "filename": "1964.28.b_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 140327, "creators": [{"id": 11643, "description": "Th\u00e9odore G\u00e9ricault (French, 1791\u20131824)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1824", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1964-02-22T00:00:00", "sortable_date": 1819, "date_added_to_oa": null, "date_text": "1819", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1964.28", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:21.401000"}, {"id": 142694, "accession_number": "1966.413", "share_license_status": "CC0", "tombstone": "The Haunted House, 1896. Odilon Redon (French, 1840\u20131916). Six lithographs. The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 1966.413", "current_location": null, "title": "The Haunted House", "creation_date": "1896", "creation_date_earliest": 1896, "creation_date_latest": 1896, "artists_tags": ["male"], "culture": ["France, late 19th Century"], "technique": "six lithographs", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 301129, "title": "Year in Review: 1967", "description": "<i>Year in Review: 1967</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 29-December 31, 1967).", "opening_date": "1967-11-29T05:00:00"}, {"id": 393854, "title": "Collecting Dreams: Odilon Redon", "description": "<i>Collecting Dreams: Odilon Redon</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 19, 2021-January 23, 2022).", "opening_date": "2021-09-19T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "One of Redon's greatest patrons, the occultist Ren\u00e9 Philipon, commissioned this portfolio as a supplement for his French translation of Bulwer-Lytton's <em>The Haunted and the Haunters.</em>", "description": "Odilon Redon was a voracious reader of contemporary literature, and such texts often influenced his art. This series was inspired by <em>The Haunted and the Haunters,</em> an 1859 novel by British writer Edward Bulwer-Lytton. Redon\u2019s prints capture the book\u2019s mysterious tone and emphasis on the supernatural through vague but evocative imagery that sometimes borders on abstraction. By this time a seasoned expert in lithography, the artist collaborated with master printer Auguste Clot. Their combined technical skills allowed for the rich tonal variation seen here, made by turning Redon\u2019s lithographic crayon on its side, layering various marks, and even scratching directly into the surface of his stone.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80042651"], "internet_archive": ["https://archive.org/details/clevelandart-1966.413-the-haunted-house"]}, "citations": [], "catalogue_raisonne": "Mellerio 160-166", "url": "https://clevelandart.org/art/1966.413", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1966.413/1966.413_web.jpg", "width": "900", "height": "640", "filesize": "205041", "filename": "1966.413_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1966.413/1966.413_print.jpg", "width": "3400", "height": "2418", "filesize": "1958000", "filename": "1966.413_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1966.413/1966.413_full.tif", "width": "16512", "height": "11741", "filesize": "581630640", "filename": "1966.413_full.tif"}}, "alternate_images": [{"date_created": "2006-03-07T20:05:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413/1966.413_alt0_web.jpg", "width": "649", "height": "900", "filesize": "109202"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413/1966.413_alt0_print.jpg", "width": "2450", "height": "3400", "filesize": "1225948"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413/1966.413_alt0_full.tif", "width": "3828", "height": "5312", "filesize": "61025756"}}, {"date_created": "2006-03-07T19:42:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413/1966.413_alt1_web.jpg", "width": "900", "height": "185", "filesize": "119982"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413/1966.413_alt1_print.jpg", "width": "3400", "height": "697", "filesize": "548371"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1966.413/1966.413_alt1_full.tif", "width": "27865", "height": "5710", "filesize": "477347748"}}], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 142694, "creators": [{"id": 1748, "description": "Odilon Redon (French, 1840\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "A leader of the symbolist movement in France, Odilon Redon was born in Bordeaux in 1840 and grew up in the surrounding region. During his early years he studied drawing, architecture, and the violin. A friendship with Armand Clavaud, a local botanist and philosopher, stimulated Redon's passion for romantic art and literature. In 1864, after a brief and discouraging period of instruction with G\u00e9r\u00f4me in Paris, Redon returned to Bordeaux, where he studied printmaking with Rodolphe Bresdin (1825-1885). Deploring the emphasis on rational, phenomenal experience in academic and naturalist art, Redon turned for inspiration to the imaginative paintings of Delacroix, the prints of Francisco Jos\u00e9 de Goya (1746-1828), and the poetry of Charles Baudelaire. In 1870, after military service in the Franco-Prussian War, Redon settled in Paris and produced his first <em>Noirs</em>. These visionary images, featuring floating eyes and severed heads born aloft on wings, reflect Redon's belief in the superiority of the imagination and fantasy, which he considered \"the messenger of the unconscious.\" After producing his initial <em>Noirs </em>in charcoal, Redon discovered a method of transferring his drawings to lithography in 1876. Throughout the 1880s he continued to use charcoal, etching, and lithography as his primary media, and he produced twelve lithography albums before abandoning the genre in the late 1890s. During the 1880s Redon emerged as a leader of the symbolist reaction against impressionism. The publication in 1879 of his first lithographic album, <em>Dans le r\u00eave</em>, followed by his first solo exhibition in 1881, attracted the admiration of J. K. Huysmans, who included illustrations by Redon in his novel <em>\u00c0 rebours</em> (1884). Around the same time, Redon developed a personal and artistic relationship with poet St\u00e9phane Mallarm\u00e9. Increasingly drawn into the public arena, Redon helped organize the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants in 1884. In 1886 he participated in the last impressionist exhibition and began showing with Les XX in Brussels. Redon's antinaturalist, visionary, art inspired many symbolist and Nabi artists, including Gauguin and Vuillard. Maurice Denis praised Redon as \"our Mallarm\u00e9,\" and in 1892 critic Albert Aurier described Redon as a leader of the new \"idealistic\" tendency in art. After 1890 the focus of Redon's activity shifted from monochromatic drawings and prints toward exploring color in richly worked pastels. His innovations in luminous color, as seen in the pastel and oil paintings he exhibited at the Galeries Durand-Ruel in 1900 were greatly admired by Henri Matisse (1869-1954) and the Fauves. Awarded the Legion of Honor in 1903, Redon continued his leadership role in the avant-garde and in 1904 became a founding member of the Salon d'Automne. In 1913 forty of his works were selected for exhibition in the Armory Show, the most by any artist. Redon died at his home in Paris in the summer of 1916.", "name_in_original_language": null, "birth_year": "1840", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1966-11-05T00:00:00", "sortable_date": 1896, "date_added_to_oa": null, "date_text": "1896", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:13.535000"}, {"id": 151621, "accession_number": "1984.1046", "share_license_status": "CC0", "tombstone": "Hide Shirt, c. 1890. America, Native North American, Central Plains, Lakota Sioux, 19th century. Hide, pigment, glass beads, human hair; overall: 97.8 x 150 cm (38 1/2 x 59 1/16 in.). The Cleveland Museum of Art, Bequest of David S. McMillan, 1984.1046", "current_location": null, "title": "Hide Shirt", "creation_date": "c. 1890", "creation_date_earliest": 1885, "creation_date_latest": 1895, "artists_tags": [], "culture": ["America, Native North American, Central Plains, Lakota Sioux, 19th century"], "technique": "hide, pigment, glass beads, human hair", "support_materials": [], "department": "Textiles", "collection": "T - Native North American", "type": "Textile", "measurements": "Overall: 97.8 x 150 cm (38 1/2 x 59 1/16 in.)", "dimensions": {"overall": {"height": 0.978, "width": 1.5}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 229358, "title": "Art of the American Indians: The Thaw Collection", "description": "<i>Art of the American Indians: The Thaw Collection</i>. The Cleveland Museum of Art, Cleveland, OH (March 7-May 30, 2010).", "opening_date": "2010-03-07T00:00:00"}, {"id": 343666, "title": "Gallery 231 - Native North American Textile Rotation", "description": "<i>Gallery 231 - Native North American Textile Rotation</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 27, 2019-November 9, 2020).", "opening_date": "2019-08-27T04:00:00"}], "legacy": []}, "provenance": [{"description": "Update on pre-acquisition history pending.", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Estate of David S. McMillan, Cleveland, OH, gifted to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?-1984", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1984-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1029.33"], "did_you_know": "Only Lakota (Sioux) chiefs had the right to wear painted shirts, an honor they earned through bravery.", "description": "Traditionally, only Lakota (Sioux) head chiefs had the right to wear painted shirts, an honor they earned through sacrifice and bravery but lost by failing in their responsibilities. By the time this example was created, European Americans had confined the Lakota to reservations, and painted shirts had become the privilege of battle veterans rather than of active warriors. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (February 24-April 17, 1988).", "opening_date": "1988-02-24T05:00:00"}, {"id": 311497, "title": "Asian Autumn: Splendid Variety: 18th-Century Art in Japan", "description": "<i>Asian Autumn: Splendid Variety: 18th-Century Art in Japan</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 16, 1993-March 6, 1994).", "opening_date": "1993-11-16T05:00:00"}], "legacy": []}, "provenance": [{"description": "(Yanagi Fine Art Shop, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131987", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1987\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1987.73"], "did_you_know": "The adult in this painting transports a small sculpted image of the fox deity Inari atop his head.", "description": "Though rarely mentioned in official histories, Socho was an accomplished painter whose talent is readily apparent to the modern eye. For his compositions he chose traditional Japanese stories or everyday events. This painting belongs to a triptych (set of three) that was recently converted from folding screen panels to hanging scrolls.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60476029"], "internet_archive": ["https://archive.org/details/clevelandart-1987.72.2-genre-figures"]}, "citations": [], "url": "https://clevelandart.org/art/1987.72.2", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1987.72.2/1987.72.2_web.jpg", "width": "369", "height": "900", "filesize": "100881", "filename": "1987.72.2_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1987.72.2/1987.72.2_print.jpg", "width": "1394", "height": "3400", "filesize": "974829", "filename": "1987.72.2_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1987.72.2/1987.72.2_full.tif", "width": "3221", "height": "7855", "filesize": "75932156", "filename": "1987.72.2_full.tif"}}, "alternate_images": [{"date_created": "2015-01-12T14:21:35", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt0_web.jpg", "width": "337", "height": "900", "filesize": "88415"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt0_print.jpg", "width": "1273", "height": "3400", "filesize": "832640"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt0_full.tif", "width": "2944", "height": "7861", "filesize": "69458748"}}, {"date_created": "2015-01-12T14:03:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt1_web.jpg", "width": "618", "height": "900", "filesize": "158758"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt1_print.jpg", "width": "1352", "height": "1968", "filesize": "579247"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt1_full.tif", "width": "1352", "height": "1968", "filesize": "8011760"}}, {"date_created": "2015-01-08T19:03:15.096000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt2_web.jpg", "width": "541", "height": "900", "filesize": "83774"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt2_print.jpg", "width": "2043", "height": "3400", "filesize": "612816"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt2_full.tif", "width": "2614", "height": "4351", "filesize": "34160968"}}, {"date_created": "2015-01-08T19:03:29.077000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt3_web.jpg", "width": "900", "height": "838", "filesize": "168036"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt3_print.jpg", "width": "3400", "height": "3164", "filesize": "1488963"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt3_full.tif", "width": "3607", "height": "3357", "filesize": "36366236"}}, {"date_created": "2015-01-08T19:04:04.084000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt4_web.jpg", "width": "900", "height": "867", "filesize": "219916"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt4_print.jpg", "width": "3325", "height": "3202", "filesize": "1831604"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt4_full.tif", "width": "3325", "height": "3202", "filesize": "31980068"}}, {"date_created": "2015-01-08T19:04:43.077000", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt5_web.jpg", "width": "900", "height": "814", "filesize": "164832"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt5_print.jpg", "width": "3223", "height": "2916", "filesize": "1141072"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1987.72.2/1987.72.2_alt5_full.tif", "width": "3223", "height": "2916", "filesize": "28243168"}}], "creditline": "John L. Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 153778, "creators": [{"id": 35743, "description": "Takebe S\u014dch\u014d (Japanese, 1760\u20131814)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u5efa\u90e8 \u5de3\u5146", "birth_year": "1760", "death_year": "1814", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1987-08-19T00:00:00", "sortable_date": 1811, "date_added_to_oa": null, "date_text": "c. 1816", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1987.72", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:09:48.128000"}, {"id": 154327, "accession_number": "1989.103", "share_license_status": "CC0", "tombstone": "Mask of an Elder (\ub178\uc778\ud0c8 (\uf934\u4eba\u9762\u5177)), 1800s. Korea, Joseon dynasty (1392\u20131910). Wood with horsehair; mask: 20.3 x 6.1 cm (8 x 2 3/8 in.). The Cleveland Museum of Art, The Severance and Greta Millikin Purchase Fund, 1989.103", "current_location": null, "title": "Mask of an Elder", "title_in_original_language": "\ub178\uc778\ud0c8 (\uf934\u4eba\u9762\u5177)", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "wood with horsehair", "support_materials": [], "department": "Korean Art", "collection": "Korean Art", "type": "Wood", "measurements": "Mask: 20.3 x 6.1 cm (8 x 2 3/8 in.)", "dimensions": {"mask": {"height": 0.203, "width": 0.061, "length": 0.132}, "overall": {"height": 0.337}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 310333, "title": "The Year in Review for 1989", "description": "<i>The Year in Review for 1989</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 6-April 15, 1990).", "opening_date": "1990-02-06T05:00:00"}, {"id": 311490, "title": "Asian Autumn: Later Korean Art", "description": "<i>Asian Autumn: Later Korean Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 1992-January 3, 1993).", "opening_date": "1992-09-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Yanagi Fine Art Shop, Kyoto, Japan, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131989", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1989\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This wooden mask may have been worn by a dancer who performed an elderly figure for outdoor theatrical dance.", "description": "The traditional Korean mask dance is a form of drama featuring the wearing of masks such as this one, singing and dancing. It was originally a regional term only applied to mask dances traditional to Hwanghae Province. During the Joseon dynasty (1392\u20131910), the dance rose to popularity among villagers as a means of self-expression and liberation, often criticizing injustice of society. <br><br>Talchum: The Traditional Mask Dance of South Korea<br>South Korea offers a vast array of experiences that are both dynamic and reverent to its rich ancient heritage. With 5,000 years of fascinating history and culture, we offer you the opportunity to encounter <em>Talchum</em>, a traditional mask dance-drama that captures the essence of its Shamanic beliefs in various regions throughout centuries.<span data-trix-selection=\"true\" data-trix-cursor-target=\"true\" data-trix-serialize=\"false\">\ufeff</span><figure class=\"attachment attachment-preview\" data-trix-attachment=\"{&quot;contentType&quot;:&quot;image&quot;,&quot;height&quot;:344,&quot;url&quot;:&quot;https://www.phoenixvoyages.com/media/353504/koreanmaskdancetal.jpg?width=500&amp;height=344.0629470672389&quot;,&quot;width&quot;:500}\" data-trix-content-type=\"image\" data-trix-id=\"359\" contenteditable=\"false\"><img src=\"https://www.phoenixvoyages.com/media/353504/koreanmaskdancetal.jpg?width=500&amp;height=344.0629470672389\" data-trix-mutable=\"true\" data-trix-store-key=\"imageElement/359/360/https://www.phoenixvoyages.com/media/353504/koreanmaskdancetal.jpg?width=500&amp;height=344.0629470672389\" width=\"500\" height=\"344\"><figcaption class=\"caption\"></figcaption></figure><span data-trix-selection=\"true\" data-trix-cursor-target=\"true\" data-trix-serialize=\"false\">\ufeff</span> <br>Talchum is a traditional Korean mask dance drama. Literally translated to \u201cmask dance,\u201d it displays the people\u2019s close connection with village communities, which had long been the basis of Korean culture and tradition. <u><span data-trix-selection=\"true\" data-trix-cursor-target=\"true\" data-trix-serialize=\"false\">\ufeff</span><figure class=\"attachment attachment-preview\" data-trix-attachment=\"{&quot;contentType&quot;:&quot;image&quot;,&quot;height&quot;:332,&quot;url&quot;:&quot;https://www.phoenixvoyages.com/media/353503/talchumdancemask.jpg?width=500&amp;height=332.14285714285717&quot;,&quot;width&quot;:500}\" data-trix-content-type=\"image\" data-trix-id=\"369\" contenteditable=\"false\"><img src=\"https://www.phoenixvoyages.com/media/353503/talchumdancemask.jpg?width=500&amp;height=332.14285714285717\" data-trix-mutable=\"true\" data-trix-store-key=\"imageElement/369/370/https://www.phoenixvoyages.com/media/353503/talchumdancemask.jpg?width=500&amp;height=332.14285714285717\" width=\"500\" height=\"332\"><figcaption class=\"caption\"></figcaption></figure><span data-trix-selection=\"true\" data-trix-cursor-target=\"true\" data-trix-serialize=\"false\">\ufeff</span></u><u><br></u>Talchum was derived from Shamanic rituals to pray for abundant harvest, peace, prosperity, and protection against evil spirits. As civilization developed, masks gradually evolved from sacred objects used in shamanism to becoming forms of entertainment and expression.In the Joseon period (1392\u20131910), the dance rose to popularity among villagers as a means of self-expression and liberation. Talchum signified the spirit of the oppressed through dance. These masked performances told stories that criticized an unjust society or ruling class, and expressed the people\u2019s desire for a reformed world. The main themes of Talchum include, first, a ritual to drive away evil spirits; second, ridicule of apostate Buddhist monks; third, insult the hypocrisy of noblemen; and fourth, tragedy arising from conflict among spouses and the joys or sorrows of everyday life.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79941207"], "internet_archive": ["https://archive.org/details/clevelandart-1989.103-mask-of-an-elder"]}, "citations": [], "url": "https://clevelandart.org/art/1989.103", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1989.103/1989.103_web.jpg", "width": "637", "height": "893", "filesize": "44238", "filename": "1989.103_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1989.103/1989.103_print.jpg", "width": "2427", "height": "3400", "filesize": "640228", "filename": "1989.103_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1989.103/1989.103_full.tif", "width": "4168", "height": "5838", "filesize": "73042288", "filename": "1989.103_full.tif"}}, "alternate_images": [{"date_created": "2012-05-01T18:18:27", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.103/1989.103_alt0_web.jpg", "width": "682", "height": "893", "filesize": "50229"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.103/1989.103_alt0_print.jpg", "width": "2596", "height": "3400", "filesize": "795309"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1989.103/1989.103_alt0_full.tif", "width": "4271", "height": "5593", "filesize": "71705324"}}], "creditline": "The Severance and Greta Millikin Purchase Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 154327, "creators": [], "legal_status": "accessioned", "accession_date": "1989-12-04T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:06:54.955000"}, {"id": 155849, "accession_number": "1991.153", "share_license_status": "CC0", "tombstone": "Sappho, 1895. Maurice Dumont (French, 1870\u20131899). Gypsograph; sheet: 27.6 x 36.6 cm (10 7/8 x 14 7/16 in.); image: 12 x 19.1 cm (4 3/4 x 7 1/2 in.). The Cleveland Museum of Art, Gift of Friends of the Department of Prints and Drawings, 1991.153", "current_location": null, "title": "Sappho", "creation_date": "1895", "creation_date_earliest": 1895, "creation_date_latest": 1895, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "gypsograph", "support_materials": [], "department": "Prints", "collection": "PR - Gypsograph", "type": "Print", "measurements": "Sheet: 27.6 x 36.6 cm (10 7/8 x 14 7/16 in.); Image: 12 x 19.1 cm (4 3/4 x 7 1/2 in.)", "dimensions": {"sheet": {"height": 0.276, "width": 0.366}, "image": {"height": 0.12, "width": 0.191}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 187619, "title": "Inventive Impressions:  18th- and 19-Century French Prints", "description": "<i>Inventive Impressions:  18th- and 19-Century French Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001).", "opening_date": "2001-08-26T00:00:00"}], "legacy": [{"description": "The Cleveland Museum of Art; 8/26/01-10/28/01.  \"Inventive Impressions:  18th- and 19th-Century French Prints\".", "opening_date": "2001-08-26T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Maurice Dumont was one of the most prolific practitioners of gypsography, a printmaking technique that resulted in an embossed impression.", "description": "Dumont was an innovative printmaker who experimented with a variety of printmaking processes. Sappho-which depicts the ancient Greek poetess with a lyre in a grove of birch trees-appeared in Pan, an artistic journal, accompanied by an article about the gypsograph technique (see glossary). Dumont made several versions of Sappho, which is not surprising since he also wrote poetry.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79944359"], "internet_archive": ["https://archive.org/details/clevelandart-1991.153-sappho"]}, "citations": [], "catalogue_raisonne": "Bonafous - Murat 68", "url": "https://clevelandart.org/art/1991.153", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1991.153/1991.153_web.jpg", "width": "1263", "height": "843", "filesize": "772961", "filename": "1991.153_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1991.153/1991.153_print.jpg", "width": "3400", "height": "2269", "filesize": "4332033", "filename": "1991.153_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1991.153/1991.153_full.tif", "width": "4956", "height": "3308", "filesize": "49217300", "filename": "1991.153_full.tif"}}, "alternate_images": [], "creditline": "Gift of Friends of the Department of Prints and Drawings", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 155849, "creators": [{"id": 29319, "description": "Maurice Dumont (French, 1870\u20131899)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1870", "death_year": "1899", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1992-09-23T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "1895", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:06.253000"}, {"id": 159746, "accession_number": "1997.118", "share_license_status": "CC0", "tombstone": "Divine couple seated in a lotus blossom, early 1800s. Northern India, Pahari Region, Himachal Pradesh, Rajput Kingdom of Kangra. Gum tempera and gold on paper; sheet: 13.3 x 9 cm (5 1/4 x 3 9/16 in.). The Cleveland Museum of Art, Bequest of Mrs. A. Dean Perry, 1997.118", "current_location": null, "title": "Divine couple seated in a lotus blossom", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1825, "artists_tags": [], "culture": ["Northern India, Pahari Region, Himachal Pradesh, Rajput Kingdom of Kangra"], "technique": "Gum tempera and gold on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Sheet: 13.3 x 9 cm (5 1/4 x 3 9/16 in.)", "dimensions": {"sheet": {"height": 0.133, "width": 0.09}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311529, "title": "Supernatural Love - Indian Gallery 242 Rotation", "description": "<i>Supernatural Love - Indian Gallery 242 Rotation</i>. The Cleveland Museum of Art (organizer) (April 1-September 9, 2019).", "opening_date": "2019-04-01T04:00:00"}, {"id": 535998, "title": "Nature Supernatural", "description": "<i>Nature Supernatural</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 22, 2023-March 3, 2024).", "opening_date": "2023-09-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. A. Dean Perry [Helen Wade Greene Perry, 1911\u20131996], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131997", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1997\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The five-part butter lamp at the lower right is lit with flames, and smoke wafts from the censer.", "description": "A gigantic, thousand-petaled lotus flower provides an intimate setting for the lovers. They sit on the seed pod of another full-blown lotus flower, which indicates their transcendent nature by elevating them from the mire of the earth. <br><br>Shown with full face forward in all white, the four-armed male deity has the all-seeing third eye in his brow and holds only a manuscript. The red goddess on his lap grasps a lotus flower in one hand, which communicates her benign and peaceful nature. At the bottom are offerings of flowers, incense, oil lamps, and jeweled cups of pure water or liquor.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60477438"], "internet_archive": ["https://archive.org/details/clevelandart-1997.118-shiva-with-sati-seat", "https://archive.org/details/clevelandart-1997.118-divine-couple-seated"]}, "citations": [], "url": "https://clevelandart.org/art/1997.118", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1997.118/1997.118_web.jpg", "width": "654", "height": "900", "filesize": "356042", "filename": "1997.118_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1997.118/1997.118_print.jpg", "width": "2471", "height": "3400", "filesize": "3349233", "filename": "1997.118_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1997.118/1997.118_full.tif", "width": "7789", "height": "10718", "filesize": "250479009", "filename": "1997.118_full.tif"}}, "alternate_images": [{"date_created": "2014-03-20T15:38:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.118/1997.118_alt0_web.jpg", "width": "617", "height": "900", "filesize": "245658"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.118/1997.118_alt0_print.jpg", "width": "2332", "height": "3400", "filesize": "2513896"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.118/1997.118_alt0_full.tif", "width": "4471", "height": "6518", "filesize": "87459544"}}, {"date_created": "2023-08-16T17:02:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.118/1997.118_alt1_web.jpg", "width": "654", "height": "900", "filesize": "230113"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.118/1997.118_alt1_print.jpg", "width": "2471", "height": "3400", "filesize": "2948028"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1997.118/1997.118_alt1_full.tif", "width": "7789", "height": "10718", "filesize": "250475573"}}], "creditline": "Bequest of Mrs. A. 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Ward in memory of his wife, Evelyn Svec Ward, 2003.109.a", "current_location": null, "title": "Jatayu hinders Ravana\u2019s chariot, trying to prevent the abduction of Sita (recto), from a Kalighat album", "creation_date": "c. 1890", "creation_date_earliest": 1875, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Eastern India, Bengal, Kalighat"], "technique": "Gum tempera, graphite, and tin on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Painting: 30.4 x 25.5 cm (11 15/16 x 10 1/16 in.)", "dimensions": {"secondary support": {"height": 0.478, "width": 0.294}, "painting": {"height": 0.304, "width": 0.255}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200105, "title": "Indian Kalighat Paintings", "description": "<i>Indian Kalighat Paintings</i>. 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Gum tempera, graphite, and ink on paper; painting: 31 x 25.6 cm (12 3/16 x 10 1/16 in.). The Cleveland Museum of Art, Gift of William E. Ward in memory of his wife, Evelyn Svec Ward, 2003.134.a", "current_location": null, "title": "Rama and Sita enthroned (recto), from a Kalighat album", "creation_date": "c. 1890", "creation_date_earliest": 1875, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Eastern India, Bengal, Kolkata, Kalighat"], "technique": "Gum tempera, graphite, and ink on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Painting: 31 x 25.6 cm (12 3/16 x 10 1/16 in.)", "dimensions": {"secondary support": {"height": 0.479, "width": 0.293}, "painting": {"height": 0.31, "width": 0.256}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200105, "title": "Indian Kalighat Paintings", "description": "<i>Indian Kalighat Paintings</i>. 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Ward [1922\u20132004], Solon, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132003", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2003\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Hanuman, Rama\u2019s monkey devotee, prostrates himself before Rama as a sign of his humility.", "description": "Rama has been crowned king upon his return to Ayodhya at the end of a 14-year exile, having rescued his wife Sita from imprisonment on the island of Lanka. King Rama still holds his signature emblems of bow and arrow. His brother Lakshmana, here shown as green like Rama, holds the insignia of royalty, a flywhisk. Another brother holds the royal parasol. Hanuman, Rama\u2019s semidivine monkey general, prostrates himself before the couple. <br><br>Devotees who travel to the Hindu temple at Kalighat could purchase a painting of this type to commemorate their visit and to adorn a domestic altar.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60479110"], "internet_archive": ["https://archive.org/details/clevelandart-2003.134.a-rama-and-sita-recto", "https://archive.org/details/clevelandart-2003.134.a-rama-and-sita-enthro"]}, "citations": [], "url": "https://clevelandart.org/art/2003.134.a", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2003.134.a/2003.134.a_web.jpg", "width": "745", "height": "900", "filesize": "307387", "filename": "2003.134.a_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2003.134.a/2003.134.a_print.jpg", "width": "2814", "height": "3400", "filesize": "2950923", "filename": "2003.134.a_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2003.134.a/2003.134.a_full.tif", "width": "4007", "height": "4841", "filesize": "58230116", "filename": "2003.134.a_full.tif"}}, "alternate_images": [], "creditline": "Gift of William E. 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Gum tempera, graphite, tin, and ink on paper; painting: 45.5 x 27.5 cm (17 15/16 x 10 13/16 in.). The Cleveland Museum of Art, Gift of William E. Ward in memory of his wife, Evelyn Svec Ward, 2003.152", "current_location": null, "title": "Rama and Sita enthroned with Lakshmana and Hanuman attending, from a Kalighat album", "creation_date": "c. 1890", "creation_date_earliest": 1875, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Eastern India, Bengal, Kolkata, Kalighat"], "technique": "Gum tempera, graphite, tin, and ink on paper", "support_materials": [], "department": "Indian and Southeast Asian Art", "collection": "Indian Art", "type": "Painting", "measurements": "Painting: 45.5 x 27.5 cm (17 15/16 x 10 13/16 in.)", "dimensions": {"secondary support": {"height": 0.478, "width": 0.29}, "painting": {"height": 0.455, "width": 0.275}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200105, "title": "Indian Kalighat Paintings", "description": "<i>Indian Kalighat Paintings</i>. 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Lithograph; image: 20.8 x 19.5 cm (8 3/16 x 7 11/16 in.); sheet: 34.3 x 27.1 cm (13 1/2 x 10 11/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 2007.194", "current_location": null, "title": "Mlle B\u00e9cat at the Caf\u00e9 des Ambassadeurs", "creation_date": "1877\u201378", "creation_date_earliest": 1877, "creation_date_latest": 1878, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph", "support_materials": [{"description": "machine made wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 20.8 x 19.5 cm (8 3/16 x 7 11/16 in.); Sheet: 34.3 x 27.1 cm (13 1/2 x 10 11/16 in.)", "dimensions": {"sheet": {"height": 0.343, "width": 0.271}, "image": {"height": 0.208, "width": 0.195}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200460, "title": "Mary Cassatt and the Feminine Ideal in 19th-Century Paris", "description": "<i>Mary Cassatt and the Feminine Ideal in 19th-Century Paris</i>. The Cleveland Museum of Art (organizer) (October 14, 2012-January 20, 2013).", "opening_date": "2012-10-04T00:00:00"}, {"id": 203744, "title": "Themes and Variations: Musical Drawings and Prints", "description": "<i>Themes and Variations: Musical Drawings and Prints</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 25-May 17, 2015).", "opening_date": "2015-01-25T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This print is one of several works Degas made depicting Mademoiselle B\u00e9cat based on his fascination with the culture of Parisian caf\u00e9-concerts.", "description": "This vivid scene of a performance by the famed chanteuse Emilie B\u00e9cat at the Caf\u00e9 des Ambassadeurs captures the spectacle and excitement of the outdoor caf\u00e9-concert in late 19th-century Paris. Here, the spotlighted singer performs her frenzied, comic dance, with arms raised and fingers splayed, in her trademark style \u00e9pileptique.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79993969"], "internet_archive": ["https://archive.org/details/clevelandart-2007.194-mlle-becat-at-the-ca"]}, "citations": [], "catalogue_raisonne": "Delteil 49; Adh\u00e9mar 42, Reed and Shapiro 31", "url": "https://clevelandart.org/art/2007.194", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2007.194/2007.194_web.jpg", "width": "833", "height": "893", "filesize": "629546", "filename": "2007.194_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2007.194/2007.194_print.jpg", "width": "3172", "height": "3400", "filesize": "9092783", "filename": "2007.194_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2007.194/2007.194_full.tif", "width": "4452", "height": "4772", "filesize": "63771640", "filename": "2007.194_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165259, "creators": [{"id": 1759, "description": "Edgar Degas (French, 1834\u20131917)", "extent": null, "qualifier": null, "role": "artist", "biography": "Son of a Parisian banker, Edgar Degas enrolled in law school in 1853 following his father's wishes. But he had already shown an interest in art and had also registered to copy at the Louvre. In 1855 he entered the \u00c9cole des Beaux-Arts and became a student of Louis Lamothe (1822-1869), a former pupil of Ingres (q.v.). One year later Degas made the traditional journey to Italy, remaining there for three years. He visited family members in Naples and Florence and attended life classes at the Villa Medici in Rome. A visit to Normandy in 1861 may have introduced him to the racetrack. In Paris he continued to study at the Louvre, where he met Manet (q.v.) in 1862. Apart from his continuous interest in portraiture and history painting, Degas began to pay attention to subjects of modern life. Between 1865 and 1870, he exhibited at the Salon. At the time of the Franco-Prussian War, he enlisted in the artillery, but because of his poor eyesight he served (with Manet) in the infantry. After the war he traveled first to London and, in 1872-73, visited his uncle and brothers who had a cotton business in New Orleans. Degas participated in the first impressionist exhibition of 1874. He continued to exhibit with these artists until 1886 but never completely considered himself a member of the group, preferring to call himself a realist or naturalist. While many of the impressionists painted en plein air, Degas worked with models in his studio and, later in his career, from his imagination. In addition to painting, he experimented often with monotypes, engraving, pastels, sculpture, and photography. He traveled extensively-London, Naples, Spain, Morocco, and Switzerland-but continued to draw his subject matter from modern-day Paris. Other recurring themes would be the female nude and the ballet dancer. After the impressionist exhibition of 1886, Degas no longer participated in group shows. Instead he sold his works to private dealers such as Durand-Ruel and Ambroise Vollard. In the 1890s he began his own art collection, which, besides many works on paper, included paintings by such artists as Ingres, C\u00e9zanne (q.v.), Delacroix (q.v.), Gauguin (q.v.), and van Gogh (q.v.). His own art at the time became characterized by broader strokes of paint, charcoal, and pastel and the use of more vibrant colors, partly because of problems with his vision. His failing eyesight and poor health caused him to abandon his pursuit of art during the last years of his life.", "name_in_original_language": null, "birth_year": "1834", "death_year": "1917", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2007-12-03T00:00:00", "sortable_date": 1877, "date_added_to_oa": null, "date_text": "1877\u201378", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:42.661000"}, {"id": 165425, "accession_number": "2007.275", "share_license_status": "CC0", "tombstone": "Aglaida and Boniface, c. 1857. Alexandre Cabanel (French, 1823\u20131889). Oil on canvas; unframed: 62.2 x 68 cm (24 1/2 x 26 3/4 in.). The Cleveland Museum of Art, Bequest of Elizabeth Ludwig Fennell, 2007.275", "current_location": null, "title": "Aglaida and Boniface", "creation_date": "c. 1857", "creation_date_earliest": 1852, "creation_date_latest": 1862, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 62.2 x 68 cm (24 1/2 x 26 3/4 in.)", "dimensions": {"unframed": {"height": 0.622, "width": 0.68}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed lower right:  \"Alex Cabanel\" ", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 218951, "title": "R\u00e9trospective Alexandre Cabanel", "description": "<i>R\u00e9trospective Alexandre Cabanel</i>. Mus\u00e9e Fabre, Montpellier, France (organizer) (July 10, 2010-January 1, 2011); Wallraf-Richartz Museum, 50667 Cologne, Germany (February 4-May 15, 2011).", "opening_date": "2010-07-10T00:00:00"}], "legacy": [{"description": "Mus\u00e9e Fabre, Montpellier, France (7/10/2010 - 12/5/2010) and Wallraf-Richartz-Museum, Cologne, Germany (2/4/2011 - 5/15/2011):  \"R\u00e9trospective Alexandre Cabanel\", ex. cat. no. 26, p. 53.", "opening_date": "2010-07-10T00:00:00"}]}, "provenance": [{"description": "Elizabeth Ludwig Fennell [1917\u20132007], Cleveland, OH, bequested to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132007", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2007\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Alexandre Cabanel was a leader of the academic artists who rejected the paintings of \u00c9douard Manet and other \"realists\" from the Salon of 1863, producing a vast outcry that forced the government to organize the alternative Salon des Refus\u00e9s.", "description": "The French painter Alexandre Cabanel was a favorite of Emperor Napoleon III and a leader of the academic style that emphasized precise drawing and smoothly modeled forms. This painting depicts the wealthy Roman woman Aglaida and her concubine slave Boniface, here living as pagan sinners in Rome around 290 CE. On a trip to Tarsus on the Anatolian coast, Boniface converted to Christianity and was tortured and beheaded. Aglaida also converted to Christianity, gave all her possessions to the poor, and built a church for Boniface's relics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60480399"], "internet_archive": ["https://archive.org/details/clevelandart-2007.275-aglaida-and-boniface", "https://archive.org/details/clevelandart-2007.275-aglae-and-boniface"]}, "citations": [], "url": "https://clevelandart.org/art/2007.275", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2007.275/2007.275_web.jpg", "width": "983", "height": "893", "filesize": "572654", "filename": "2007.275_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2007.275/2007.275_print.jpg", "width": "3400", "height": "3090", "filesize": "3044634", "filename": "2007.275_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2007.275/2007.275_full.tif", "width": "5082", "height": "4618", "filesize": "70443532", "filename": "2007.275_full.tif"}}, "alternate_images": [{"date_created": "2008-01-28T21:10:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.275/2007.275_alt0_web.jpg", "width": "990", "height": "893", "filesize": "550012"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.275/2007.275_alt0_print.jpg", "width": "3400", "height": "3067", "filesize": "6382667"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.275/2007.275_alt0_full.tif", "width": "4944", "height": "4460", "filesize": "66183476"}}, {"date_created": "2010-03-24T14:08:40", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.275/2007.275_alt1_web.jpg", "width": "900", "height": "823", "filesize": "194244"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.275/2007.275_alt1_print.jpg", "width": "3400", "height": "3109", "filesize": "3134164"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2007.275/2007.275_alt1_full.tif", "width": "5366", "height": "4906", "filesize": "79002664"}}], "creditline": "Bequest of Elizabeth Ludwig Fennell", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 165425, "creators": [{"id": 53846, "description": "Alexandre Cabanel (French, 1823\u20131889)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1889", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2008-03-03T00:00:00", "sortable_date": 1852, "date_added_to_oa": null, "date_text": "c. 1857", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Algae and Boniface"], "is_highlight": false, "updated_at": "2026-03-27 00:05:44.491000"}, {"id": 166497, "accession_number": "2008.229", "share_license_status": "CC0", "tombstone": "Portrait of a Woman, 1820. Anna Claypoole Peale (American, 1791\u20131878). Watercolor on ivory on a gilt metal locket with red leather case; framed: 7.1 x 6 cm (2 13/16 x 2 3/8 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.229", "current_location": null, "title": "Portrait of a Woman", "creation_date": "1820", "creation_date_earliest": 1820, "creation_date_latest": 1820, "artists_tags": ["female"], "culture": ["America"], "technique": "watercolor on ivory on a gilt metal locket with red leather case", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Painting", "type": "Portrait Miniature", "measurements": "Framed: 7.1 x 6 cm (2 13/16 x 2 3/8 in.)", "dimensions": {"framed": {"height": 0.071, "width": 0.06}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": [{"description": "Main European Rotation (Gallery 202), January 17, 2011 - July 18, 2011.", "opening_date": "2011-01-17T00:00:00"}]}, "provenance": [{"description": "Carol Smurthwaite or Ari Biltmore, Phoenix Arizona; Muriel Butkin [purchased prior to 1969].", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "Estate of Muriel Butkin", "citations": [], "footnotes": [], "date": "2008    ", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A compartment on the back of this painting may have originally contained a lock of the sitter\u2019s hair.", "description": "As a child, Anna Claypoole Peale observed her father James Peale painting miniature portraits and practiced alongside him. She eventually rivaled his success and became one of the leading portrait miniaturists in American during the 1800s. The sitter\u2019s identity is unknown, but her likeness has been skillfully rendered to emphasize her rosy cheeks, pale skin, and red lips. This object was likely gifted as a sentimental memento to a loved one.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79996819"], "internet_archive": ["https://archive.org/details/clevelandart-2008.229-portrait-of-a-woman"]}, "citations": [], "url": "https://clevelandart.org/art/2008.229", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.229/2008.229_web.jpg", "width": "714", "height": "893", "filesize": "434204", "filename": "2008.229_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.229/2008.229_print.jpg", "width": "2719", "height": "3400", "filesize": "5422860", "filename": "2008.229_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.229/2008.229_full.tif", "width": "3841", "height": "4803", "filesize": "55377572", "filename": "2008.229_full.tif"}}, "alternate_images": [{"date_created": "2009-04-17T16:33:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.229/2008.229_alt0_web.jpg", "width": "689", "height": "893", "filesize": "425535"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.229/2008.229_alt0_print.jpg", "width": "2623", "height": "3400", "filesize": "5797331"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.229/2008.229_alt0_full.tif", "width": "3699", "height": "4795", "filesize": "53242064"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166497, "creators": [{"id": 57493, "description": "Anna Claypoole Peale (American, 1791\u20131878)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1791", "death_year": "1878", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1820, "date_added_to_oa": null, "date_text": "1820", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:32.176000"}, {"id": 169914, "accession_number": "2012.155", "share_license_status": "CC0", "tombstone": "Egypt and Nubia, Volume II: Pyramids of Geezeh, 1848. Louis Haghe (British, 1806\u20131885), F. G. Moon, 20 Threadneedle Street, London, after David Roberts (Scottish, 1796\u20131864). Color lithograph; sheet: 43.8 x 60.2 cm (17 1/4 x 23 11/16 in.); image: 34 x 53.5 cm (13 3/8 x 21 1/16 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2012.155", "current_location": null, "title": "Egypt and Nubia, Volume II: Pyramids of Geezeh", "creation_date": "1848", "creation_date_earliest": 1848, "creation_date_latest": 1848, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "color lithograph", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 43.8 x 60.2 cm (17 1/4 x 23 11/16 in.); Image: 34 x 53.5 cm (13 3/8 x 21 1/16 in.)", "dimensions": {"sheet": {"height": 0.438, "width": 0.602}, "image": {"height": 0.34, "width": 0.535}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": [{"description": "Nineteenth-Century Views of Egypt.(CMA, May 19-September 9, 1992", "opening_date": "1992-05-19T00:00:00"}]}, "provenance": [{"description": "[Otto Schreiber]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Louis Haghe was appointed Lithographer to the Queen in 1838.", "description": "Throughout the 1800s and into the 1900s, prints, paintings, and photographs, like Louis Haghe\u2019s<em> Egypt and Nubia</em> series, brought back by artists who voyaged to Egypt, inspired American and European artists, architects, and designers to emulate ancient Egyptian motifs and styles. Egyptomania blossomed through the 1800s and can be seen in architecture around cities like Washington, DC, and in the interiors of aristocratic homes, as well as in funerary monuments, such as in Lake View Cemetery in Cleveland, Ohio. Looking back at these creations provides an interesting historical groundwork for debating who has the right to interpret Egyptian motifs and styles.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80077811"], "internet_archive": ["https://archive.org/details/clevelandart-2012.155-egypt-and-nubia-volu"]}, "citations": [], "catalogue_raisonne": "Abbey 272:67", "url": "https://clevelandart.org/art/2012.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2012.155/2012.155_web.jpg", "width": "1257", "height": "893", "filesize": "136960", "filename": "2012.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.155/2012.155_print.jpg", "width": "3400", "height": "2416", "filesize": "2593288", "filename": "2012.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.155/2012.155_full.tif", "width": "6772", "height": "4813", "filesize": "97803448", "filename": "2012.155_full.tif"}}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169914, "creators": [{"id": 27203, "description": "Louis Haghe (British, 1806\u20131885)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1806", "death_year": "1885", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 67934, "description": "F. G. Moon, 20 Threadneedle Street, London", "extent": null, "qualifier": null, "role": "published by", "biography": "Sir Francis Graham Moon, 1st baronet (1796\u20131871) was a stationer, printer, bookseller, and publisher in London to 1853, after which he devoted himself to public life. He became Lord Mayor in 1854, the same year he was knighted.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 1474, "description": "David Roberts (Scottish, 1796\u20131864)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1796", "death_year": "1864", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "2012-12-03T00:00:00", "sortable_date": 1848, "date_added_to_oa": null, "date_text": "1848", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:42.485000"}, {"id": 170029, "accession_number": "2012.256", "share_license_status": "CC0", "tombstone": "Egypt and Nubia, Volume I: The Great Temple of Aboo-Simble, Nubia, 1846. Louis Haghe (British, 1806\u20131885), F. G. Moon (British, 1797\u20131871), after David Roberts (Scottish, 1796\u20131864). Color lithograph; sheet: 43.7 x 60.3 cm (17 3/16 x 23 3/4 in.); image: 32.8 x 48.9 cm (12 15/16 x 19 1/4 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2012.256", "current_location": null, "title": "Egypt and Nubia, Volume I: The Great Temple of Aboo-Simble, Nubia", "creation_date": "1846", "creation_date_earliest": 1846, "creation_date_latest": 1846, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "color lithograph", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 43.7 x 60.3 cm (17 3/16 x 23 3/4 in.); Image: 32.8 x 48.9 cm (12 15/16 x 19 1/4 in.)", "dimensions": {"sheet": {"height": 0.437, "width": 0.603}, "image": {"height": 0.328, "width": 0.489}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": [{"description": "Nineteenth-Century Views of Egypt (CMA, May 19-September 9, 1992)", "opening_date": "1992-05-19T00:00:00"}]}, "provenance": [{"description": "[Otto Schreiber]", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Louis Haghe was appointed Lithographer to the Queen in 1838.", "description": "Throughout the 1800s and into the 1900s, prints, paintings, and photographs, like Louis Haghe\u2019s <em>Egypt and Nubia</em> series, brought back by artists who voyaged to Egypt, inspired American and European artists, architects, and designers to emulate ancient Egyptian motifs and styles. Egyptomania blossomed through the 1800s and can be seen in architecture around cities like Washington, DC, and in the interiors of aristocratic homes, as well as in funerary monuments, such as in Lake View Cemetery in Cleveland, Ohio. 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Tiffany Glass & Decorating Company (America, New York, 1892\u20131902), Siegfried Bing (German, active in France, 1838\u20131905). Favrile glass, silver mount; 13 x 11.5 cm (5 1/8 x 4 1/2 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.279", "current_location": null, "title": "Vase", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": ["gender unknown", "male"], "culture": ["America, New York"], "technique": "Favrile glass, silver mount", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Glass", "measurements": "13 x 11.5 cm (5 1/8 x 4 1/2 in.)", "dimensions": {"No Extent Specified": {"height": 0.13, "width": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Louis C. 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Early on when Tiffany began collaborating with glass artists on new types of production, his aesthetic ambitions were realized in the development of Favrile glass, deliberately named to sound French, expensive, and \u201chandmade.\u201d Largely through Tiffany's marketing ability, Favrile glass became America\u2019s greatest contribution to the Art Nouveau style. His works were exhibited at international expositions; galleries in major European cities, where his creations were bought by many museums; and in his store in Manhattan, known as the Tiffany Glass and Decorating Co., later Tiffany Studios. Along with the many shapes and sizes of his decorative vases, Tiffany used Favrile glass in mosaic panels, stained glass windows, and his artistic line of table and floor lamps.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60757137"], "internet_archive": ["https://archive.org/details/clevelandart-2018.279-vase"]}, "citations": [], "url": "https://clevelandart.org/art/2018.279", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.279/2018.279_web.jpg", "width": "873", "height": "900", "filesize": "207813", "filename": "2018.279_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.279/2018.279_print.jpg", "width": "3297", "height": "3400", "filesize": "1641578", "filename": "2018.279_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.279/2018.279_full.tif", "width": "6534", "height": "6738", "filesize": "132104532", "filename": "2018.279_full.tif"}}, "alternate_images": 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Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95348, "creators": [{"id": 23331, "description": "Utagawa Kuniyoshi (Japanese, 1797\u20131861)", "extent": null, "qualifier": null, "role": "artist", "biography": "One of the principal Ukiyo-e artists of the late Edo period.", "name_in_original_language": "\u6b4c\u5ddd \u56fd\u82b3", "birth_year": "1797", "death_year": "1861", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1916-12-05T00:00:00", "sortable_date": 1825, "date_added_to_oa": null, "date_text": "c. 1830", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1916.1108", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:03:21.738000"}, {"id": 109680, "accession_number": "1928.323", "share_license_status": "CC0", "tombstone": "Water Jar (Olla) with Rosettes, 1880s. 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The painstaking process of creating the ornament involved wrapping gilt-silver wire of various dimensions around a silk thread core to create a textured appearance for the flowers and vines.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79477987"], "internet_archive": ["https://archive.org/details/clevelandart-1916.1477-man-s-cap", "https://archive.org/details/clevelandart-1916.1477-cap"]}, "citations": [{"citation": "Kumar, Ritu, and Cathy Muscat. <em>Costumes and Textiles of Royal India</em>. London: Christie's Books, 1999.", "page_number": "p.284, no. 3", "url": ""}, {"citation": "Swarup, Sushama. <em>Costumes &amp; Textiles of Awadh: From the Era of Nawabs to Modern Times</em>. 2012.", "page_number": "p. 46 no. 1", "url": ""}], "url": "https://clevelandart.org/art/1916.1477", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1916.1477/1916.1477_web.jpg", "width": "900", "height": "595", "filesize": "194992", "filename": "1916.1477_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1916.1477/1916.1477_print.jpg", "width": "3400", "height": "2246", "filesize": "1641082", "filename": "1916.1477_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1916.1477/1916.1477_full.tif", "width": "3601", "height": "2379", "filesize": "25731432", "filename": "1916.1477_full.tif"}}, "alternate_images": [{"date_created": "2017-12-01T13:52:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt0_web.jpg", "width": "900", "height": "777", "filesize": "310772"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt0_print.jpg", "width": "3400", "height": "2935", "filesize": "2810674"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt0_full.tif", "width": "3829", "height": "3305", "filesize": "37997276"}}, {"date_created": "2017-12-01T13:52:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt1_web.jpg", "width": "900", "height": "777", "filesize": "252956"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt1_print.jpg", "width": "3400", "height": "2935", "filesize": "2132117"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt1_full.tif", "width": "3829", "height": "3305", "filesize": "37997276"}}, {"date_created": "2017-12-01T13:56:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt2_web.jpg", "width": "900", "height": "804", "filesize": "196951"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt2_print.jpg", "width": "3400", "height": "3039", "filesize": "1834008"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt2_full.tif", "width": "3734", "height": "3337", "filesize": "37412032"}}, {"date_created": "2017-12-01T13:56:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt3_web.jpg", "width": "900", "height": "804", "filesize": "155257"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt3_print.jpg", "width": "3400", "height": "3039", "filesize": "1303570"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1916.1477/1916.1477_alt3_full.tif", "width": "3734", "height": "3337", "filesize": "37412032"}}], "creditline": "Gift of Mr. and Mrs. J. H. Wade", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 95788, "creators": [], "legal_status": "accessioned", "accession_date": "1916-05-26T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Man's Cap"], "is_highlight": false, "updated_at": "2026-03-27 00:05:26.623000"}, {"id": 98654, "accession_number": "1918.353", "share_license_status": "CC0", "tombstone": "Kam\u0101nche (incomplete), 1875\u20131900. Northern Iran (Caucasian, maybe Azerbaijan, or Kashmir). Wood, hide, and bone; overall: 58.5 x 26.8 cm (23 1/16 x 10 9/16 in.). The Cleveland Museum of Art, The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr., 1918.353", "current_location": null, "title": "Kam\u0101nche (incomplete)", "creation_date": "1875\u20131900", "creation_date_earliest": 1875, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Northern Iran (Caucasian, maybe Azerbaijan, or Kashmir)"], "technique": "Wood, hide, and bone", "support_materials": [], "department": "Islamic Art", "collection": "Islamic Art", "type": "Musical Instrument", "measurements": "Overall: 58.5 x 26.8 cm (23 1/16 x 10 9/16 in.)", "dimensions": {"overall": {"height": 0.585, "width": 0.268}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 355338, "title": "Exhibition of the Month: Music in Art", "description": "<i>Exhibition of the Month: Music in Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 2, 1945-February 4, 1946).", "opening_date": "1945-10-02T05:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855-1926], Cleveland Heights, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The instrument's spike would be placed on the ground or today, on the knee, when it was played.", "description": "<em>Kam\u0101nche</em> is a Persian term first used in the 10th century to describe an instrument that is sounded with a bow. From there, bowed instruments spread to Byzantium, Central Asia, the Far East, and then to Europe. In Egypt, it is known as the <em>rab\u0101b</em>, a term known throughout the Islamic world from North Africa to Southeast Asia.<br> <br>The names of musical instruments often reveal origin, context, or musical function. In Europe, North Africa, and Asia where contact with Middle Eastern culture occurred, variations of Arabic and Persian terms for instruments are widespread. Usually, related names refer to similar instruments; however, this is not always true. Among these \"floating terms\" are the names <em>z\u016brna</em>, rab\u0101b, <em>k\u0101manja</em>, <em>n\u0101y</em>, and <em>dombak</em>.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79485171"], "internet_archive": ["https://archive.org/details/clevelandart-1918.353-kamanche", "https://archive.org/details/clevelandart-1918.353-kamanche-incomplete"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art </em>vol. 5, no. 8/9 (1918): 82-85.", "page_number": "Mentioned: p. 82", "url": "http://www.jstor.org/stable/25136230"}, {"citation": "D. S. M. \"Exhibition of Musical Instruments.\" <em>The Bulletin of the Cleveland Museum of Art</em> 8, no. 9 (1921): 134-43.", "page_number": "Mentioned: pp. 134-137", "url": "http://www.jstor.org/stable/25136517"}], "url": "https://clevelandart.org/art/1918.353", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.353/1918.353_web.jpg", "width": "900", "height": "780", "filesize": "161553", "filename": "1918.353_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.353/1918.353_print.jpg", "width": "3400", "height": "2947", "filesize": "1076759", "filename": "1918.353_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.353/1918.353_full.tif", "width": "8106", "height": "7025", "filesize": "170859124", "filename": "1918.353_full.tif"}}, "alternate_images": [{"date_created": "2013-02-13T13:37:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt0_web.jpg", "width": "657", "height": "893", "filesize": "50997"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt0_print.jpg", "width": "2501", "height": "3400", "filesize": "608569"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt0_full.tif", "width": "5279", "height": "7175", "filesize": "113664744"}}, {"date_created": "2021-01-25T20:04:05", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt1_web.jpg", "width": "900", "height": "458", "filesize": "135391"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt1_print.jpg", "width": "3400", "height": "1729", "filesize": "785227"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt1_full.tif", "width": "12568", "height": "6392", "filesize": "241028328"}}, {"date_created": "2021-01-25T20:13:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt2_web.jpg", "width": "900", "height": "455", "filesize": "132044"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt2_print.jpg", "width": "3400", "height": "1719", "filesize": "737043"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt2_full.tif", "width": "12568", "height": "6354", "filesize": "239595448"}}, {"date_created": "2021-01-25T20:22:43", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt3_web.jpg", "width": "900", "height": "698", "filesize": "198255"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt3_print.jpg", "width": "3400", "height": "2637", "filesize": "1660906"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt3_full.tif", "width": "6303", "height": "4889", "filesize": "92471736"}}, {"date_created": "2021-01-25T20:33:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt4_web.jpg", "width": "900", "height": "809", "filesize": "213324"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt4_print.jpg", "width": "3400", "height": "3057", "filesize": "1859338"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt4_full.tif", "width": "4902", "height": "4408", "filesize": "64849920"}}, {"date_created": "2021-01-25T21:05:21", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt5_web.jpg", "width": "900", "height": "814", "filesize": "170253"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt5_print.jpg", "width": "3400", "height": "3076", "filesize": "1235040"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.353/1918.353_alt5_full.tif", "width": "7644", "height": "6915", "filesize": "158600024"}}], "creditline": "The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98654, "creators": [], "legal_status": "accessioned", "accession_date": "1918-06-24T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "1875\u20131900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Viol"], "is_highlight": false, "updated_at": "2026-03-27 00:07:45.220000"}, {"id": 98660, "accession_number": "1918.359", "share_license_status": "CC0", "tombstone": "Koto (Zither) (\u7b8f), early to mid-1800s. Japan, Edo period (1615\u20131868). Wood with colored lacquer, sprinkled gold powder (maki-e), textile, and silk strings; overall: 117.8 cm (46 3/8 in.); widest end: 23.8 cm (9 3/8 in.). The Cleveland Museum of Art, The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr., 1918.359", "current_location": null, "title": "Koto (Zither)", "title_in_original_language": "\u7b8f", "creation_date": "early to mid-1800s", "creation_date_earliest": 1800, "creation_date_latest": 1868, "artists_tags": [], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "Wood with colored lacquer, sprinkled gold powder (maki-e), textile, and silk strings", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Musical Instrument", "measurements": "Overall: 117.8 cm (46 3/8 in.); Widest end: 23.8 cm (9 3/8 in.)", "dimensions": {"overall": {"length": 1.178}, "widest end": {"length": 0.238}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 687098, "title": "Practice and Play in Japanese Art", "description": "<i>Practice and Play in Japanese Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-November 30, 2025).", "opening_date": "2025-06-20T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ralph King [1855\u20131926], Cleveland, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20131918", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1918\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The koto descended from the<em> guzheng</em>, a Chinese zither first imported to Japan in the seventh century.", "description": "This koto has an elaborately decorated surface, suggesting that it was meant to be admired as a decorative object rather than played as a musical instrument. The vertical design shows a profusion of chrysanthemum flowers and miscanthus grass above a brushwood fence as well as a pair of butterflies.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79485198"], "internet_archive": ["https://archive.org/details/clevelandart-1918.359-sono-koto"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 5, no. 8/9 (October 1918): 82\u201385.", "page_number": "Mentioned: p. 82", "url": "http://www.jstor.org/stable/25136230"}, {"citation": "Moore, Douglas S. \"Exhibition of Musical Instruments.\" <em>The Bulletin of the Cleveland Museum of Art</em> 8, no. 9 (November 1921): 134\u2013143.", "page_number": "Mentioned: pp. 134\u2013137", "url": "http://www.jstor.org/stable/25136517"}], "url": "https://clevelandart.org/art/1918.359", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1918.359/1918.359_web.jpg", "width": "900", "height": "497", "filesize": "161803", "filename": "1918.359_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1918.359/1918.359_print.jpg", "width": "3400", "height": "1876", "filesize": "1056408", "filename": "1918.359_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1918.359/1918.359_full.tif", "width": "10282", "height": "5674", "filesize": "175045044", "filename": "1918.359_full.tif"}}, "alternate_images": [{"date_created": "2021-05-10T17:06:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt0_web.jpg", "width": "900", "height": "426", "filesize": "148429"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt0_print.jpg", "width": "3400", "height": "1610", "filesize": "827003"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt0_full.tif", "width": "11964", "height": "5665", "filesize": "203352904"}}, {"date_created": "2021-05-10T16:25:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt1_web.jpg", "width": "900", "height": "329", "filesize": "159443"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt1_print.jpg", "width": "3400", "height": "1241", "filesize": "1012642"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt1_full.tif", "width": "13532", "height": "4938", "filesize": "200487844"}}, {"date_created": "2021-05-10T16:36:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt2_web.jpg", "width": "900", "height": "300", "filesize": "130654"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt2_print.jpg", "width": "3400", "height": "1135", "filesize": "596071"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt2_full.tif", "width": "12859", "height": "4293", "filesize": "165635260"}}, {"date_created": "2021-05-10T16:39:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt3_web.jpg", "width": "900", "height": "277", "filesize": "127250"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt3_print.jpg", "width": "3400", "height": "1045", "filesize": "544845"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt3_full.tif", "width": "12859", "height": "3952", "filesize": "152480500"}}, {"date_created": "2021-05-10T16:42:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt4_web.jpg", "width": "900", "height": "592", "filesize": "179546"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt4_print.jpg", "width": "3400", "height": "2237", "filesize": "1197594"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt4_full.tif", "width": "5942", "height": "3910", "filesize": "69724908"}}, {"date_created": "2021-05-10T16:48:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt5_web.jpg", "width": "900", "height": "562", "filesize": "169208"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt5_print.jpg", "width": "3400", "height": "2124", "filesize": "1010948"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1918.359/1918.359_alt5_full.tif", "width": "5344", "height": "3339", "filesize": "53556020"}}], "creditline": "The Charles G. King Jr. collection; Gift of Ralph King in memory of Charles G. King Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 98660, "creators": [], "legal_status": "accessioned", "accession_date": "1918-06-24T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early to mid-1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "cover", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Sono Koto"], "is_highlight": false, "updated_at": "2026-03-27 00:04:34.438000"}, {"id": 103832, "accession_number": "1921.920", "share_license_status": "CC0", "tombstone": "Scarf, 1800s. Africa, North Africa, Algeria, Algerian embroiderer. Linen, silk, dye; overall: 173.4 x 46 cm (68 1/4 x 18 1/8 in.). The Cleveland Museum of Art, Gift of Mrs. Charles William Wason, 1921.920", "current_location": null, "title": "Scarf", "creation_date": "1800s", "creation_date_earliest": 1800, "creation_date_latest": 1899, "artists_tags": [], "culture": ["Africa, North Africa, Algeria, Algerian embroiderer"], "technique": "Linen, silk, dye", "support_materials": [], "department": "Textiles", "collection": "T - Islamic", "type": "Embroidery", "measurements": "Overall: 173.4 x 46 cm (68 1/4 x 18 1/8 in.)", "dimensions": {"overall": {"height": 1.734, "width": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 616719, "title": "18th and 19th Century Oriental Embroideries", "description": "<i>18th and 19th Century Oriental Embroideries</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 1-December 15, 1923).", "opening_date": "1923-11-01T00:00:00"}], "legacy": []}, "provenance": [{"description": "Mrs. Charles William [Mabel Breckenridge] Wason [c. 1872\u20131958],", "citations": [], "footnotes": null, "date": "?\u20131921", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1921\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This example was displayed in one of the CMA\u2019s earliest exhibitions, 1923\u2019s <em>Eighteenth and Nineteenth Century Oriental Embroideries</em> in 1923.", "description": "This woven linen textile is embroidered with a cascading pattern of dusty pink, mauve, and navy blue flowers. The embroiderer created this design with dyed silk thread, outlining the shapes in black and then filling in the designs with dense stitches. Textiles with this composition were made across the Mediterranean Sea in the 1800s, and were used as scarves or towels.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79509135"], "internet_archive": ["https://archive.org/details/clevelandart-1921.920-scarf"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 8, no. 9 (1921): 138-41.", "page_number": "Mentioned: p. 139", "url": "http://www.jstor.org/stable/25136519"}, {"citation": "G. U. [Gertrude Underhill]. \u201cAn Exhibition of Eighteenth and Nineteenth Century Oriental Embroideries.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 10, no. 9 (1923).", "page_number": "157\u201358", "url": "http://www.jstor.org/stable/25136692"}], "url": "https://clevelandart.org/art/1921.920", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1921.920/1921.920_web.jpg", "width": "474", "height": "893", "filesize": "404671", "filename": "1921.920_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1921.920/1921.920_print.jpg", "width": "1803", "height": "3400", "filesize": "5585895", "filename": "1921.920_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1921.920/1921.920_full.tif", "width": "2652", "height": "5000", "filesize": "39810716", "filename": "1921.920_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.920/1921.920_alt0_web.jpg", "width": "595", "height": "893", "filesize": "511568"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.920/1921.920_alt0_print.jpg", "width": "2266", "height": "3400", "filesize": "7062829"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1921.920/1921.920_alt0_full.tif", "width": "3333", "height": "5000", "filesize": "50030016"}}], "creditline": "Gift of Mrs. Charles William Wason", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 103832, "creators": [], "legal_status": "accessioned", "accession_date": "1921-06-21T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:53.535000"}, {"id": 108526, "accession_number": "1926.232", "share_license_status": "CC0", "tombstone": "Woman with a Tambourine, in Neoclassical Costume, mid to late 19th century. England, 19th century. Watercolor on ivory in a gold frame with blue glazed reverse and reserve with plaited hair and initials in gold; framed: 15.3 x 13 cm (6 x 5 1/8 in.); unframed: 14 x 11.5 cm (5 1/2 x 4 1/2 in.). The Cleveland Museum of Art, Gift of J. H. Wade Jr., G. G. Wade and Mrs. E. B. Greene, 1926.232", "current_location": null, "title": "Woman with a Tambourine, in Neoclassical Costume", "creation_date": "mid to late 19th century", "creation_date_earliest": 1840, "creation_date_latest": 1900, "artists_tags": [], "culture": ["England, 19th century"], "technique": "watercolor on ivory in a gold frame with blue glazed reverse and reserve with plaited hair and initials in gold", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 15.3 x 13 cm (6 x 5 1/8 in.); Unframed: 14 x 11.5 cm (5 1/2 x 4 1/2 in.)", "dimensions": {"framed": {"height": 0.153, "width": 0.13}, "unframed": {"height": 0.14, "width": 0.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "annotated lower right:  R.C. [initialed on back:  JCSB]", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "J. H. Wade (1857-1926), Cleveland, OH (bought in London), gifted to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1895-1926", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1926-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "On the back the initials JCSB in gold are placed over plaited hair of at least two different colors.", "description": "This large miniature depicts a woman at full length, turned to the left, playing a tambourine held in her left hand. She wears a floor-length, white, Empire-waist gown with short sleeves and scarlet slippers. The Empire silhouette was fashionable in the years around 1800, when it was executed in fine, white cotton or muslin and meant to recall classical Greek or Roman dress. The woman\u2019s light brown hair falls below her waist in curls, and she wears a white turban. She stands on a pale green, closely cropped lawn in front of a low, green, wrought-iron fence with a wood railing. At over 15 centimeters high in its frame, this miniature\u2019s size is incongruous with its oval shape and elaborate glass and braided hair setting, which were typical of late-eighteenth- and early-nineteenth century wearable miniatures a third or quarter of this size. <br>The woman\u2019s face lacks specificity and is probably not a portrait of a particular individual but, rather, a fancy picture exploring themes of beauty and music. This assertion does, however, call into question the presence of the initials and hair on the back of the setting, which customarily indicate an intimate relationship between the owner and the sitter that presumably would be absent outside of portraiture. When this work entered the collection in 1926, it was believed <br>to date from the late eighteenth century, but its size, shape, and the full-length figure make such an early date extremely unlikely. The signature \u201cR. C.\u201d may suggest Richard Cosway (1742\u20131821), the highly sought-after eighteenth- and nineteenth-century miniaturist; however, this work does not resemble his style. J. H. Wade purchased this object in 1896 for $150\u2014a substantial sum during that period for a miniature\u2014indicating that he may have thought the work was indeed by Cosway. <br>This miniature does relate closely in style and subject matter to the work of the British artist Adam Buck (1759\u20131833), who was known for his classicizing, full-length watercolor portraits and fancy pictures, after which this work may be a copy. Buck\u2019s miniatures on ivory are bust length and more strongly delineated than this work, which instead recalls the artist\u2019s watercolors. Hallmarks of Buck\u2019s drawings include a low horizon line, muted palette, full-length female figures depicted in profile, and a patchy blue, cloudy sky. A scrolled, wrought-iron fence similar to the one present in this miniature appears in a drawing by Buck. In both cases the fence is used decoratively to break up the expanse of bare space created by the low horizon line and vacant sky. Buck\u2019s works often feature women listening to or playing an instrument, including the tambourine, but he is not known to have painted these full-length figures on ivory. The numerous incompatibilities\u2014including style, subject, composition, medium, setting, size, and signature\u2014together suggest that this object was painted in the second half of the nineteenth century specifically for the art market and to evoke an earlier period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80056978"], "internet_archive": ["https://archive.org/details/clevelandart-1926.232-woman-with-a-tambour"]}, "citations": [{"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives</em>. 2013.", "page_number": null, "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl.<em> British Portrait Miniatures: The Cleveland Museum of Art.</em> 2013.", "page_number": "Cat. no. 73, pp. 279-283", "url": ""}], "url": "https://clevelandart.org/art/1926.232", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1926.232/1926.232_web.jpg", "width": "686", "height": "893", "filesize": "83078", "filename": "1926.232_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1926.232/1926.232_print.jpg", "width": "2611", "height": "3400", "filesize": "883851", "filename": "1926.232_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1926.232/1926.232_full.tif", "width": "5623", "height": "7320", "filesize": "123503308", "filename": "1926.232_full.tif"}}, "alternate_images": [{"date_created": "2008-09-24T18:32:51", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt0_web.jpg", "width": "690", "height": "893", "filesize": "385159"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt0_print.jpg", "width": "2627", "height": "3400", "filesize": "4734661"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt0_full.tif", "width": "4180", "height": "5409", "filesize": "67861612"}}, {"date_created": "2008-09-26T19:44:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt1_web.jpg", "width": "692", "height": "893", "filesize": "334444"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt1_print.jpg", "width": "2635", "height": "3400", "filesize": "3861530"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt1_full.tif", "width": "3576", "height": "4614", "filesize": "49539400"}}, {"date_created": "2013-02-15T18:36:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt2_web.jpg", "width": "670", "height": "893", "filesize": "95301"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt2_print.jpg", "width": "2550", "height": "3400", "filesize": "1052506"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt2_full.tif", "width": "6000", "height": "8000", "filesize": "144022208"}}, {"date_created": "2013-02-15T18:42:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt3_web.jpg", "width": "670", "height": "893", "filesize": "96393"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt3_print.jpg", "width": "2550", "height": "3400", "filesize": "1067070"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1926.232/1926.232_alt3_full.tif", "width": "6000", "height": "8000", "filesize": "144022060"}}], "creditline": "Gift of J. H. Wade Jr., G. G. Wade and Mrs. E. B. Greene", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108526, "creators": [], "legal_status": "accessioned", "accession_date": "1926-06-09T00:00:00", "sortable_date": 1840, "date_added_to_oa": null, "date_text": "mid to late 19th century", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Woman with Tambourine"], "is_highlight": false, "updated_at": "2026-03-27 00:05:11.873000"}, {"id": 108888, "accession_number": "1926.558", "share_license_status": "Copyrighted", "tombstone": "Coquillages (Shells), early 1900s. Raoul Dufy (French, 1877\u20131953). Patterned weave, Jacquard loom; silk; overall: 238.8 x 102.9 cm (94 x 40 1/2 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1926.558. \u00a9 Artists Rights Society (ARS), New York", "current_location": null, "title": "Coquillages (Shells)", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1926, "artists_tags": ["male"], "culture": ["France, 20th century"], "technique": "patterned weave, Jacquard loom; silk", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 238.8 x 102.9 cm (94 x 40 1/2 in.)", "dimensions": {"overall": {"height": 2.388, "width": 1.029}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": "\u00a9 Artists Rights Society (ARS), New York", "inscriptions": [], "exhibitions": {"current": [{"id": 200463, "title": "The Jazz Age: American Style in the 1920s", "description": "<i>The Jazz Age: American Style in the 1920s</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 30, 2017-January 14, 2018).", "opening_date": "2017-04-07T00:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This textile was designed by the French painter Raoul Dufy (1877-1953).", "description": "Displayed at the 1925 world's fair in Paris then in an associated traveling exhibition that toured American museums the following year, this textile design illustrates a modern, abstracted approach to depicting flora and fauna.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80000838"], "internet_archive": []}, "citations": [{"citation": null, "page_number": null, "url": null}, {"citation": "Coffin, Sarah, Stephen Harrison, and Emily Marshall Orr. The jazz age: American style in the 1920s. 2017.", "page_number": "p. 230-1, 339", "url": null}], "url": "https://clevelandart.org/art/1926.558", "images": {}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108888, "creators": [{"id": 13365, "description": "Raoul Dufy (French, 1877\u20131953)", "extent": null, "qualifier": null, "role": "designer", "biography": null, "name_in_original_language": null, "birth_year": "1877", "death_year": "1953", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1926-06-04T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:59.786000"}, {"id": 117640, "accession_number": "1938.290", "share_license_status": "Copyrighted", "tombstone": "Young Faun with Heron, 1890. Frederick William MacMonnies (American, 1863\u20131937). Bronze; overall: 68.6 cm (27 in.). The Cleveland Museum of Art, Gift from a Friend, 1938.290", "current_location": null, "title": "Young Faun with Heron", "creation_date": "1890", "creation_date_earliest": 1890, "creation_date_latest": 1890, "artists_tags": ["male"], "culture": ["America, late 19th Century"], "technique": "bronze", "support_materials": [], "department": "American Painting and Sculpture", "collection": "American - Sculpture", "type": "Sculpture", "measurements": "Overall: 68.6 cm (27 in.)", "dimensions": {"overall": {"height": 0.686}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed on base: Frederick MacMonnies. \u00a9 1894, Paris. 1890\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 309906, "title": "The American Way in Sculpture 1890-1930", "description": "<i>The American Way in Sculpture 1890-1930</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 12-October 19, 1986).", "opening_date": "1986-08-12T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The world\u2019s largest heron species, the Goliath heron, can stand upwards of five feet tall.", "description": "MacMonnies originally created this composition as a large garden sculpture, but later marketed small-scale versions, such as this example, to adorn interior spaces. The subject presents a boyish mythological figure mischievously grasping a bird whose ample wings curve around him. A striking visual contrast is achieved through the variegated textures of the heron\u2019s feathers and the faun\u2019s smooth flesh.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80012300"], "internet_archive": []}, "citations": [{"citation": "Solender, Katherine. The American Way in Sculpture, 1890-1930. Cleveland, OH: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1986.", "page_number": "cat. #8, p. 18, repr.", "url": null}, {"citation": "LeValley, Paul. Art Follows Nature: A Worldwide History of the Nude. <br>[Kissimmee, FL] : [Paul LeValley] ; 2016.", "page_number": "Mentioned: p. 511", "url": ""}], "url": "https://clevelandart.org/art/1938.290", "images": {}, "alternate_images": [], "creditline": "Gift from a Friend", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 117640, "creators": [{"id": 3901, "description": "Frederick William MacMonnies (American, 1863\u20131937)", "extent": null, "qualifier": null, "role": "sculptor", "biography": null, "name_in_original_language": null, "birth_year": "1863", "death_year": "1937", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1938-06-03T00:00:00", "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": "2026-03-27 00:08:12.341000"}, {"id": 146116, "accession_number": "1971.300", "share_license_status": "CC0", "tombstone": "Heddle Pulley (Bo Nun Amuin mask), 1900s. Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver. Wood, metal, and plant fiber; overall: 14.6 cm (5 3/4 in.). The Cleveland Museum of Art, Gift of Katherine C. White, 1971.300", "current_location": null, "title": "Heddle Pulley (Bo Nun Amuin mask)", "creation_date": "1900s", "creation_date_earliest": 1900, "creation_date_latest": 1950, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d\u2019Ivoire, Baule-style carver"], "technique": "Wood, metal, and plant fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Implements", "measurements": "Overall: 14.6 cm (5 3/4 in.)", "dimensions": {"overall": {"height": 0.146}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Katherine C. White [1929-1980], Gates Mills, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1971", "sortorder": null}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1971-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["743.68"], "did_you_know": "This heddle pulley depicts a fearsome <em>Bo Nun Amuin </em>mask that recalls nature spirits.", "description": "The heddle pulley, a working element of a narrow-band loom, bears a miniature sculpture. Heddle pulleys support and separate threads during weaving. Mounted above the weaver, the pulleys allow him to glance up at an object of inspiring beauty, rather than pure functionality. This pulley depicts a face mask, a secular usage of a typically sacred mask type.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79924312"], "internet_archive": ["https://archive.org/details/clevelandart-1971.300-heddle-pulley-bo-nun"]}, "citations": [{"citation": "Fagg, William Buller. <em>African Tribal Images:the Katherine White Reswick Collection</em>. Cleveland, OH: The Cleveland Museum of Art, 1968, no. 88.", "page_number": "no. 88", "url": null}, {"citation": "Lee, Sherman E. \u201cYear in Review 1972.\u201d In <em>Bulletin of the Cleveland Museum of Art </em>60, no. 3 (March 1973): 106, no. 27.", "page_number": "p. 106, no. 27", "url": null}], "url": "https://clevelandart.org/art/1971.300", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1971.300/1971.300_web.jpg", "width": "746", "height": "900", "filesize": "181981", "filename": "1971.300_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1971.300/1971.300_print.jpg", "width": "2819", "height": "3400", "filesize": "1236767", "filename": "1971.300_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1971.300/1971.300_full.tif", "width": "4281", "height": "5163", "filesize": "66334244", "filename": "1971.300_full.tif"}}, "alternate_images": [{"date_created": "2009-08-20T14:23:26", "annotation": "", "web": 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White, 1974.206", "current_location": null, "title": "Mask", "creation_date": "by 1949", "creation_date_earliest": 1880, "creation_date_latest": 1949, "artists_tags": ["male"], "culture": ["Africa, West Africa, Nigeria, Ab\u1eb9\u0301\u00f2k\u00fata, Yor\u00f9b\u00e1"], "technique": "Wood and paint", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Mask", "measurements": "Overall: 35.5 cm (14 in.)", "dimensions": {"overall": {"height": 0.355}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 211738, "title": "The Power of the Mask in Africa", "description": "<i>The Power of the Mask in Africa</i>. Kent State University Art Galleries, OH (October 15-November 5, 1997).", "opening_date": "1997-10-15T00:00:00"}], "legacy": []}, "provenance": [{"description": "George Jurgens, New York", "citations": [], "footnotes": ["<div><!--block-->Memorandum from William D. Wixom to Ursula Korneitchouk and Del Gutridge. 12/18/74. CMA Archives</div>"], "date": "?\u20131967", "sortorder": 1}, {"description": "Katherine (Reswick Merkel) C. White", "citations": [], "footnotes": ["<div><!--block-->Memorandum from William D. Wixom to Ursula Korneitchouk and Del Gutridge. 12/18/74. CMA Archives</div>"], "date": "1967\u20131974", "sortorder": 2}, {"description": "The Cleveland Museum of Art by gift", "citations": [], "footnotes": null, "date": "1974\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["630.68"], "did_you_know": "The prominent teeth on this sculpture may be a visual or symbolic reference to a hare.", "description": "Onyide Adugobologe was part of a famous carving workshop that his father founded in the late 1800s in the town of Abeokuta, Nigeria. This mask was made for the <em>eg\u00fang\u00fan</em> society, whose masquerades honored departed ancestors.", "external_resources": {"wikidata": [], "internet_archive": []}, "citations": [{"citation": "Fagg, William Buller. <em>African Tribal Images;the Katherine White Reswick Collection</em>. Cleveland, OH: The Cleveland Museum of Art, 1968, no. 111.", "page_number": "no. 111", "url": null}, {"citation": "Lee, Sherman E. \u201cYear in Review 1974.\u201d In Bulletin of the Cleveland Museum of Art 62, no. 3 (March 1975): 97, no. 22.", "page_number": "p. 97, no. 22", "url": null}], "url": "https://clevelandart.org/art/1974.206", "images": {}, "alternate_images": [], "creditline": "Gift of Katherine C. White", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 147845, "creators": [{"id": 10173, "description": "Onyide Adugbologe (Nigerian, c. 1875\u20131949)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1875", "death_year": "1949", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1975-02-07T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "by 1949", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Egungun Mask"], "is_highlight": false, "updated_at": "2026-03-27 00:09:26.243000"}, {"id": 152415, "accession_number": "1985.251.10", "share_license_status": "CC0", "tombstone": "Frosted Branches and Dwarf Bamboo, 1847. 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The Cleveland Museum of Art, The Kelvin Smith Collection, given by Mrs. Kelvin Smith, 1985.251.10", "current_location": null, "title": "Frosted Branches and Dwarf Bamboo", "creation_date": "1847", "creation_date_earliest": 1847, "creation_date_latest": 1847, "artists_tags": ["male"], "culture": ["Japan, Edo period (1615\u20131868)"], "technique": "album leaf; ink and color on silk", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Portfolio", "measurements": "Each leaf: 41 x 31.5 cm (16 1/8 x 12 3/8 in.)", "dimensions": {"each leaf": {"height": 0.41, "width": 0.315}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Tsubaki Chinzan inscribed each leaf with the same inscription that Zhai Dakun wrote on his album leaves.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 310240, "title": "A Private World: Japanese and Chinese Art from the Kelvin Smith Collection", "description": "<i>A Private World: Japanese and Chinese Art from the Kelvin Smith Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 14-November 13, 1988).", "opening_date": "1988-09-14T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Katsuhiko Kobayashi, Tokyo, Japan, sold to Mr. and Mrs. Kelvin Smith)", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1985\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1985.251g"], "did_you_know": "This composition was inspired by Zhai Dakun's painting, <a href=\"https://www.clevelandart.org/art/1986.49.12\"><u>CMA 1986.49.12</u></a>.", "description": "As the title of this album suggests, Tsubaki Chinzan painted each of the landscapes included in the album after interpretations of the styles of old masters by Chinese painter Zhai Dakun (\u7fdf\u5927\u5764, active 1730\u20131804). In addition to the painted compositions, he also copied the inscriptions on Zhai Dakun's paintings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60475519"], "internet_archive": ["https://archive.org/details/clevelandart-1985.251.10-frosted-branches-and"]}, "citations": [{"citation": "Yamanouchi, Cho\u0304zo\u0304 \u5c71\u5167\u9577\u4e09. <em>Nihon nangashi </em>\u65e5\u672c\u5357\u753b\u53f2 [The history of Japanese nanga painting]. To\u0304kyo\u0304: \u7460\u7483\u66f8\u623f: \u767a\u58f2 \u516d\u8208\u51fa\u7248, 1981.", "page_number": "Reproduced: pp. 471\u2013473", "url": ""}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.251.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.251.10/1985.251.10_web.jpg", "width": "696", "height": "900", "filesize": "236494", "filename": "1985.251.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.251.10/1985.251.10_print.jpg", "width": "2628", "height": "3400", "filesize": "3803333", "filename": "1985.251.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.251.10/1985.251.10_full.tif", "width": "9937", "height": "12858", "filesize": "383342720", "filename": "1985.251.10_full.tif"}}, "alternate_images": [], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152415, "creators": [{"id": 34613, "description": "Tsubaki Chinzan (Japanese, 1801\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u693f \u693f\u5c71", "birth_year": "1801", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1985.251", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:31.252000"}, {"id": 152417, "accession_number": "1985.251.3", "share_license_status": "CC0", "tombstone": "Willow Branches in Spring, 1847. Tsubaki Chinzan (Japanese, 1801\u20131854). Album leaf; ink and color on silk; each leaf: 41 x 31.5 cm (16 1/8 x 12 3/8 in.). 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To\u0304kyo\u0304: \u7460\u7483\u66f8\u623f: \u767a\u58f2 \u516d\u8208\u51fa\u7248, 1981.", "page_number": "Reproduced: pp. 471\u2013473", "url": ""}, {"citation": "\u201cChecklist of the Kelvin Smith Bequest.\u201d <em>The Bulletin of the Cleveland Museum of Art </em>75, no. 7 (September 1988): 292\u2013295.", "page_number": "Mentioned: p. 294", "url": "https://www.jstor.org/stable/25160040"}], "url": "https://clevelandart.org/art/1985.251.3", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1985.251.3/1985.251.3_web.jpg", "width": "693", "height": "900", "filesize": "227780", "filename": "1985.251.3_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1985.251.3/1985.251.3_print.jpg", "width": "2618", "height": "3400", "filesize": "3710426", "filename": "1985.251.3_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1985.251.3/1985.251.3_full.tif", "width": "9861", "height": "12806", "filesize": "378871756", "filename": "1985.251.3_full.tif"}}, "alternate_images": [], "creditline": "The Kelvin Smith Collection, given by Mrs. Kelvin Smith", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 152417, "creators": [{"id": 34613, "description": "Tsubaki Chinzan (Japanese, 1801\u20131854)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\u693f \u693f\u5c71", "birth_year": "1801", "death_year": "1854", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1985-12-18T00:00:00", "sortable_date": 1847, "date_added_to_oa": null, "date_text": "1847", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1985.251", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:36.301000"}, {"id": 163080, "accession_number": "2003.89", "share_license_status": "CC0", "tombstone": "Man's Garment, possibly early 1900s. Africa, West Africa, C\u00f4te d'Ivoire, Dida-style weavers and dyers. Raffia palm fiber (Raphia ruffia or R. vinifera) and dye; overall: 169.8 x 211.5 cm (66 7/8 x 83 1/4 in.). The Cleveland Museum of Art, John L. Severance Fund, 2003.89", "current_location": null, "title": "Man's Garment", "creation_date": "possibly early 1900s", "creation_date_earliest": 1895, "creation_date_latest": 1905, "artists_tags": [], "culture": ["Africa, West Africa, C\u00f4te d'Ivoire, Dida-style weavers and dyers"], "technique": "Raffia palm fiber (Raphia ruffia or R. vinifera) and dye", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Textile", "measurements": "Overall: 169.8 x 211.5 cm (66 7/8 x 83 1/4 in.)", "dimensions": {"overall": {"height": 1.698, "width": 2.115}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "(David Lantz, New York, NY, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": [], "date": "2003", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2003-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The tying of fabric during the making of this garment gives its surface a distinctively \"crinkled\" texture.", "description": "Displayed flat to highlight its designs and preserve its delicate fibers, this wrapper was meant to drape around the body. An elite man wore it with one corner over a shoulder, the knotted fringe skimming his ankles. The garment gained its earth-toned geometric patterns through <em>plangi, </em>a knot-and-twist resist dyeing technique; each color is applied in a different dye bath, from lightest to darkest. While their patterns are unique, these garments reflect regional influence: Dida women likely learned hand interlacing from Liberian Kpelle weavers. Such garments were given as gifts or worn on special occasions, at least into the 1990s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79988546"], "internet_archive": ["https://archive.org/details/clevelandart-2003.89-man-s-garment"]}, "citations": [{"citation": "Adams, Monni, and T. Rose Holdcraft. 1992. \u201cDida Woven Raffia Cloth from Co\u0302te D'ivoire.\u201d <em>African Arts</em> 25 (3): 42\u2013101.", "page_number": null, "url": null}, {"citation": "Gillow, John. African Textiles: Colour and Creativity Across a Continent. 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Severance Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163080, "creators": [], "legal_status": "accessioned", "accession_date": "2003-09-02T00:00:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "possibly early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:10.501000"}, {"id": 163791, "accession_number": "2005.198", "share_license_status": "CC0", "tombstone": "Neath Abbey, c. 1840s. Peter De Wint (British, 1784\u20131849). Watercolor with traces of graphite underdrawing and scratch-away; overall: 16 x 23.6 cm (6 5/16 x 9 5/16 in.). 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John White Abbott (British, 1763\u20131851). Watercolor with pen and black ink and traces of graphite underdrawing; image: 16 x 24.7 cm (6 5/16 x 9 3/4 in.); sheet: 17.9 x 26.9 cm (7 1/16 x 10 9/16 in.). The Cleveland Museum of Art, Gift of the Painting and Drawing Society of The Cleveland Museum of Art, 2005.200", "current_location": null, "title": "Leigh Tor Rocks at Poundsgate, near New Bridge on the Dart, Devon", "creation_date": "1800", "creation_date_earliest": 1800, "creation_date_latest": 1800, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with pen and black ink and traces of graphite underdrawing", "support_materials": [], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Image: 16 x 24.7 cm (6 5/16 x 9 3/4 in.); Sheet: 17.9 x 26.9 cm (7 1/16 x 10 9/16 in.)", "dimensions": {"sheet": {"height": 0.179, "width": 0.269}, "image": {"height": 0.16, "width": 0.247}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. 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John White Abbott chose a low vantage point that accentuated the looming immensity of the outcrop in whose shelter a herd of cows has converged. Almost austere in its lack of superfluous detail, this small sheet suggests the untamed quality of the Devon moors.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79990428"], "internet_archive": ["https://archive.org/details/clevelandart-2005.200-leigh-tor-rocks-at-p"]}, "citations": [{"citation": "Lemonedes, Heather. \"Quintessentially British.\" <em>Cleveland Art</em> (July/August 2007).", "page_number": "Mentioned: pp. 8-11; Reproduced: p. 9", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. 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David Cox (British, 1783\u20131859). Watercolor with graphite and scraping; sheet: 19.8 x 27.1 cm (7 13/16 x 10 11/16 in.). The Cleveland Museum of Art, Gift of the Painting and Drawing Society of The Cleveland Museum of Art, 2005.201", "current_location": null, "title": "On the Thames", "creation_date": "c. 1827\u201329", "creation_date_earliest": 1822, "creation_date_latest": 1834, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor with graphite and scraping", "support_materials": [{"description": "off-white wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 19.8 x 27.1 cm (7 13/16 x 10 11/16 in.)", "dimensions": {"sheet": {"height": 0.198, "width": 0.271}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. 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Here, translucent streaks of blue and gray in the sky suggest movement among the clouds, and small dashes of color throughout the foreground trees create a sense of rustling vegetation. Reflections on the river\u2019s surface shimmer with light.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79990430"], "internet_archive": ["https://archive.org/details/clevelandart-2005.201-on-the-thames"]}, "citations": [{"citation": "Lemonedes, Heather. \"Quintessentially British\".<em> Cleveland Art </em>(July/August 2007): 8-11.", "page_number": "Mentioned and reproduced: pp. 8-11", "url": null}, {"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 70-72, 144, no. 22a; Reproduced: p. 71", "url": null}], "url": "https://clevelandart.org/art/2005.201", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2005.201/2005.201_web.jpg", "width": "1217", "height": "893", "filesize": "925494", "filename": "2005.201_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2005.201/2005.201_print.jpg", "width": "3400", "height": "2494", "filesize": "7687388", "filename": "2005.201_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2005.201/2005.201_full.tif", "width": "6207", "height": "4553", "filesize": "84818608", "filename": "2005.201_full.tif"}}, "alternate_images": [{"date_created": "2005-09-01T13:45:34", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.201/2005.201_alt0_web.jpg", "width": "1214", "height": "893", "filesize": "858762"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.201/2005.201_alt0_print.jpg", "width": "3400", "height": "2502", "filesize": "5953818"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2005.201/2005.201_alt0_full.tif", "width": "4689", "height": "3451", "filesize": "48577320"}}], "creditline": "Gift of the Painting and Drawing Society of The Cleveland Museum of Art", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 163796, "creators": [{"id": 5714, "description": "David Cox (British, 1783\u20131859)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1783", "death_year": "1859", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2005-12-05T00:00:00", "sortable_date": 1822, "date_added_to_oa": null, "date_text": "c. 1827\u201329", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:01:41.321000"}, {"id": 166677, "accession_number": "2008.390", "share_license_status": "CC0", "tombstone": "Study for the Mother in The Fisherman's Family, c. 1875. Pierre Puvis de Chavannes (French, 1824\u20131898). Black and white chalk with stumping, squared in black chalk; sheet: 46.6 x 32.8 cm (18 3/8 x 12 15/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.390", "current_location": null, "title": "Study for the Mother in The Fisherman's Family", "creation_date": "c. 1875", "creation_date_earliest": 1870, "creation_date_latest": 1880, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black and white chalk with stumping, squared in black chalk", "support_materials": [{"description": "tan wove paper, possibly faded from blue, mounted to modern laid paper decorated with blue wash at margins", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 46.6 x 32.8 cm (18 3/8 x 12 15/16 in.)", "dimensions": {"sheet": {"height": 0.466, "width": 0.328}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}], "legacy": []}, "provenance": [{"description": "Adrien Karbowsky [1855-1945], Paris, by descent to his family", "citations": [], "footnotes": ["<div><!--block-->According to Galerie Jacques Fischer-Chantal Kiener</div>", ""], "date": "?-1945", "sortorder": 2}, {"description": "Family of Adrien Karbowsky, Paris", "citations": [], "footnotes": ["<div><!--block-->According to Galerie Jacques Fischer-Chantal Kiener</div>"], "date": "1945-?", "sortorder": 3}, {"description": "(Galerie Jacques Fischer-Chantal Kiener, Paris, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": [], "date": "?-probably 1980", "sortorder": 4}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, by bequest to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "Probably 1980-2008", "sortorder": 5}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2008-", "sortorder": 6}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Pierre Puvis de Chavannes also worked out the composition of the female figure seen in this drawing through a more developed study now in the collection of the Mus\u00e9e Saint-Nazaire in Bourbon-Lancy, France.", "description": "This study relates to the figure of the mother in Pierre Puvis de Chavannes's <em>The Fisherman's Family</em>, a painting first shown at the 1875 Paris Salon, and which the artist also painted in reduced scale in 1887. While Puvis represented his female figure completely nude in the study, in the painting he left bare just a breast, shoulder, and arm. The artist derived the mother figure seen in this drawing from an earlier canvas, <em>Summer</em>, purchased by the French state at the 1873 Salon. In this study, the figure retains some naturalistic features smoothed away in the later paintings, as seen in her proper right arm and hand and her collar and cheekbones.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79997261"], "internet_archive": ["https://archive.org/details/clevelandart-2008.390-study-for-the-mother"]}, "citations": [{"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>. Exh. Cat. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned: pp. 124-25, 144, no. 57; Reproduced: p. 125", "url": null}, {"citation": "Stratis, Harriet K. \"Unintended Outcomes: Recognizing Change in 19th-Century French Drawings.\" In <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art, </em>11-23. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p. 59-61, fig. 39", "url": ""}], "url": "https://clevelandart.org/art/2008.390", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.390/2008.390_web.jpg", "width": "638", "height": "893", "filesize": "80773", "filename": "2008.390_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.390/2008.390_print.jpg", "width": "2430", "height": "3400", "filesize": "1647290", "filename": "2008.390_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.390/2008.390_full.tif", "width": "5409", "height": "7566", "filesize": "122796464", "filename": "2008.390_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:52:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.390/2008.390_alt0_web.jpg", "width": "625", "height": "893", "filesize": "378169"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.390/2008.390_alt0_print.jpg", "width": "2379", "height": "3400", "filesize": "5196083"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.390/2008.390_alt0_full.tif", "width": "3499", "height": "5000", "filesize": "52505972"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166677, "creators": [{"id": 1649, "description": "Pierre Puvis de Chavannes (French, 1824\u20131898)", "extent": null, "qualifier": null, "role": "artist", "biography": "Pierre Puvis de Chavannes was born into a bourgeois family. His father intended his son to enroll at the \u00c9cole Polytechnique in Paris. After a prolonged illness, however, Puvis instead entered the Facult\u00e9 de Droit. He became interested in art during a trip to Italy in 1846, and the following year he began studying with Henri Scheffer (1798-1862). Puvis returned to Italy in 1848 with Louis Bauderon de Vermeron (1809-1870), where he became interested in the art of mural painting. He entered the atelier of Delacroix (q.v.) for only two weeks, and later that of Couture (q.v.) for three months. Yet, Puvis's chief method of study was to work independently after live models. He was accepted in the Salon of 1850, but his submissions from 1852 through 1859 were rejected. In 1854-55 he decorated the dining room at his brother's country house, Le Brouchy, near Cuiseaux. He won a second-class medal at the Salon of 1861 for Concordia (Mus\u00e9e de Picardie, Amiens), which was purchased by the state. Inspired by the frescoes of Pompeii and by Piero della Francesca's Legend of the True Cross in Arezzo, Puvis pursued his interest in mural painting with great success. He received commissions to create works for the Palais des Arts in Lyons, the Pantheon and the H\u00f4tel de Ville in Paris, the Boston Public Library, and many others. The artist strove to integrate his mural paintings with the surrounding architecture and to maintain the integrity of the flat wall surface by using broad areas of subdued color. In 1890, together with Meissonier (q.v.) and Rodin (1840-1917), Puvis founded the Soci\u00e9t\u00e9 Nationale des Beaux-Arts, as a more progressive alternative for the regular Salon. Puvis's art had a significant impact on later artists, particularly the symbolists.", "name_in_original_language": null, "birth_year": "1824", "death_year": "1898", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "c. 1875", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:05:02.941000"}, {"id": 167673, "accession_number": "2009.350", "share_license_status": "CC0", "tombstone": "Venice: Saint Mark's Looking toward San Giorgio Maggiore, in Moonlight, c. 1870. Carlo Naya (Italian, 1816\u20131882). Albumen print; image: 42.3 x 53.7 cm (16 5/8 x 21 1/8 in.); paper: 42.3 x 53.7 cm (16 5/8 x 21 1/8 in.); matted: 61 x 76.2 cm (24 x 30 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2009.350", "current_location": null, "title": "Venice: Saint Mark's Looking toward San Giorgio Maggiore, in Moonlight", "creation_date": "c. 1870", "creation_date_earliest": 1865, "creation_date_latest": 1875, "artists_tags": ["male"], "culture": ["Italy, 19th century"], "technique": "albumen print", "support_materials": [], "department": "Photography", "collection": "Photography", "type": "Photograph", "measurements": "Image: 42.3 x 53.7 cm (16 5/8 x 21 1/8 in.); Paper: 42.3 x 53.7 cm (16 5/8 x 21 1/8 in.); Matted: 61 x 76.2 cm (24 x 30 in.)", "dimensions": {"image": {"height": 0.423, "width": 0.537}, "paper": {"height": 0.423, "width": 0.537}, "matted": {"height": 0.61, "width": 0.762}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Bruno Tartarin, Paris; Charles Isaacs, New York; Cleveland Museum of Art", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Nowadays Venice usually receives between 26 and 30 million visitors annually.", "description": "This romantic view of a nearly empty, moonlit Piazza San Marco is a tourist\u2019s dream of Venice\u2014and dream it is, rather than reality. The light-sensitive coatings of photographic negatives around 1870 were unable to record such detail in the dark, so Carlo Naya photographed his celebrated nocturnes during the day then manipulated the exposure in the darkroom. The highlights on the water and on the columns on the right, along with all the gaslight flames, were hand painted on the negative (he missed one lamp on the left). The sun, conveniently hidden behind a cloud, becomes the moon.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80072469"], "internet_archive": ["https://archive.org/details/clevelandart-2009.350-venice-saint-mark-s"]}, "citations": [{"citation": "Chiodini, Elisabetta. Il mito di Venezia: da Hayez alla Biennale. Novara : METS percorsi d'arte, 2021.", "page_number": "Mentioned and reproduced: p. 63, fig. 8", "url": ""}, {"citation": "Tannenbaum, Barbara. \u201cPaper Airplanes.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine </em>61, no. 1 (Winter 2021): 22.", "page_number": "Reproduced and Mentioned: P. 22.", "url": ""}], "url": "https://clevelandart.org/art/2009.350", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2009.350/2009.350_web.jpg", "width": "1135", "height": "893", "filesize": "560740", "filename": "2009.350_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2009.350/2009.350_print.jpg", "width": "3400", "height": "2674", "filesize": "4797957", "filename": "2009.350_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2009.350/2009.350_full.tif", "width": "5668", "height": "4458", "filesize": "75833544", "filename": "2009.350_full.tif"}}, "alternate_images": [], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 167673, "creators": [{"id": 727, "description": "Carlo Naya (Italian, 1816\u20131882)", "extent": null, "qualifier": null, "role": "artist", "biography": "Carlo Naya Italian, 1816-1882\r\n\r\nAlong with Carlo Ponti, Carlo Naya was a major photographer in 19th-century Venice. Born in Tronzano di Vercelli, he trained as a lawyer and traveled with his brother to Asia and North Africa before settling in Venice around 1857. There he worked in conjunction with Ponti until a business dispute in 1868.\r\n\tNaya's work covered a number of subjects, especially architecture and the reproduction of works of art. He also produced genre scenes, as well as travel views such as those taken during a trip to Egypt in 1876. Principally a commercial photographer, Naya generated over the course of his career some 8,000 negatives, which continued to be printed by his business until around 1918. His work, well received throughout Europe, was awarded gold medals at the London Exposition (1862) and at the Exposition Universelle in Paris (1867). Naya served as official photographer to Italy's King Vittorio Emmanuelle and in 1870 became a member of the Soci\u00e9t\u00e9 fran\u00e7aise de photographie. T.W.F.", "name_in_original_language": null, "birth_year": "1816", "death_year": "1882", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-11-30T00:00:00", "sortable_date": 1865, "date_added_to_oa": null, "date_text": "c. 1870", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Venice: St. Mark's Looking Towards San Giorgio Maggiore, in Moonlight"], "is_highlight": false, "updated_at": "2026-03-27 00:04:36.103000"}, {"id": 168724, "accession_number": "2010.430", "share_license_status": "CC0", "tombstone": "Male Figure, late 1800s-early 1900s. Africa, Central Africa, Republic of the Congo (most likely) or Democratic Republic of the Congo, Teke-style maker. Wood, resin, iron, copper, plant fiber, cloth, glass beads, coins, antelope horns, and cowrie shells; overall: 97.1 cm (38 1/4 in.); without base: 91.5 x 16 x 16.3 cm (36 x 6 5/16 x 6 7/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.430", "current_location": null, "title": "Male Figure", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Republic of the Congo (most likely) or Democratic Republic of the Congo, Teke-style maker"], "technique": "Wood, resin, iron, copper, plant fiber, cloth, glass beads, coins, antelope horns, and cowrie shells", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 97.1 cm (38 1/4 in.); without base: 91.5 x 16 x 16.3 cm (36 x 6 5/16 x 6 7/16 in.)", "dimensions": {"overall": {"height": 0.971}, "without base": {"height": 0.915, "width": 0.16, "depth": 0.163}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "French missionary (possibly of the Congregation of the Holy Spirit), before 1914, collected from Ubangi region, Democratic Republic of Congo.", "citations": [], "footnotes": null, "date": "?-1914", "sortorder": 1}, {"description": "(Unidentified art dealer, Nice, FR, 1961, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "?-1961", "sortorder": 2}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1961-2010", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The coins on the figure\u2019s hat were those used in the Belgian Congo.", "description": "This exceptionally large Teke figure is well preserved and holds a medicine package partly buried in an abdominal cavity. Its size suggests that it stood at the service of a larger group of people and that its powers extended beyond the limits of a village. Its scarification marks and beard identify it as representing a chief or another dignitary.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075054"], "internet_archive": ["https://archive.org/details/clevelandart-2010.430-male-figure"]}, "citations": [{"citation": "Lehuard, Raoul. <em>Les Arts Bateke</em>. Arnouville, FR: Arts d'Afrique Noire, 1996, fig. 85.1.1.", "page_number": "Reproduced and mentioned: p. 340, fig. 85.1.1", "url": null}, {"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible</em>: <em>The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 34.", "page_number": "Reproduced: p. 37; mentioned: p. 112, cat. 4", "url": null}], "url": "https://clevelandart.org/art/2010.430", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.430/2010.430_web.jpg", "width": "608", "height": "893", "filesize": "224551", "filename": "2010.430_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.430/2010.430_print.jpg", "width": "2315", "height": "3400", "filesize": "4238086", "filename": "2010.430_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.430/2010.430_full.tif", "width": "4136", "height": "6072", "filesize": "75372184", "filename": "2010.430_full.tif"}}, "alternate_images": [{"date_created": "2011-06-02T18:40:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt0_web.jpg", "width": "547", "height": "893", "filesize": "212325"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt0_print.jpg", "width": "2082", "height": "3400", "filesize": "3885813"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt0_full.tif", "width": "3837", "height": "6263", "filesize": "72124708"}}, {"date_created": "2011-06-02T18:46:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt1_web.jpg", "width": "568", "height": "893", "filesize": "219341"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt1_print.jpg", "width": "2162", "height": "3400", "filesize": "4050645"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt1_full.tif", "width": "3884", "height": "6107", "filesize": "71187036"}}, {"date_created": "2011-06-02T18:49:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt2_web.jpg", "width": "559", "height": "893", "filesize": "219852"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt2_print.jpg", "width": "2128", "height": "3400", "filesize": "4017795"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt2_full.tif", "width": "3877", "height": "6192", "filesize": "72049980"}}, {"date_created": "2011-06-02T18:53:54", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt3_web.jpg", "width": "553", "height": "893", "filesize": "216719"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt3_print.jpg", "width": "2106", "height": "3400", "filesize": "3973121"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt3_full.tif", "width": "3816", "height": "6158", "filesize": "70525084"}}, {"date_created": "2011-06-02T18:56:58", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt4_web.jpg", "width": "537", "height": "893", "filesize": "207344"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt4_print.jpg", "width": "2046", "height": "3400", "filesize": "3848312"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.430/2010.430_alt4_full.tif", "width": "3662", "height": "6083", "filesize": "66860992"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168724, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:26.248000"}, {"id": 168737, "accession_number": "2010.442", "share_license_status": "CC0", "tombstone": "Power figure (nkisi), late 1800s-early 1900s. Central Africa, Republic of the Congo, Kongo people. Wood, organic materials (including resin), iron, reed, tooth, seashell or glass beads, and possibly plastic; overall: 12 x 4 x 4 cm (4 3/4 x 1 9/16 x 1 9/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. 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The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "French missionary, before 1914, collected from Ubangi region", "citations": [], "footnotes": [], "date": "?-1914", "sortorder": 1}, {"description": "(Unidentified art dealer, Nice, FR, 1961, sold to Paul Elsas)", "citations": [], "footnotes": null, "date": "?-1961", "sortorder": 2}, {"description": "Paul Elsas [1896-1981], Saint-Paul de Vence, FR, 1962, sold to Ren\u00e9 and Odette Delenne", "citations": [], "footnotes": [], "date": "1961-1962", "sortorder": 3}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1962-2010", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "There are no other carved mother-child figures that originate from the Monzombo ethnic group.", "description": "The Ubangi region's history of successive migrations and assimilations has resulted in numerous exchanges of religious beliefs and ritual practices. 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Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168763, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2010.460", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Female Figure of a Pair"], "is_highlight": false, "updated_at": "2026-03-27 00:01:47.276000"}, {"id": 168764, "accession_number": "2010.461", "share_license_status": "CC0", "tombstone": "Portrait of Anne Law (n\u00e9e Towry), 1st Lady Ellenborough, c. 1821. John Linnell (British, 1792\u20131882). Watercolor on ivory heightened with gum arabic; framed: 23.4 x 20.7 cm (9 3/16 x 8 1/8 in.); unframed: 11.3 x 8.5 cm (4 7/16 x 3 3/8 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2010.461", "current_location": null, "title": "Portrait of Anne Law (n\u00e9e Towry), 1st Lady Ellenborough", "creation_date": "c. 1821", "creation_date_earliest": 1816, "creation_date_latest": 1826, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "watercolor on ivory heightened with gum arabic", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Portrait Miniature", "measurements": "Framed: 23.4 x 20.7 cm (9 3/16 x 8 1/8 in.); Unframed: 11.3 x 8.5 cm (4 7/16 x 3 3/8 in.)", "dimensions": {"framed": {"height": 0.234, "width": 0.207}, "unframed": {"height": 0.113, "width": 0.085}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202388, "title": "Disembodied: Portrait Minatures and their Contemporary Relatives", "description": "<i>Disembodied: Portrait Minatures and their Contemporary Relatives</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 10, 2013-February 16, 2014).", "opening_date": "2013-11-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "Anne Law, 1st Lady Ellenborough (n\u00e9e Towry, c. 1769\u20131843), by inheritance to her daughter, Frederica Selina Ramsden", "citations": [], "footnotes": null, "date": "c. 1821-1843", "sortorder": 1}, {"description": "Frederica Selina Ramsden (n\u00e9e\nLaw, 1805\u20131879), Oxton Hall, Yorkshire, by inheritance to her son John Charles Francis Ramsden", "citations": [], "footnotes": null, "date": "1843-79", "sortorder": 2}, {"description": "John Charles Francis Ramsden\n(1835\u20131910), Willinghurst, Surrey, by inheritance to his son Capt. Frederick William Ramsden", "citations": [], "footnotes": null, "date": "1879-1910", "sortorder": 3}, {"description": "Capt. Frederick William Ramsden (1871\u20131958), Willinghurst, Surrey, by inheritance to his daughter Moyra Gwendolin Russell-Clarke", "citations": [], "footnotes": null, "date": "1910-1958", "sortorder": 4}, {"description": "Moyra Gwendolin Russell-Clarke (n\u00e9e Ramsden, 1900\u20131981), by inheritance to her great-niece Julia Ann Llewellyn", "citations": [], "footnotes": null, "date": "1958-81", "sortorder": 5}, {"description": "Julia Ann Llewellyn (n\u00e9e Cooke, b. 1948), London, England", "citations": [], "footnotes": null, "date": "1981-2010", "sortorder": 6}, {"description": "(Sale: Bonhams (Knightsbridge) on November 24, 2010, lot 189).", "citations": [], "footnotes": null, "date": "November 24, 2010", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010-", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Lady Ellenborough was described as \u201cso exceedingly lovely, that passengers would linger to watch her watering the flowers\u2014such was the fashion of the day\u2014on the balcony of their house in Bloomsbury Square.\u201d", "description": "John Linnell was born and lived much of his young adulthood in Bloomsbury, where his father, James, made picture <br>frames and restored paintings. As a boy the artist trained briefly with Benjamin West (1738\u20131820) and John Varley (1778\u20131842) before becoming a student at the Royal Academy from 1805 to 1812. Though primarily known for his landscapes, Linnell was also a prolific portraitist and executed miniatures during the first two decades of his career, learning the medium from his neighbor James Holmes (1770\u20131860). According to an early biographer, Linnell began painting miniatures around 1818 with a portrait of his wife. By 1823 he had executed a number of miniature commissions from aristocratic patrons, including Princess Sophia, facilitated by the praise of the society maven Lady Stafford. He painted his last known miniature on ivory in 1832. During the approximately fifteen years that the artist painted miniatures, he consistently charged between 10 and 50 guineas for a portrait. These fees corresponded less to the size of the ivory than to the degree of finish and elaboration of the composition.<br>In this portrait Anne Law (n\u00e9e Towry), 1st Lady Ellenborough (c. 1769\u20131843), is depicted half length. She wears a high-waisted white dress of translucent fabric through which a hint of blue appears and around which she wears a black belt. A <em>devant de corsage</em> (stomacher, or bodice brooch) is worn at her d\u00e9colletage, extending to the belt. Its gold framework contains at least twelve semiprecious stones colored blue, red, aquamarine, pink, and brown. A gold brooch with a large blue stone is pinned to the cloak at her right shoulder. She also wears a twisted multistrand pearl necklace, matching pearl pendant earrings, and two gold rings on her left ring finger. A dark gray-green shawl with red reverse, gold border, and red fringe is draped over her shoulders and arms. She holds a closed fan in her left hand and stands against a brown background featuring a green and auburn striped curtain in the upper left corner. The sitter\u2019s fair hair is dressed in ringlets that fall at her neck. The miniature is housed in a standing gilt metal and red velvet frame that dates from the same period.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075164"], "internet_archive": ["https://archive.org/details/clevelandart-2010.461-portrait-of-anne-law"]}, "citations": [{"citation": "Korkow, Cory, and Dario Robleto. <em>Disembodied: Portrait Miniatures and Their Contemporary Relatives. </em>2013.", "page_number": "Mentioned: p. 84", "url": null}, {"citation": "Korkow, Cory, and Jon L. Seydl.<em> British Portrait Miniatures: The Cleveland Museum of Art</em>. 2013.", "page_number": "Cat. no. 71, pp. 271-274", "url": ""}], "url": "https://clevelandart.org/art/2010.461", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.461/2010.461_web.jpg", "width": "665", "height": "893", "filesize": "502981", "filename": "2010.461_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.461/2010.461_print.jpg", "width": "2531", "height": "3400", "filesize": "6526929", "filename": "2010.461_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.461/2010.461_full.tif", "width": "4013", "height": "5390", "filesize": "64919252", "filename": "2010.461_full.tif"}}, "alternate_images": [{"date_created": "2011-04-21T15:42:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt0_web.jpg", "width": "685", "height": "893", "filesize": "456469"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt0_print.jpg", "width": "2607", "height": "3400", "filesize": "6762471"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt0_full.tif", "width": "4338", "height": "5656", "filesize": "73633780"}}, {"date_created": "2011-05-16T17:36:37", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt1_web.jpg", "width": "795", "height": "893", "filesize": "598732"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt1_print.jpg", "width": "3026", "height": "3400", "filesize": "9219048"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt1_full.tif", "width": "3780", "height": "4247", "filesize": "48190072"}}, {"date_created": "2011-05-16T17:42:12", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt2_web.jpg", "width": "788", "height": "893", "filesize": "492409"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt2_print.jpg", "width": "2999", "height": "3400", "filesize": "6669814"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt2_full.tif", "width": "3720", "height": "4217", "filesize": "47088640"}}, {"date_created": "2013-02-20T17:33:59", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt3_web.jpg", "width": "670", "height": "893", "filesize": "128343"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt3_print.jpg", "width": "2550", "height": "3400", "filesize": "1420548"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.461/2010.461_alt3_full.tif", "width": "6000", "height": "8000", "filesize": "144023468"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168764, "creators": [{"id": 2968, "description": "John Linnell (British, 1792\u20131882)", "extent": null, "qualifier": null, "role": "artist", "biography": "The precocious son of a Bloomsbury frame maker, John Linnell entered the Royal Academy schools in 1805 at the same time that he began studying with influential watercolor painter and drawing master John Varley (1778-1842). Under Varley's tutelage, but primarily in the company of fellow student William Mulready (1786-1863), Linnell mastered plein-air landscape painting. His studies at the Kensington gravel pits (ca. 1812) and other locales in and around London are remarkable for the intensity and novelty of their naturalistic observation. From 1807 Linnell was a regular contributor of landscape and portrait paintings at the Royal Academy, the British Institution, and the Society of Painters in Watercolours. His conversion to the Baptist faith in 1811 intensified his conviction that meticulous landscape realism was a moral act pursued as a duty to God's creation. Primarily for financial reasons, Linnell painted his first miniature portrait in 1816, after which portraiture in all media tended to dominate his professional production for several decades. In 1818 he befriended William Blake (1757-1827), virtually supporting that irascible genius during his last years with important commissions, including The Book of Job engravings and the 102 watercolor illustrations to Dante's Divine Comedy. Linnell's commitment to landscape painting as a spiritual art profoundly influenced the visionary early work of his pupil and future son-in-law, Samuel Palmer (1805-1881). In the 1840s, but especially after 1851, when he moved his family to Redhill in Surrey, Linnell resumed landscape painting. Many of his later pictures had literal or implied religious subject matter, and although they were not always successful commercially, they established Linnell as one of the masters of the pastoral landscape tradition in the nineteenth century.", "name_in_original_language": null, "birth_year": "1792", "death_year": "1882", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2010-11-29T00:00:00", "sortable_date": 1816, "date_added_to_oa": null, "date_text": "c. 1821", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:42.068000"}, {"id": 86107, "accession_number": "2015.510", "share_license_status": "CC0", "tombstone": "Grapevine (\ubb35\ud3ec\ub3c4\ub3c4 [\u58a8\u8461\u8404\u5716]), early 1800s. Choe Seok-hwan (Korean, active first half of 19th century). Eight-panel folding screen; ink on paper; image: 100.5 x 345 cm (39 9/16 x 135 13/16 in.). The Cleveland Museum of Art, Gift from the Collection of George Gund III, 2015.510", "current_location": null, "title": "Grapevine", "title_in_original_language": "\ubb35\ud3ec\ub3c4\ub3c4 [\u58a8\u8461\u8404\u5716]", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": ["male"], "culture": ["Korea, Joseon dynasty (1392\u20131910)"], "technique": "eight-panel folding screen; ink on paper", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Image: 100.5 x 345 cm (39 9/16 x 135 13/16 in.)", "dimensions": {"image": {"height": 1.005, "width": 3.45}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 295535, "title": "Korean Gallery 236 Rotation", "description": "<i>Korean Gallery 236 Rotation</i>. The Cleveland Museum of Art (organizer) (July 10, 2017-January 8, 2018).", "opening_date": "2017-07-10T04:00:00"}], "legacy": []}, "provenance": [{"description": "George Gund III [1937\u20132013], bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20132015", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2015\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Grapes in premodern East Asia symbolize many children.", "description": "July is the season of the ripening deep blue grapes, and also the month when the monsoon season begins in Korea. To the accompaniment of stormy summer wind, grape vines make a spectacular full circle across the surface of this eight-panel folding screen. The artist employed a variety of ink tones to create a sense of swift movement of grapevines amid turbulent storms. <br><br>Since their first introduction to the Korean peninsula around the 7th century through the Silk Road, grapes were used as artistic motifs. Artists embellished the surface of mother-of-pearl lacquer boxes or blue-and-white porcelain, while scholar-poets composed poems about the luscious sweet sourness of green grapes. By the late 19th century, grapes became the icon of fertility: the fruit grows in large clusters of many individual grapes, evoking the image of a stable clan with many descendants.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60493455"], "internet_archive": ["https://archive.org/details/clevelandart-2015.510-grapevine"]}, "citations": [{"citation": "<em>Treasures from Korea: Arts and Culture of the Joseon Dynasty, 1392-1910</em>. Philadelphia: Philadelphia Museum of Art, 2014.", "page_number": null, "url": null}, {"citation": "<em>Beyond Folding Screens</em> [\uc870\uc120, \ubcd1\ud48d\uc758 \ub098\ub77c]. Seoul: Amorepacific Museum of Art, 2018.", "page_number": null, "url": null}], "url": "https://clevelandart.org/art/2015.510", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2015.510/2015.510_web.jpg", "width": "900", "height": "288", "filesize": "143975", "filename": "2015.510_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2015.510/2015.510_print.jpg", "width": "3400", "height": "1088", "filesize": "1237335", "filename": "2015.510_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2015.510/2015.510_full.tif", "width": "21087", "height": "6750", "filesize": "427043256", "filename": "2015.510_full.tif"}}, "alternate_images": [{"date_created": "2017-02-08T20:53:46", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.510/2015.510_alt0_web.jpg", "width": "900", "height": "440", "filesize": "162517"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.510/2015.510_alt0_print.jpg", "width": "3400", "height": "1663", "filesize": "1650993"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2015.510/2015.510_alt0_full.tif", "width": "16172", "height": "7909", "filesize": "383745684"}}], "creditline": "Gift from the Collection of George Gund III", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 86107, "creators": [{"id": 284144, "description": "Choe Seok-hwan (Korean, active first half of 19th century)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": "\ucd5c\uc11d\ud658", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2015-08-24T00:00:00-04:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": true, "updated_at": "2026-04-08 11:09:01.621000"}, {"id": 401145, "accession_number": "2020.289", "share_license_status": "CC0", "tombstone": "Study for \"Seaweed Gatherers, Yport\", c. 1888. Claude-Emile Schuffenecker (French, 1851\u20131934). Black chalk on laid paper; sheet: 47.6 x 31.3 cm (18 3/4 x 12 5/16 in.). The Cleveland Museum of Art, Elizabeth Carroll Shearer Fund, 2020.289", "current_location": null, "title": "Study for \"Seaweed Gatherers, Yport\"", "creation_date": "c. 1888", "creation_date_earliest": 1883, "creation_date_latest": 1893, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk on laid paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 47.6 x 31.3 cm (18 3/4 x 12 5/16 in.)", "dimensions": {"sheet": {"height": 0.476, "width": 0.313}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed, at lower right, in black ink, with artist\u2019s stamp (not in Lugt); watermark: ED&Cie. [inside cartouche] (Emile Desloye)", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "<em>Claude-Emile Schuffenecker: Margin and Image</em>. University Art Gallery, State University of New York at Binghamton (November 22 \u2013 December 22, 1980); Hammer Galleries, New York (January 8 - 24, 1981).", "opening_date": "1981-01-08T00:00:00"}]}, "provenance": [{"description": "Jeanne Schuffenecker, Paris", "citations": [], "footnotes": null, "date": "1934-?", "sortorder": 1}, {"description": "Jacques Fouquet, Paris", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 2}, {"description": "Private Collection, New York", "citations": [], "footnotes": null, "date": "?-2020", "sortorder": 3}, {"description": "(Abbatoir Gallery, Cleveland, OH, sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "2020", "sortorder": 4}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2020-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Claude-Emile Schuffenecker met Paul Gauguin while the two were working at the same Parisian stockbrokerage. They both abandoned their jobs to become professional artists following a market crash in 1882.", "description": "Claude-Emile Schuffenecker worked closely with Paul Gauguin to form Synthetism, a style of art that broke from Impressionism in favor of flat planes of bold color and invented subjects. This drawing is a study for one of Schuffenecker\u2019s most important works, <em>Seaweed Gatherers, Yport</em>, which exists in two versions, one of which belongs to the Cleveland Museum of Art. The other version of the drawing (owned by the Art Institute of Chicago) was featured in an influential 1889 exhibition organized by Gauguin and Schuffenecker at the Caf\u00e9 Volpini on the grounds of the Universal Exposition. Both artists saw imagery of seaweed gatherers\u2014a task undertaken by working class people in rural French coastal towns\u2014as exemplifying the simplicity they sought in their art.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246386"], "internet_archive": ["https://archive.org/details/clevelandart-2020.289-study-for-seaweed-ga"]}, "citations": [{"citation": "<em>Claude-Emile Schuffenecker: Margin and Image</em>. Exh. Cat. New York: University Art Gallery, State University of New York at Binghamton, 1980.", "page_number": "Mentioned and reproduced: p. 74, no. 38", "url": null}, {"citation": "Grossvogel, Jill-Elyse. <em>Claude-Emile Schuffenecker: Catalogue Raisonn\u00e9</em>. (San Francisco: Alan Wofsy, 2000).", "page_number": "Mentioned and reproduced: vol. I, p. 165, no. 447", "url": null}], "catalogue_raisonne": "Grossvogel 447", "url": "https://clevelandart.org/art/2020.289", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2020.289/2020.289_web.jpg", "width": "592", "height": "900", "filesize": "263033", "filename": "2020.289_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2020.289/2020.289_print.jpg", "width": "2237", "height": "3400", "filesize": "3335627", "filename": "2020.289_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2020.289/2020.289_full.tif", "width": "8010", "height": "12172", "filesize": "292519180", "filename": "2020.289_full.tif"}}, "alternate_images": [{"date_created": "2020-11-19T12:34:02", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.289/2020.289_alt0_web.jpg", "width": "592", "height": "900", "filesize": "237222"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.289/2020.289_alt0_print.jpg", "width": "2238", "height": "3400", "filesize": "3084210"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2020.289/2020.289_alt0_full.tif", "width": "8010", "height": "12171", "filesize": "292493532"}}], "creditline": "Elizabeth Carroll Shearer Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 401145, "creators": [{"id": 56133, "description": "Claude-Emile Schuffenecker (French, 1851\u20131934)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1851", "death_year": "1934", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2020-12-07T00:00:00-05:00", "sortable_date": 1883, "date_added_to_oa": null, "date_text": "c. 1888", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:00:42.865000"}, {"id": 447826, "accession_number": "2022.155", "share_license_status": "CC0", "tombstone": "High-Footed Bowl with Lotus Pond (\u9752\u83ef\u78c1\u9ad8\u6708), 1887\u201392. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with underglaze color and modeled designs; height: 10 cm (3 15/16 in.); diameter: 23 cm (9 1/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.155", "current_location": null, "title": "High-Footed Bowl with Lotus Pond", "title_in_original_language": "\u9752\u83ef\u78c1\u9ad8\u6708", "creation_date": "1887\u201392", "creation_date_earliest": 1887, "creation_date_latest": 1892, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with underglaze color and modeled designs", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height: 10 cm (3 15/16 in.); Diameter: 23 cm (9 1/16 in.)", "dimensions": {"height": {"height": 0.1}, "diameter": {"width": 0.23}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "James and Christine Heusinger, Berea, OH, given to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20132022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This high-footed bowl simulates exploration of a pond both from underwater and from the sky.", "description": "Seif\u016b Yohei III was the most prominent head of a ceramics studio in Kyoto that specialized in Chinese-style porcelains and especially items for use in <em>sencha</em> (\u714e\u8336), or the drinking of steeped-leaf tea with companions. Sencha was popular among the <em>bunjin</em> of Kyoto and Osaka, who often enjoyed it as part of their emulation of Chinese culture. While sencha was by design less formal than the Japanese tea ceremony, it still featured the display of treasured objects. Prized Chinese antiquities were generally unobtainable, so substitutes such as the <em>Gu-Shaped Flower Vase, </em><a href=\"https://www.clevelandart.org/art/2022.224\"><u>CMA 2022.224</u></a>, were much in demand. Bowls for distributing sweets, like this one, were also a staple of sencha gatherings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117599820"], "internet_archive": ["https://archive.org/details/clevelandart-2022.155-high-footed-bowl-wit"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 82, pp. 82\u201383", "url": ""}, {"citation": "Goodall, Hollis. \"Seif\u016b Yohei III: Master of Finesse.\" <em>Impressions: The Journal of the Japanese Art Society of America</em> 45, part 2 (2024): 178-193.", "page_number": "Mentioned: p. 186; Reproduced: p. 184 (fig.4)", "url": ""}], "url": "https://clevelandart.org/art/2022.155", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.155/2022.155_web.jpg", "width": "900", "height": "548", "filesize": "130407", "filename": "2022.155_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.155/2022.155_print.jpg", "width": "3400", "height": "2072", "filesize": "509465", "filename": "2022.155_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.155/2022.155_full.tif", "width": "12073", "height": "7358", "filesize": "266526424", "filename": 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"271797588"}}, {"date_created": "2022-11-09T18:33:55", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.155/2022.155_alt7_web.jpg", "width": "900", "height": "880", "filesize": "248404"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.155/2022.155_alt7_print.jpg", "width": "3400", "height": "3326", "filesize": "3060419"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.155/2022.155_alt7_full.tif", "width": "9607", "height": "9397", "filesize": "270859240"}}], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 447826, "creators": [{"id": 299428, "description": "Seif\u016b Yohei III (Japanese, 1851\u20131914)", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": "\u4e09\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1851", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887\u201392", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-04-09 18:50:59.068000"}, {"id": 447734, "accession_number": "2022.161", "share_license_status": "CC0", "tombstone": "Sake Pourer with Flowers, 1893\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with molded design, overglaze color enamel, and metal handles; diameter: 10.1 cm (4 in.); width with spout: 13.1 cm (5 3/16 in.); height with lid: 11.5 cm (4 1/2 in.); with handle: 14.4 cm (5 11/16 in.); lid: 3.5 x 5 cm (1 3/8 x 1 15/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.161", "current_location": null, "title": "Sake Pourer with Flowers", "creation_date": "1893\u20131914", "creation_date_earliest": 1893, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with molded design, overglaze color enamel, and metal handles", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Diameter: 10.1 cm (4 in.); width with spout: 13.1 cm (5 3/16 in.); height with lid: 11.5 cm (4 1/2 in.); with handle: 14.4 cm (5 11/16 in.); Lid: 3.5 x 5 cm (1 3/8 x 1 15/16 in.)", "dimensions": {"width with spout": {"width": 0.131}, "diameter": {"width": 0.101}, "height with lid": {"height": 0.115}, "with handle": {"height": 0.144}, "lid": {"height": 0.035, "width": 0.05}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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It is elaborately decorated with flowers in overglaze enamels in several colors, including black for the contour lines of leaves and stems; orange, white, gold, and two shades of green for the peonies; and purple for the thistles. The white blossoms have been built up with white enamel, then incised for a white-on-white e\u0018ect; the orange and purple use an absence of color to produce the contours of individual petals. Yohei III referred to his works in multicolor overglaze enamels as \u201chundred flower brocades\u201d (<em>hyakka nishiki</em>). Two small <em>nyoi </em>(C. <em>ruyi</em>) sta\u0018ff-head motifs, molded in clay and applied to either side of the lid, create handle rests, as well as natural places for the thumb and index finger of one hand to rest, so one can both secure the lid and steady the pour, while the handles are held in the other hand. The top of a <em>nyoi</em> staff\u0018 resembles the curled cap of the <em>reishi</em>. Such scepters are imagined to be found in the hands of sages, Daoist immortals, or Buddhist deities and connote lofty goings-on and favorable circumstances. Since this sake pourer is unsigned, it may have been made for imperial family members to give as a gift.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117599811"], "internet_archive": ["https://archive.org/details/clevelandart-2022.161-sake-pourer-with-peo", "https://archive.org/details/clevelandart-2022.161-sake-pourer-with-flo"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with tea-leaf colored glaze and molded design and geometric openwork silver lid; height with lid: 14 cm (5 1/2 in.); diameter: 14.4 cm (5 11/16 in.). 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His green and creamy white glazes were particularly well received. The combinations of colors with subtle molded and incised decorations in his ceramics respond powerfully to changes in light, creating a dynamic viewing experience. Names for the glazes, written in ink with a brush on the lids of the custom-made storage boxes for the works, often indicate a specific glaze or ware that had inspired him, even when the resulting color was distinctively his own.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2022.177-incense-burner"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Korea, Joseon dynasty (1392\u22121910) or Japanese colonial period (1910\u22121945). Eight-panel folding screen; ink and color on silk; painting: 105.8 x 32.6 cm (41 5/8 x 12 13/16 in.); overall framed: 180.2 x 368.4 cm (70 15/16 x 145 1/16 in.). The Cleveland Museum of Art, Gift of The Honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D., 2022.59", "current_location": null, "title": "Peonies", "creation_date": "early 1900s", "creation_date_earliest": 1900, "creation_date_latest": 1925, "artists_tags": [], "culture": ["Korea, Joseon dynasty (1392\u22121910) or Japanese colonial period (1910\u22121945)"], "technique": "Eight-panel folding screen; ink and color on silk", "support_materials": [], "department": "Korean Art", "collection": "ASIAN - Folding screen", "type": "Painting", "measurements": "Painting: 105.8 x 32.6 cm (41 5/8 x 12 13/16 in.); Overall framed: 180.2 x 368.4 cm (70 15/16 x 145 1/16 in.)", "dimensions": {"painting": {"height": 1.058, "width": 0.326}, "overall": {"height": 1.758, "width": 3.64}, "overall framed": {"height": 1.802, "width": 3.684}, "each panel": {"height": 1.758, "width": 0.455}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 670878, "title": "Pattern and Decoration in Royal Art of the Joseon Dynasty", "description": "<i>Pattern and Decoration in Royal Art of the Joseon Dynasty</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 9, 2024-March 16, 2025).", "opening_date": "2024-10-04T04:00:00"}], "legacy": []}, "provenance": [{"description": "The Honorable Joseph P. Carroll and Roberta Carroll, M.D., New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "2019\u20132022", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2022\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This early 20th-century folding screen has both sides painted with the image of bloomed peonies.", "description": "By the late nineteenth century, peony paintings with bold designs and striking graphic stylization were increasingly produced and consumed by middle-class members because of its symbolic meaning: prosperity and wealth. This early 20th-century folding screen of peonies may have used for festive occasions such as weddings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117246330"], "internet_archive": ["https://archive.org/details/clevelandart-2022.59-peonies"]}, "citations": [{"citation": "Sim, Sung-mi. \"The Popularity of Peony Paintings and the Pursuit of Wealth in 19th-century Korea [19\uc138\uae30 \ubaa8\ub780\ub3c4 \uc131\ud589\uacfc \uc870\uc120\uc0ac\ud68c\uc758 \ubd80\uadc0\uc9c0\ud5a5].\" <em>Gangjwa misulsa 46 </em>(2016): 109-134.", "page_number": "", "url": "https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE09054390"}, {"citation": "\"Patterns and Decoration in the Joseon Dynasty.\" <em>Asian Art Newspaper: Monthly for Collectors, Dealers, Museums and Galleries </em>v.28: i.1 (November 2024).", "page_number": "Reproduced", "url": "https://asianartnewspaper.com/patterns-and-decoration-in-the-joseon-dynasty/"}], "url": "https://clevelandart.org/art/2022.59", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.59/2022.59_web.jpg", "width": "900", "height": "446", "filesize": "279452", "filename": "2022.59_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.59/2022.59_print.jpg", "width": "3400", "height": "1686", "filesize": "2340668", "filename": "2022.59_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.59/2022.59_full.tif", "width": "27511", "height": "13641", "filesize": "1125861304", "filename": "2022.59_full.tif"}}, "alternate_images": [{"date_created": "2021-08-06T10:25:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt0_web.jpg", "width": "475", "height": "900", "filesize": "273271"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt0_print.jpg", "width": "1794", "height": "3400", "filesize": "2311081"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt0_full.tif", "width": "6997", "height": "13263", "filesize": "278430148"}}, {"date_created": "2021-08-06T12:20:42", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt1_web.jpg", "width": "465", "height": "900", "filesize": "279206"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt1_print.jpg", "width": "1755", "height": "3400", "filesize": "2331236"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt1_full.tif", "width": "6807", "height": "13190", "filesize": "269379552"}}, {"date_created": "2021-08-06T12:24:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt2_web.jpg", "width": "467", "height": "900", "filesize": "271204"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt2_print.jpg", "width": "1765", "height": "3400", "filesize": "2308322"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt2_full.tif", "width": "6863", "height": "13221", "filesize": "272233580"}}, {"date_created": "2021-08-06T12:25:20", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt3_web.jpg", "width": "473", "height": "900", "filesize": "274830"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt3_print.jpg", "width": "1785", "height": "3400", "filesize": "2325916"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.59/2022.59_alt3_full.tif", "width": "6945", "height": "13228", "filesize": "275631936"}}], "creditline": "Gift of The Honorable Joseph P. Carroll, KM, and Roberta Carroll, M.D.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 399966, "creators": [], "legal_status": "accessioned", "accession_date": "2022-06-06T04:00:00Z", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:28.293000"}, {"id": 150017, "accession_number": "1980.233", "share_license_status": "CC0", "tombstone": "Attributes of Music, 1863. Fran\u00e7ois Bonvin (French, 1817\u20131887). Oil on fabric; unframed: 62.6 x 116 cm (24 5/8 x 45 11/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.233", "current_location": null, "title": "Attributes of Music", "creation_date": "1863", "creation_date_earliest": 1863, "creation_date_latest": 1863, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on fabric", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 62.6 x 116 cm (24 5/8 x 45 11/16 in.)", "dimensions": {"unframed": {"height": 0.626, "width": 1.16}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed upper right, in umber paint: F.s Bonvin / 1863\r\n", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}, {"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": 310235, "title": "Lutes, Lovers, and Lyres: Musical Imagery in the Collection", "description": "<i>Lutes, Lovers, and Lyres: Musical Imagery in the Collection</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 14-June 11, 1989).", "opening_date": "1989-02-14T05:00:00"}, {"id": 229926, "title": "Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art", "description": "<i>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</i>. Snite Museum, University of Notre Dame, Notre Dame, IN (organizer) (September 2-December 2, 2012).", "opening_date": "2012-09-26T00:00:00"}], "legacy": [{"description": "CMA. Chardin and the Still-life Tradition in France (1979), 89, no. 10.", "opening_date": "1979-01-01T00:00:00"}, {"description": "Snite Museum of Art, Notre Dame University, South Bend, IN (8/26/2012 - 11/15/2012):  \"Breaking the Mold: The Legacy of Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art\", ex. cat. no. 10, p. 50-51.", "opening_date": "2012-08-26T00:00:00"}]}, "provenance": [{"description": "(Couturier sale, H\u00f4tel Drouot, March 19, 1976 (lot 42), sold to Galerie Brame and Lorenceau)", "citations": [], "footnotes": ["<div><!--block-->This auction catalogue notes that the sale consists of the \u201cSuccession de Madame C[outurier]\u2026et appartenant \u00e0 divers,\u201d which indicates that while the sale included the estate of Madame Couturier, it also contained the property of other, unnamed collectors.&nbsp; The catalogue does not specifiy the former owner of the Bonvin.&nbsp; There were a number of collectors and other art world figures by the name of Couturier active in Paris at this time, and further details of \u201cMadame Couturier\u2019s\u201d identity are unknown.&nbsp;</div>"], "date": "1976", "sortorder": 1}, {"description": "(Galerie Brame and Lorenceau, Paris, sold to Marianne Feilchenfeldt)", "citations": [], "footnotes": ["<div><!--block-->The gallery\u2019s archives record the purchase of the Bonvin at H\u00f4tel Drouot on October 5, 1976, and its sale to dealer Marianne Feilchenfeldt on August 27, 1976.</div>"], "date": "1976", "sortorder": 2}, {"description": "(Marianne Feilchenfeldt, Z\u00fcrich, sold to Noah L. Butkin)", "citations": [], "footnotes": null, "date": "1976-1977", "sortorder": 3}, {"description": "Noah L. Butkin [1918-1980], Cleveland, OH, bequeathed to the Cleveland Museum of Art as a result of disclaimer by Muriel S. Butkin", "citations": [], "footnotes": null, "date": "1977-1980", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1980-", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "A lute and flute rest on top of sheet music. This painting was intended to hang above a door, opposite still lifes that represented the other fine arts of painting and sculpture (the two related paintings are in the Mus\u00e9e du Louvre, Paris). Bonvin was part of the 19th-century movement known as Realism. Led by Gustave Courbet (1819-1877), the Realist painters were interested in depicting the world that surrounded them, as well as the popular culture of their time.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474432"], "internet_archive": ["https://archive.org/details/clevelandart-1980.233-attributes-of-music"]}, "citations": [{"citation": "Estate of Noah L. Butkin, Bequests to Cleveland Museum of Art as a result of disclaimer by Murel S. Butkin. Estates, Gifts, and Funds, Series 1, Box 2:14. Cleveland Museum of Art Archives.", "page_number": null, "url": null}, {"citation": "Marianne Feilchenfeldt, letter to Sherman Lee, July 30, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Marianne Feilchenfeldt, invoice, Sept. 5, 1977, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P., and Franc\u0327ois Bonvin. <em>Bonvin</em>. Paris: E\u0301ditions Geoffroy-Dechaume, 1979.", "page_number": null, "url": null}, {"citation": "Snite Museum of Art, and Gabriel P. Weisberg. <em>Breaking the Mold: The Legacy of the Noah L. and Muriel S. Butkin Collection of Nineteenth-Century French Art</em>. 2012.", "page_number": null, "url": null}, {"citation": "Ho\u0302tel Drouot. <em>Tableaux modernes</em>. 1976.", "page_number": null, "url": null}, {"citation": "Sylvie Brame, email to Victoria Sears Goldman, Jan. 29, 2015, in CMA curatorial file.", "page_number": null, "url": null}, {"citation": "Weisberg, Gabriel P. \u201cThe Traditional Realism of Fran\u00e7ois Bonvin.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 65, no. 9 (November 1978): 281\u2013298.", "page_number": "Mentioned and reproduced: p. 2891-282, fig. 2", "url": "http://www.jstor.org/stable/25159602"}, {"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Reproduced: p. 173; Mentioned: p. 211, no. 25", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 57-58, Vol. I, no. 21", "url": ""}], "url": "https://clevelandart.org/art/1980.233", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.233/1980.233_web.jpg", "width": "1263", "height": "682", "filesize": "95687", "filename": "1980.233_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.233/1980.233_print.jpg", "width": "3400", "height": "1835", "filesize": "779434", "filename": "1980.233_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.233/1980.233_full.tif", "width": "6418", "height": "3465", "filesize": "66746344", "filename": "1980.233_full.tif"}}, "alternate_images": [{"annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.233/1980.233_alt0_web.jpg", "width": "1263", "height": "689", "filesize": "671019"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.233/1980.233_alt0_print.jpg", "width": "2048", "height": "1117", "filesize": "1839354"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.233/1980.233_alt0_full.tif", "width": "2048", "height": "1117", "filesize": "6865268"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 150017, "creators": [{"id": 1562, "description": "Fran\u00e7ois Bonvin (French, 1817\u20131887)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a poor family, Fran\u00e7ois Bonvin was chiefly a self-taught artist. His childhood was an unhappy one, marked by the death of his mother when he was four, his father's remarriage, and the growing family's constant moving and change of fortune. From 1828 through 1830 he was lucky enough to be sent to the \u00c9cole de Dessin in Paris, but his artistic education was short-lived and he began working as a typesetter in 1832. He became a father one month after his marriage in 1837 and, in order to achieve financial security, applied for a clerk's job at the Paris Police Department-where he remained until 1850-while still working as a printer. Painting was still part of his life as attested by one of his first known oils, a still life from 1839. His health declined, and during a hospital-ization in 1842, Bonvin took up drawing again. He eventually returned to study at the \u00c9cole de Dessin and also at the Manufacture des Gobelins and in 1843 attended classes at the Acad\u00e9mie Suisse where he could sketch from nude models. Around this time Bonvin was also introduced to Granet (q.v.), whom he would consider his true mentor, although never officially studying with him. Bonvin began painting scenes from everyday life, reflecting the simplicity and often the drudgery of the lower classes. He was encouraged in his choice of subject matter by Granet, who suggested he study the Dutch masters. Bonvin exhibited at the Salon from 1847 to 1880, receiving a second-class medal in 1850. The artist became involved in the realist movement, meeting regularly at the Brasserie Andler with, among others, his friends Jules Champfleury, a novelist and art critic, and Courbet (q.v.). During the Second Empire (1852-70) Bonvin earned a reputation with his still lifes and genre paintings that often paid tribute to the Dutch Old Masters. He traveled several times to the Netherlands in order to study such works. Bonvin also encour-aged younger painters, such as J. A. M. Whistler (1834-1903) and Fantin-Latour (q.v.), holding an exhibition of their works in his studio after they were rejected at the Salon. During his final years, Bonvin suffered from blindness and paralysis and died a broken man in 1887.", "name_in_original_language": null, "birth_year": "1817", "death_year": "1887", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1863, "date_added_to_oa": null, "date_text": "1863", "collapse_artists": false, "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": "2026-03-27 00:03:29.404000"}, {"id": 104753, "accession_number": "1923.1082", "share_license_status": "CC0", "tombstone": "Water Jar (Olla), 1880s. Native North America, Southwest, New Mexico, Zuni (A:shiwi) Pueblo. Ceramic, slip; overall: 26.5 x 37.5 cm (10 7/16 x 14 3/4 in.). The Cleveland Museum of Art, Gift of the Smithsonian Institution, 1923.1082", "current_location": "231 Native North American", "title": "Water Jar (Olla)", "creation_date": "1880s", "creation_date_earliest": 1880, "creation_date_latest": 1890, "artists_tags": [], "culture": ["Native North America, Southwest, New Mexico, Zuni (A:shiwi) Pueblo"], "technique": "ceramic, slip", "support_materials": [], "department": "Art of the Americas", "collection": "AA - Native North America", "type": "Ceramic", "measurements": "Overall: 26.5 x 37.5 cm (10 7/16 x 14 3/4 in.)", "dimensions": {"overall": {"height": 0.265, "width": 0.375}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309564, "title": "The World of Ceramics: Masterpieces from the Cleveland Museum of Art", "description": "<i>The World of Ceramics: Masterpieces from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 20-August 22, 1982).", "opening_date": "1982-06-20T04:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": ["1644.23"], "did_you_know": null, "description": "The underside of this Zuni (A:shiwi) jar (<em>olla</em>), made by a woman to collect and store water in the 1800s, curves upward to allow the jar to be carried atop the head. Today, this traditional skill is celebrated by the Zuni Olla Maidens, a nationally known dance group that performs while balancing ollas on their heads. Ollas naturally keep water cool via evaporation through their porous walls, a valuable trait in the desert Southwest. Many Zuni say that water from an olla tastes better than water from a tap.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60779882"], "internet_archive": ["https://archive.org/details/clevelandart-1923.1082-water-jar-olla"]}, "citations": [{"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. Cleveland, OH: The Cleveland Museum of Art, 1978.", "page_number": "Reproduced: p. 407", "url": "https://archive.org/details/CMAHandbook1978/page/n427"}, {"citation": "Cleveland Museum of Art, and Jenifer Neils. <em>The World of Ceramics: Masterpieces from the Cleveland Museum of Art</em>. Cleveland: Museum in cooperation with Indiana University Press, 1982.", "page_number": "Mentioned and reproduced: P. 80, no. 85", "url": ""}], "url": "https://clevelandart.org/art/1923.1082", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1923.1082/1923.1082_web.jpg", "width": "1248", "height": "893", "filesize": "623031", "filename": "1923.1082_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1923.1082/1923.1082_print.jpg", "width": "3400", "height": "2433", "filesize": "4197000", "filename": "1923.1082_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1923.1082/1923.1082_full.tif", "width": "5724", "height": "4096", "filesize": "70367732", "filename": "1923.1082_full.tif"}}, "alternate_images": [{"date_created": "2005-08-18T15:00:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.1082/1923.1082_alt0_web.jpg", "width": "1172", "height": "893", "filesize": "619393"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.1082/1923.1082_alt0_print.jpg", "width": "3400", "height": "2590", "filesize": "4597142"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1923.1082/1923.1082_alt0_full.tif", "width": "5268", "height": "4013", "filesize": "63453376"}}], "creditline": "Gift of the Smithsonian Institution", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 104753, "creators": [], "legal_status": "accessioned", "accession_date": "1923-12-20T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "1880s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:07:42.810000"}, {"id": 130020, "accession_number": "1952.445", "share_license_status": "CC0", "tombstone": "Berthe Morisot in Black, about 1872\u201374; printed 1884. \u00c9douard Manet (French, 1832\u20131883), printed by Auguste Clot (French, 1858\u20131936), published by Lemercier & Cie.. Lithograph on wove paper; image: 20.4 x 14.3 cm (8 1/16 x 5 5/8 in.); sheet: 36 x 27.4 cm (14 3/16 x 10 13/16 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 1952.445", "current_location": "004 Special Exhibition Gallery", "title": "Berthe Morisot in Black", "creation_date": "about 1872\u201374; printed 1884", "creation_date_earliest": 1872, "creation_date_latest": 1884, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "lithograph on wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 20.4 x 14.3 cm (8 1/16 x 5 5/8 in.); Sheet: 36 x 27.4 cm (14 3/16 x 10 13/16 in.)", "dimensions": {"image": {"height": 0.204, "width": 0.143}, "sheet": {"height": 0.36, "width": 0.274}}, "state_of_the_work": "I/II", "edition_of_the_work": "1884 Memorial Edition", "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 668924, "title": "Manet & Morisot", "description": "<i>Manet & Morisot</i>. Fine Arts Museum of San Francisco, Legion of Honor, San Francisco, CA (organizer) (October 11, 2025-February 15, 2026) https://www.famsf.org/exhibitions/manet-morisot; The Cleveland Museum of Art, Cleveland, OH (co-organizer) (March 29-July 5, 2026).", "opening_date": "2025-10-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Guy Mayer Estate, New York. sold to the Cleveland Museum of Art)", "citations": [], "footnotes": null, "date": "?\u20131952", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1952\u2013Present", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Manet based this lithograph and the related composition in silhouette (at left) on a photograph of <em>Berthe Morisot with a Bouquet of Violets </em>(also on view in this gallery). None of the prints based on this portrait were printed in a commercial edition during Manet\u2019s lifetime. Their original purpose was personal and private.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79911621"], "internet_archive": ["https://archive.org/details/clevelandart-1952.445-portrait-of-berthe-m"]}, "citations": [{"citation": "Richards, Louise. \"Prints of Edouard Manet.\" <em>The Bulletin of the Cleveland Museum of Art </em>44, no. 8 (October 1957): 187-191.", "page_number": "Mentioned: p. 190", "url": "https://www.jstor.org/stable/25142233"}, {"citation": "Pludermacher, Isolde. \"An Enigma in Painting: Manet's Portraits of Morisot.\" In <em>Manet &amp; Morisot</em>. Emily Beeny, Heather Lemonedes Brown, Anne Higonnet, Kimberly A. Jones, Nicole R. Myers, et al., 167-181. San Francisco, New Haven: Fine Arts Museums of San Francisco; Yale University Press, 2025.", "page_number": "Mentioned: p. 169; Reproduced: p. 95, pl. 17", "url": ""}], "catalogue_raisonne": "B\u00e9raldi IX.210.54; Moreau-N\u00e9laton 83; Gu\u00e9rin 77; Harris 73", "url": "https://clevelandart.org/art/1952.445", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1952.445/1952.445_web.jpg", "width": "660", "height": "900", "filesize": "224501", "filename": "1952.445_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1952.445/1952.445_print.jpg", "width": "2495", "height": "3400", "filesize": "3472914", "filename": "1952.445_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1952.445/1952.445_full.tif", "width": "5755", "height": "7843", "filesize": "135440064", "filename": "1952.445_full.tif"}}, "alternate_images": [{"date_created": "2006-02-16T14:54:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.445/1952.445_alt0_web.jpg", "width": "659", "height": "893", "filesize": "442112"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.445/1952.445_alt0_print.jpg", "width": "2509", "height": "3400", "filesize": "6102832"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.445/1952.445_alt0_full.tif", "width": "3546", "height": "4806", "filesize": "51158356"}}, {"date_created": "2025-07-23T15:03:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.445/1952.445_alt1_web.jpg", "width": "696", "height": "900", "filesize": "173262"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.445/1952.445_alt1_print.jpg", "width": "2631", "height": "3400", "filesize": "3075939"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1952.445/1952.445_alt1_full.tif", "width": "8844", "height": "11427", "filesize": "303210508"}}], "creditline": "Dudley P. Allen Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Kelvin and Eleanor Smith Foundation Gallery", "athena_id": 130020, "creators": [{"id": 1796, "description": "\u00c9douard Manet (French, 1832\u20131883)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a wealthy family, \u00c9douard Manet was encouraged in his artistic curiosity by his uncle and often visited the Louvre with his college friend Antonin Proust. Initially, however, Manet wanted to pursue a naval career. It was not until he failed the entrance exams for the naval academy that he decided to pursue a career as an artist. In 1850 he entered the studio of Couture (q.v.), whose reputation had risen sharply after exhibiting his Romans of the Decadence (Salon 1847, Mus\u00e9e d'Orsay, Paris). Couture wanted to circumvent conventional academic training and combined traditional painting methods with new techniques-for example, allowing underpaint to form an intrinsic part of the final composition, which resulted in a sketchy appearance. Manet would absorb this technique into his work. He had no strict need to sell his artwork; rather, he longed for recognition as an artist. He responded to Charles Baudelaire's call to young artists to paint contemporary life rather than antiquity and take a distanced point of view, because, as Baudelaire stated in his article The Painter of Modern Life (published in Le Figaro, 1863), objectivity is more sincere and honest. In 1863 the Salon jury rejected more than half of the five thousand works submitted, including Manet's D\u00e9jeuner sur l'herbe (Mus\u00e9e d'Orsay, Paris). In response to the conservative jury of that year, Napoleon III, in an effort to appease the artists as well as discourage antigovernment sentiment, organized the Salon des Refus\u00e9s, which took place in the Palais des Champs-\u00c9lys\u00e9es two weeks after the opening of the official Salon. The painting caused a formidable succ\u00e8s de scandale both for its technique and subject matter. The majority of the people failed to understand that the artist wanted to translate the conventions of the Old Masters into a new idiom that would reflect contemporary society. Two years later the scandal was repeated when Manet's Olympia (Mus\u00e9e d'Orsay, Paris) was accepted into the Salon of 1865. This time the jury was more lenient because fewer academicians were among its members. Even though his work often received severe criticism, Manet continued to submit works to the Salon, which he felt was the only legitimate place to compete and prove himself as an artist. At the time of the Universal Exposition in Paris in 1867, Manet, following Courbet's (q.v.) lead set in 1855, organized his own pavilion next to the Exposition where he showed more than fifty paintings. \u00c9mile Zola, the French writer and critic who may have collaborated with Manet in writing the preface for his one-man exhibition, recognized his talent and modernity. Zola rejected academic painting of the day, including Alexandre Cabanel's (1823-1889) The Birth of Venus (Mus\u00e9e d'Orsay, Paris), which not only won the gold medal at the Salon of 1863 but was purchased by Napoleon III. Zola vehemently defended Manet against harsh criticism and exalted him as the greatest painter of the nineteenth century. Manet painted a portrait of Zola (Salon 1868, Mus\u00e9e d'Orsay, Paris) that reflected the artist's interest in Japanese prints as well as photography. By the 1870s Manet's palette had lightened and his brushwork became freer and more sketchy. These new features in his painting technique may have resulted from his contact with the younger impressionist group that began exhibiting as such in 1874. Although Manet was friendly with its members and sympathized with their goals, he never exhibited with them and continued to show his paintings at the official Salon. Manet was truly innovative in depicting subjects of urban life. However, during his lifetime he enjoyed little support, and it was not until the impressionists gained general recognition that Manet was acknowledged as a truly modern painter. Henri Matisse (1869-1954) would express his immense admiration for Manet as follows: \"He was the first to act by reflex, thus simplifying the painter's m\u00e9tier, . . . Manet was direct as could be.\"1 1. Matisse in L'Intransigeant (25 January 1932), cited in Manet 1832-1883, 18.", "name_in_original_language": null, "birth_year": "1832", "death_year": "1883", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": true, "include_extent": true, "weight": 2}, {"id": 68492, "description": "Lemercier & Cie.", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": true, "weight": 3}], "legal_status": "accessioned", "accession_date": "1952-11-29T00:00:00", "sortable_date": 1872, "date_added_to_oa": null, "date_text": "about 1872\u201374; printed 1884", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-04-09 17:32:01.907000"}, {"id": 150021, "accession_number": "1980.237", "share_license_status": "CC0", "tombstone": "Pollard Willow, after 1804. Pierre Jean Boquet (French, 1751\u20131817). Oil on paper, mounted on canvas; unframed: 29.6 x 26.8 cm (11 5/8 x 10 9/16 in.). The Cleveland Museum of Art, Bequest of Noah L. Butkin, 1980.237", "current_location": "202 French Neoclassical Decorative Arts", "title": "Pollard Willow", "creation_date": "after 1804", "creation_date_earliest": 1804, "creation_date_latest": 1810, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "oil on paper, mounted on canvas", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Painting 1800-1960", "type": "Painting", "measurements": "Unframed: 29.6 x 26.8 cm (11 5/8 x 10 9/16 in.)", "dimensions": {"unframed": {"height": 0.296, "width": 0.268}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 304521, "title": "Year in Review: 1980", "description": "<i>Year in Review: 1980</i>. The Cleveland Museum of Art (organizer) (June 24-July 19, 1981).", "opening_date": "1981-06-24T04:00:00"}], "legacy": []}, "provenance": [{"description": "Georges Martin du Nord at Galerie B. G. Verte, Paris. Sold in 1977 to Noah L. Butkin, Cleveland. Bequeathed to the CMA in 1980.", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Little is known about Boquet's life, and his artistic origins remain obscure. His style and technique suggest that he received formal training, but where and with whom is unclear. An inscription on a painting attributed to Boquet implies that he spent time in Rome, where he would have seen works by 17th-century French artists such as Claude Lorrain. This may explain the gentle, bucolic atmosphere and the warm, golden light in <em>Pollard Willow</em>, characteristics of which recall the paintings of Lorrain and his contemporaries. The severe pruning or pollarding of trees, especially willows, was a common practice before the Industrial Revolution (about 1750\u20131850). The procedure allowed the tree to produce large numbers of shoots, which were used in basketry, fence construction, and as fodder for farm animals.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60474440"], "internet_archive": ["https://archive.org/details/clevelandart-1980.237-pollard-willow"]}, "citations": [{"citation": "Lee, Sherman E. \u201cThe Year in Review for 1980.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 68, no. 6 (June 1981): 163\u2013219.", "page_number": "Mentioned: p. 211, no. 26", "url": "http://www.jstor.org/stable/25159730"}, {"citation": "Argencourt, Louise d', and Roger Diederen. <em>Catalogue of Paintings</em>. <em>Pt. 4. European Paintings of the 19th Century</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned and reproduced: P. 61-63, Vol. I, no. 23", "url": ""}], "url": "https://clevelandart.org/art/1980.237", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1980.237/1980.237_web.jpg", "width": "798", "height": "893", "filesize": "626277", "filename": "1980.237_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1980.237/1980.237_print.jpg", "width": "3039", "height": "3400", "filesize": "8345826", "filename": "1980.237_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1980.237/1980.237_full.tif", "width": "4185", "height": "4682", "filesize": "58821052", "filename": "1980.237_full.tif"}}, "alternate_images": [{"date_created": "2008-03-31T14:37:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.237/1980.237_alt0_web.jpg", "width": "817", "height": "893", "filesize": "571714"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.237/1980.237_alt0_print.jpg", "width": "3111", "height": "3400", "filesize": "7271850"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1980.237/1980.237_alt0_full.tif", "width": "4251", "height": "4646", "filesize": "59292136"}}], "creditline": "Bequest of Noah L. Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "M. Roger and Anne Clapp Gallery", "athena_id": 150021, "creators": [{"id": 1565, "description": "Pierre Jean Boquet (French, 1751\u20131817)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1751", "death_year": "1817", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1980-12-19T00:00:00", "sortable_date": 1804, "date_added_to_oa": null, "date_text": "after 1804", "collapse_artists": false, "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": "2026-03-27 00:09:10.031000"}, {"id": 151001, "accession_number": "1982.5", "share_license_status": "CC0", "tombstone": "Chair, c. 1880. Herter Brothers (American). Ebonized cherry and other woods; overall: 84.5 x 40.7 x 46 cm (33 1/4 x 16 x 18 1/8 in.). The Cleveland Museum of Art, Norman O. Stone and Ella A. Stone Memorial Fund, 1982.5", "current_location": "208 American Gilded Age and Realism", "title": "Chair", "creation_date": "c. 1880", "creation_date_earliest": 1875, "creation_date_latest": 1885, "artists_tags": ["male"], "culture": ["America, New York"], "technique": "ebonized cherry and other woods", "support_materials": [], "department": "Decorative Art and Design", "collection": "Furniture", "type": "Furniture and woodwork", "measurements": "Overall: 84.5 x 40.7 x 46 cm (33 1/4 x 16 x 18 1/8 in.)", "dimensions": {"overall": {"height": 0.845, "width": 0.407, "depth": 0.46}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "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"}], "legacy": []}, "provenance": [{"description": "Private collection, Connecticut.  (Lyndhurst Corporation, New York).", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "In the 1870s, the furniture made by the Herter firm was influenced by Japanese style, as seen in the marquetry at the top of this chair. It closely resembles one that was supplied for use in the Red Room of the White House in the redecoration of 1882\u201383.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60755753"], "internet_archive": ["https://archive.org/details/clevelandart-1982.5-chair"]}, "citations": [{"citation": "Hawley, Henry. \u201cFour Pieces of American Furniture.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 69, no. 10 (December 1982): 324\u2013339.", "page_number": "Mentioned and reproduced: p. 330-332, fig. 9", "url": "http://www.jstor.org/stable/25159796"}, {"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. 17; Mentioned: p. 51, no. 28", "url": "http://www.jstor.org/stable/25159799"}], "url": "https://clevelandart.org/art/1982.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1982.5/1982.5_web.jpg", "width": "663", "height": "900", "filesize": "106255", "filename": "1982.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1982.5/1982.5_print.jpg", "width": "2506", "height": "3400", "filesize": "964010", "filename": "1982.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1982.5/1982.5_full.tif", "width": "4533", "height": "6151", "filesize": "83676668", "filename": "1982.5_full.tif"}}, "alternate_images": [{"date_created": "2014-09-29T12:41:50", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.5/1982.5_alt0_web.jpg", "width": "641", "height": "900", "filesize": "87568"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.5/1982.5_alt0_print.jpg", "width": "2422", "height": "3400", "filesize": "777170"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.5/1982.5_alt0_full.tif", "width": "3940", "height": "5532", "filesize": "65416668"}}, {"date_created": "2014-09-29T12:52:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.5/1982.5_alt1_web.jpg", "width": "900", "height": "526", "filesize": "146340"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.5/1982.5_alt1_print.jpg", "width": "3400", "height": "1986", "filesize": "1367574"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1982.5/1982.5_alt1_full.tif", "width": "6636", "height": "3876", "filesize": "77193248"}}], "creditline": "Norman O. Stone and Ella A. Stone Memorial Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 151001, "creators": [{"id": 5819, "description": "Herter Brothers (American)", "extent": null, "qualifier": null, "role": "artist", "biography": "Christian Herter (1840-83). Born in Stuttgart. He studied at the \u00c9cole des Beaux Arts in Paris before joining his elder half-brother Gustave (1830-98) in New York in 1860. Gustave had been there since 1848 and had worked for Tiffany before founding his own furniture and decorations firm in 1857. In 1864 Christian returned to Paris to study under Pierre-Victor Gallard (1822-92) and in the early 1870s he was in England. Herter Brothers became a leading New York furniture and decorating business in the 1870s and 1880s, being one of the first to abandon the usual run of historical styles and produce pieces rather similar to those made contemporaneously in England, with a discreet use of oriental motifs. Marquetry furniture like that made for the railroad magnate Jay Gould in 1877-82 or the luxurious gilt and inlaid furniture made for the William H. Vanderbuilt House, NY, c. 1882 is typical of the more extravagant type of aesthetic movement in the US. He employed a large staff of craftsmen and designers, the latter including the architect Charles B. Atwood (1849-95). The firm survived until 1906.", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1982-03-08T00:00:00", "sortable_date": 1875, "date_added_to_oa": null, "date_text": "c. 1880", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:01:34.263000"}, {"id": 151559, "accession_number": "1984.10", "share_license_status": "CC0", "tombstone": "Vase Decorated with Sunflowers, 1899. John D. Wareham (American, 1871\u20131954), Rookwood Pottery Company (American, established 1880). Earthenware; overall: 27 x 19.3 cm (10 5/8 x 7 5/8 in.). The Cleveland Museum of Art, James Parmelee Fund, 1984.10", "current_location": "208 American Gilded Age and Realism", "title": "Vase Decorated with Sunflowers", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male", "gender unknown"], "culture": ["America, late 19th Century"], "technique": "earthenware", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Ceramic", "measurements": "Overall: 27 x 19.3 cm (10 5/8 x 7 5/8 in.)", "dimensions": {"overall": {"height": 0.27, "width": 0.193}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309849, "title": "Year in Review for 1984", "description": "<i>Year in Review for 1984</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (April 3-May 5, 1985).", "opening_date": "1985-04-03T05:00:00"}], "legacy": []}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Floral and animal motifs are common decoration found on vessels designed by John D. Wareham for the Cincinnati-based Rookwood Pottery Company. Here, bright yellow sunflowers around the mouth of the vase are enhanced by stark black.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781062"], "internet_archive": ["https://archive.org/details/clevelandart-1984.10-vase-decorated-with"]}, "citations": [{"citation": "Turner, Evan H. \u201cThe Year in Review for 1984.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 2 (April 1985): 163\u2013207.", "page_number": "Reproduced: p. 191; Mentioned: p. 202, no. 67", "url": "http://www.jstor.org/stable/25159897"}, {"citation": "Hawley, Henry. \u201cTwo Rookwood Vases.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 72, no. 7 (November 1985): 378\u2013387.", "page_number": "Mentioned and reproduced: p. 384-386, figs. 10-11", "url": "http://www.jstor.org/stable/25159919"}], "url": "https://clevelandart.org/art/1984.10", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1984.10/1984.10_web.jpg", "width": "767", "height": "893", "filesize": "294775", "filename": "1984.10_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1984.10/1984.10_print.jpg", "width": "2922", "height": "3400", "filesize": "4548088", "filename": "1984.10_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1984.10/1984.10_full.tif", "width": "4276", "height": "4975", "filesize": "63858936", "filename": "1984.10_full.tif"}}, "alternate_images": [{"date_created": "2007-12-04T16:43:32", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.10/1984.10_alt0_web.jpg", "width": "757", "height": "893", "filesize": "303039"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.10/1984.10_alt0_print.jpg", "width": "2881", "height": "3400", "filesize": "4602698"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.10/1984.10_alt0_full.tif", "width": "4045", "height": "4773", "filesize": "57957092"}}, {"date_created": "2007-12-04T16:52:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.10/1984.10_alt1_web.jpg", "width": "698", "height": "893", "filesize": "271153"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.10/1984.10_alt1_print.jpg", "width": "2656", "height": "3400", "filesize": "4164171"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1984.10/1984.10_alt1_full.tif", "width": "3854", "height": "4934", "filesize": "57082276"}}], "creditline": "James Parmelee Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": "The Cleveland Foundation Gallery", "athena_id": 151559, "creators": [{"id": 19834, "description": "John D. Wareham (American, 1871\u20131954)", "extent": null, "qualifier": null, "role": "decorated by", "biography": null, "name_in_original_language": null, "birth_year": "1871", "death_year": "1954", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 19542, "description": "Rookwood Pottery Company (American, established 1880)", "extent": null, "qualifier": null, "role": "made at", "biography": "one of the most important factories for art pottery in the USA, founded in Cincinnati in 1880 by Mrs. Maria Nichols (later Mrs. Storer) with financial support from her father, Joseph Longworth, a rich patron of the arts. Named after their family home.", "name_in_original_language": null, "birth_year": "1880", "use_in_caption": true, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1984-03-26T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:10:26.575000"}, {"id": 166672, "accession_number": "2008.386", "share_license_status": "CC0", "tombstone": "Landscape (The Large Tree), c. 1865\u201370. Jean Baptiste Camille Corot (French, 1796\u20131875). Charcoal with stumping, erasing, and wet brushwork on light brown wove paper; sheet: 24.2 x 41.8 cm (9 1/2 x 16 7/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2008.386", "current_location": null, "title": "Landscape (The Large Tree)", "creation_date": "c. 1865\u201370", "creation_date_earliest": 1860, "creation_date_latest": 1875, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "charcoal with stumping, erasing, and wet brushwork on light brown wove paper", "support_materials": [{"description": "light brown wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 24.2 x 41.8 cm (9 1/2 x 16 7/16 in.)", "dimensions": {"sheet": {"height": 0.242, "width": 0.418}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, lower left, in charcoal: COROT", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 187360, "title": "French Master Drawings from the Collection of Muriel Butkin", "description": "<i>French Master Drawings from the Collection of Muriel Butkin</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 26-October 28, 2001); Dahesh Museum of Art (February 19-May 18, 2002).", "opening_date": "2001-08-26T00:00:00"}, {"id": 324628, "title": "Nineteenth-Century French Drawings from the Cleveland Museum of Art", "description": "<i>Nineteenth-Century French Drawings from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 20-June 11, 2023).", "opening_date": "2023-01-19T05:00:00"}], "legacy": [{"description": "<em>French Drawings of the XIX. Century</em>. Obach &amp; Co., London (February\u2013March 1907).", "opening_date": "1907-03-01T00:00:00"}, {"description": "<em>Corot: 1796\u20131875</em>. Art Institute of Chicago (October 6\u2013November 13,1960).", "opening_date": "2013-11-01T00:00:00"}, {"description": "<em>19th- and 20th-Century European Drawings</em>. American Federation of Arts, New York (July 1965\u2013July 1966).", "opening_date": "1965-07-01T00:00:00"}, {"description": "<em>The Forest of Fontainebleau, Refuge of Reality: French Landscape 1800 to 1870</em>. Shepherd Gallery, New York (April 22\u2013June 10, 1972).", "opening_date": "1972-06-10T00:00:00"}, {"description": "<em>French and Other European Drawings, Paintings and Sculpture of the Nineteenth Century.</em> Shepherd Gallery, New York (Winter 1979\u201380).", "opening_date": "1979-01-01T00:00:00"}]}, "provenance": [{"description": "James Staats Forbes [1823-1904], London", "citations": [], "footnotes": ["<div><!--block-->According to inscriptions on old mount, as recorded by Shepherd Gallery.</div>"], "date": "?-1904", "sortorder": 2}, {"description": "(Obach & Co., London, England)", "citations": [], "footnotes": [""], "date": "1907", "sortorder": 3}, {"description": "(Allan Frumkin [1927-2002], Chicago, IL)", "citations": [], "footnotes": null, "date": "?-?", "sortorder": 4}, {"description": "Victor Carlson [1934-2018], Baltimore, MD", "citations": [], "footnotes": null, "date": "by 1965-before 1981", "sortorder": 5}, {"description": "(Shepherd Gallery, New York, sold to Muriel Butkin, Shaker Heights, OH)", "citations": [], "footnotes": null, "date": "1981", "sortorder": 6}, {"description": "Muriel Butkin [1916-2008], Shaker Heights, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1981-2008", "sortorder": 7}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 2, 2009", "sortorder": 8}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Jean-Baptiste-Camille Corot used sticks of charcoal, a powdery black medium, to dramatic effect in this late-career landscape, layering them and turning them on their side to form tonal areas and fine lines. Describing the period when the drawing was made, a colleague wrote that \u201cone never saw [Corot] without . . . charcoal in his hand.\u201d Such artworks conveyed the poetry the artist saw in nature and advanced his lifelong ambition of elevating landscape from the lowly status it held at the conservative French Academy. Here, he aimed to capture an evocative mood rather than a specific place, describing such works as \u201csouvenirs,\u201d or remembrances.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60746112"], "internet_archive": ["https://archive.org/details/clevelandart-2008.386-landscape-the-large"]}, "citations": [{"citation": "<em>French Drawings of the XIX. Century</em>. Exh. cat. London: Obach &amp; Co, 1907.", "page_number": "Mentioned: no. 53", "url": null}, {"citation": "<em>Corot: 1796-\u20131875</em>, 29. Exh. cat. Chicago: Art Institute of Chicago, 1960.", "page_number": "Mentioned: no. 166", "url": null}, {"citation": "Dee, Elaine Evans. <em>19th- and 20th-Century European Drawings</em>. Exh. cat. New York: American Federation of Arts, 1965.", "page_number": "Mentioned and reproduced: pp. 11, 19, no. 12", "url": null}, {"citation": "Ittmann, John W., Robert Kashey, Martin L.H. Reymert, and Victor Carlson. <em>The Forest of Fontainebleau, Refuge of Reality: French Landscape 1800 to 1870.</em> Exh. cat. New York: Shepherd Gallery, 1972.", "page_number": "Mentioned and reproduced: cat. no. 17", "url": null}, {"citation": "Mendelowitz, Daniel M., and Duane A. Wakeham. <em>A Guide to Drawing</em>, 5th ed.. Fort Worth: Harcourt Brace Jovanovich, 1993.", "page_number": "Reproduced: p. 93, fig. 6-16.", "url": null}, {"citation": "Foster, Carter E., Sylvain Bellenger, and Patrick Shaw Cable. <em>French Master Drawings from the Collection of Muriel Butkin</em>, no. 45. Exh. cat. Cleveland: Cleveland Museum of Art, 2001.", "page_number": "Mentioned and reproduced: pp. 100-101, no. 45", "url": null}, {"citation": "Salsbury, Britany. <em>Nineteenth-Century French Drawings: The Cleveland Museum of Art</em>. Lewes, UK, Cleveland, Ohio: GILES; Cleveland Museum of Art, 2023.", "page_number": "Mentioned and reproduced: p.108-109, no. 14", "url": ""}], "url": "https://clevelandart.org/art/2008.386", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2008.386/2008.386_web.jpg", "width": "1263", "height": "738", "filesize": "183822", "filename": "2008.386_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2008.386/2008.386_print.jpg", "width": "3400", "height": "1986", "filesize": "1757942", "filename": "2008.386_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2008.386/2008.386_full.tif", "width": "7897", "height": "4613", "filesize": "109309864", "filename": "2008.386_full.tif"}}, "alternate_images": [{"date_created": "2008-10-28T19:46:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.386/2008.386_alt0_web.jpg", "width": "1263", "height": "738", "filesize": "757909"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.386/2008.386_alt0_print.jpg", "width": "3400", "height": "1988", "filesize": "5709932"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2008.386/2008.386_alt0_full.tif", "width": "5000", "height": "2924", "filesize": "43878372"}}], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 166672, "creators": [{"id": 1588, "description": "Jean Baptiste Camille Corot (French, 1796\u20131875)", "extent": null, "qualifier": null, "role": "artist", "biography": "Camille Corot's earlier biographers presented him as a naive artist separated from commercial concerns who painted whatever pleased him in the French countryside and from his own emotions. For these writers his importance lay in his loosely painted, atmospheric landscapes, for which later modernists called him the precursor to impressionism. This conception of the artist has undergone significant revision with recent scholarship. Corot never seemed to accept the impressionists' more radical work, especially their enthusiasm for contemporary urban and suburban themes. He represented timeless, rural views disconnected from the industrialization and modernization of nineteenth-century France.\r\nFollowing his father in the clothing trade, Corot worked for eight years before the death of his younger sister in 1821 provided him with the additional income (her annual allowance) to enable him to devote himself to painting. In 1822 he began to study with the landscape painter Achille-Etna Michallon (1796-1822), winner of the first Grand Prix de Rome in historicized landscape, and after Michallon's early death that year, with Bertin (q.v.). Both Michallon and Bertin had trained with Pierre-Henri de Valenciennes (1750-1819), whose later eighteenth-century treatise on landscape painting practice urged artists to study nature closely. In addition, Michallon frequented the village of Barbizon and the forest of Fontainebleau, which would become important subjects for Corot and the group of painters known as the Barbizon school.\r\nIn 1825 Corot made his first trip to Italy, following in the tradition of the French academy but also the independent precedent of the seventeenth-century French painter Claude Lorrain. There Corot joined an international circle of artists, including L\u00e9opold Robert (1794-1835) and Aligny (q.v.), who struggled to resolve the contradictory phases of empirical study out of doors and synthetic recreation in the studio. From Rome, he sent his first submissions to the Paris Salon in 1827, among them The View at Narni (National Gallery of Canada, Ottowa). These early Italian views generally feature a bright, warm light with few areas in shadow.\r\nCorot gradually shifted from this early style to one in the 1840s that frequently included larger figures in the middle ground, more complex light effects, and a duller, earthy palette of greens and browns. He continued to use his outdoor works as models for finished canvases but freely adapted the compositions, forms, lighting, and color. The question of finish did not only pertain to the relationship between plein-air studies and studio compositions, which he called paysage compos\u00e9 (invented landscape). Corot sometimes added figures to landscapes that he had painted years earlier and even asked fellow painters such as Diaz de la Pe\u00f1a (q.v.) to paint them. His titles often referred to the geographical location that inspired the image, and some included the word souvenir (broad-ly translated as memory), which suggests recreating or revisiting some experience. \r\nThe critical reception of Corot's work fluctuated. His first Salon submissions passed the jury, but during the 1830s he was first overlooked and then attacked by the critics. By the 1840s his fortunes had improved, and he even sold one Salon picture to the French state. In more radical circles, the critic-poet Charles Baudelaire held Corot up as a leader in contemporary landscape painting. Corot received the Legion of Honor in 1846 as well as a municipal commission to decorate the baptismal fonts in the church of St. Nicolas du Chardonnet in Paris. \r\nIn the early 1850s Corot transformed his style again. He developed silvery tones and diffuse lighting effects applied in a few thin layers, over which he added small touches of brighter color for highlights. The soft glimmer and evocative atmosphere of these later works earned him commercial and critical success. During the last decade, Corot turned toward the single figure as subject. The meditative poses and expressions of these figures reminded some contemporary critics of seventeenth-century painting, especially the realism of Spanish and Dutch pictures. But Corot's landscapes remained his most admired work, and during his lifetime imitations or fakes were sold under his name.", "name_in_original_language": null, "birth_year": "1796", "death_year": "1875", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2009-03-02T00:00:00", "sortable_date": 1860, "date_added_to_oa": null, "date_text": "c. 1865\u201370", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:25.827000"}, {"id": 124808, "accession_number": "1946.287", "share_license_status": "CC0", "tombstone": "View of the Institut de France from the Foot of the Pont Royal, 1870. Henri Joseph Harpignies (French, 1819\u20131916). Watercolor; sheet: 23.9 x 19 cm (9 7/16 x 7 1/2 in.). The Cleveland Museum of Art, In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer, 1946.287", "current_location": null, "title": "View of the Institut de France from the Foot of the Pont Royal", "creation_date": "1870", "creation_date_earliest": 1870, "creation_date_latest": 1870, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "watercolor", "support_materials": [{"description": "cream(3) wove paper", "watermarks": []}], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 23.9 x 19 cm (9 7/16 x 7 1/2 in.)", "dimensions": {"sheet": {"height": 0.239, "width": 0.19}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "signed, lower left, in brown watercolor: h j harpignies Mai 1870. ; VERSO, lower center, in graphite: 38 3 [last 3 underlined and superscript] x 45 3 [3 underlined and superscript] ; lower center, in black ink: [li?] 3308 vx/sx", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 304714, "title": "European Watercolors Through the 18th Century", "description": "<i>European Watercolors Through the 18th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (January 14-March 22, 1964).", "opening_date": "1964-01-14T05:00:00"}, {"id": 351191, "title": "Drawings", "description": "<i>Drawings</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-October 21, 1968).", "opening_date": "1968-06-11T04:00:00"}, {"id": 443525, "title": "Henri Joseph Harpiginies", "description": "<i>Henri Joseph Harpiginies</i>. Dixon Gallery and Gardens, Memphis, TN (organizer) (December 3, 1978-January 14, 1979).", "opening_date": "1978-12-03T05:00:00"}, {"id": 304561, "title": "Visions of Landscape: East and West", "description": "<i>Visions of Landscape: East and West</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).", "opening_date": "1982-02-17T05:00:00"}, {"id": 178036, "title": "Nature Sublime: Landscapes from the 19th Century", "description": "<i>Nature Sublime: Landscapes from the 19th Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 15-November 14, 2004).", "opening_date": "2004-08-15T00:00:00"}], "legacy": [{"description": "CMA, Visions of Landscape: East and West (Feb. 17-Mar. 21, 1982).", "opening_date": "1982-02-17T00:00:00"}, {"description": "Memphis, Tenn., Dixon Gallery and Gardens, Henri-Joseph Harpignies: Paintings and Watercolors: A Loan Exhibition (Dec. 3, 1978-Jan. 14, 1979), no. 3, illus.", "opening_date": "1978-12-03T00:00:00"}, {"description": "CMA, \"Gallery List of Drawings\" (opened June 11, 1968).", "opening_date": "1968-06-11T00:00:00"}, {"description": "CMA, Exhibition in Memory of Ralph King (1947).", "opening_date": "1947-01-01T00:00:00"}, {"description": "Cleveland, Ohio: The Cleveland Museum of Art; 8/15/04-11/14/04. \"Nature Sublime: Landscapes from the 19th Century\".  No exhibition catalogue.", "opening_date": "2004-08-15T00:00:00"}]}, "provenance": [], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "This watercolor belongs to a series of views of Paris which Harpignies painted just before the beginning of the Franco-Prussian War. Although Harpignies is often placed with the artists of the Barbizon school, he did not work in Fontainebleau\u2014although he was influenced by the compositions of Camille Corot (also in this gallery). A talented and influential watercolorist, Harpignies\u2019s primary subjects were landscapes and views of Paris. In this sheet, the artist records a view from the Bois de Boulogne, a famous park on the western edge of Paris.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79902813"], "internet_archive": ["https://archive.org/details/clevelandart-1946.287-view-of-the-institut"]}, "citations": [{"citation": "https://www.google.com/maps/place/Institut+de+France/@48.8572229,2.3369757,15z/data=!4m5!3m4!1s0x0:0x5d84e08438fab869!8m2!3d48.8572229!4d2.3369757", "page_number": null, "url": null}, {"citation": "Milkovich, Michael. <em>Henri-Joseph Harpignies: Paintings and Watercolors</em>. Exh. Cat. Memphis: Dixon Gallery and Gardens, 1979.", "page_number": "14-15 (repr.), no. 3", "url": null}], "url": "https://clevelandart.org/art/1946.287", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1946.287/1946.287_web.jpg", "width": "710", "height": "893", "filesize": "600360", "filename": "1946.287_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1946.287/1946.287_print.jpg", "width": "2702", "height": "3400", "filesize": "8842312", "filename": "1946.287_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1946.287/1946.287_full.tif", "width": "4808", "height": "6048", "filesize": "87269424", "filename": "1946.287_full.tif"}}, "alternate_images": [], "creditline": "In memory of Ralph King, gift of Mrs. Ralph King; Ralph T. Woods, Charles G. King; and Frances King Schafer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 124808, "creators": [{"id": 1676, "description": "Henri Joseph Harpignies (French, 1819\u20131916)", "extent": null, "qualifier": null, "role": "artist", "biography": "Born into a bourgeois family of Belgian descent who established a sugar beet factory, Henri Joseph Harpignies became seriously interested in painting during an extended trip through France in 1838. However, he first worked as a sales agent until 1848, when he entered the studio of landscape painter Jean-Alexis Achard (1807-1884). Harpignies traveled to Cr\u00e9mieu and Brussels with Achard but decided to return home upon the outbreak of the revolution of 1848. After the revolution, he traveled through southern Germany and to Italy, where the natural surroundings made a strong impact on his work and where he first became interested in watercolor. He was accepted into the Salon of 1853 and exhibited there regularly until 1912. Harpignies was influenced by Corot (q.v.) and the other Barbizon painters and worked in their manner. He traveled throughout France, visiting the forest of Fontainebleau, the Pyrenees, Nevers, and other areas, making landscape studies. He returned to Italy from 1863 through 1865, after his marriage to Marguerite Ventillard. During the Franco-Prussian War (1870-71) he fought with the National Guard at H\u00e9risson, where he would return each summer throughout the 1870s. Harpignies took on his own private pupils, whom he taught his watercolor technique, and his contract with the dealers Arnold & Tripp in 1883 secured his financial independence. During the final decades of his life, he traveled often to La Tr\u00e9mellerie at Saint-Priv\u00e9 and painted along the coast of Nice and Menton.", "name_in_original_language": null, "birth_year": "1819", "death_year": "1916", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1946-11-25T00:00:00", "sortable_date": 1870, "date_added_to_oa": null, "date_text": "1870", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Paris from the Bois"], "is_highlight": false, "updated_at": "2026-03-27 00:05:35.245000"}, {"id": 119748, "accession_number": "1940.581", "share_license_status": "CC0", "tombstone": "Portrait of William E. Henley, 1882. Auguste Rodin (French, 1840\u20131917). Bronze; overall: 42.5 x 22.2 x 28.8 cm (16 3/4 x 8 3/4 x 11 5/16 in.). The Cleveland Museum of Art, Bequest of James Parmelee, 1940.581", "current_location": null, "title": "Portrait of William E. Henley", "creation_date": "1882", "creation_date_earliest": 1882, "creation_date_latest": 1882, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "bronze", "support_materials": [], "department": "Modern European Painting and Sculpture", "collection": "Mod Euro - Sculpture 1800-1960", "type": "Sculpture", "measurements": "Overall: 42.5 x 22.2 x 28.8 cm (16 3/4 x 8 3/4 x 11 5/16 in.)", "dimensions": {"overall": {"height": 0.425, "width": 0.222, "depth": 0.288}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed on back: Rodin.", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 312333, "title": "French Drawings and Watercolors from French Public and Private Collections", "description": "<i>French Drawings and Watercolors from French Public and Private Collections</i>. 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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>. 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": 300186, "title": "Rodin-100 Years", "description": "<i>Rodin-100 Years</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (September 1, 2017-May 13, 2018).", "opening_date": "2017-09-01T04:00:00"}, {"id": 543896, "title": "Rodin\u2014100 Years", "description": "<i>Rodin\u2014100 Years</i>. 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To thank him, Rodin made this bust.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80014949"], "internet_archive": ["https://archive.org/details/clevelandart-1940.581-portrait-of-william"]}, "citations": [{"citation": "Henning, Edward B. Creativity in Art and Science, 1860-1960. [Cleveland, Ohio]: Published by the Cleveland Museum of Art in cooperation with Indiana University Press, 1987.", "page_number": "cat. no. 11, repr.", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1966</em>. Cleveland, OH: The Cleveland Museum of Art, 1966.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1966/page/n199"}, {"citation": "Tacha, Athena. <em>Rodin Sculpture in the Cleveland Museum of Art.</em> Cleveland: The Cleveland Museum of Art, 1967.", "page_number": "Mentioned: p. 89-90, cat. no. II; Reproduced: p. [3], Plate 4", "url": "https://archive.org/details/RodinSculpture/page/n103"}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1969</em>. Cleveland, OH: The Cleveland Museum of Art, 1969.", "page_number": "Reproduced: p. 175", "url": "https://archive.org/details/CMAHandbook1969/page/n199"}, {"citation": "Tacha, Athena. <em>A Supplement to Rodin Sculpture in the Cleveland Museum of Art</em>. Cleveland: Cleveland Museum of Art, 1974.", "page_number": "Mentioned: p. 123S, cat. no. II", "url": null}, {"citation": "The Cleveland Museum of Art. <em>Handbook of the Cleveland Museum of Art/1978</em>. 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Winslow Homer (American, 1836\u20131910). Watercolor and gouache over graphite; sheet: 24.2 x 32.9 cm (9 1/2 x 12 15/16 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1943.660", "current_location": null, "title": "A Fisherman's Daughter", "creation_date": "1873", "creation_date_earliest": 1873, "creation_date_latest": 1873, "artists_tags": ["male"], "culture": ["America"], "technique": "watercolor and gouache over graphite", "support_materials": [], "department": "Drawings", "collection": "DR - American 19th Century", "type": "Drawing", "measurements": "Sheet: 24.2 x 32.9 cm (9 1/2 x 12 15/16 in.)", "dimensions": {"sheet": {"height": 0.242, "width": 0.329}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Signed: \"Winslow Homer\" lower right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Remnants of signature, lower left: \"W.H. June 1873\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 706871, "title": "Exhibition of Water Colors: Homer, Sargent, Marin", "description": "<i>Exhibition of Water Colors: Homer, Sargent, Marin</i>. Colorado Springs Fine Arts Center, Colorado Springs, CO (organizer) (April 17-June 11, 1947).", "opening_date": "1947-04-17T05:00:00"}, {"id": 704989, "title": "The Work of Winslow Homer", "description": "<i>The Work of Winslow Homer</i>. Smith College Museum of Art, Northampton, MA (organizer) (February 1-28, 1951); Williams College Museum of Art, Williamstown, MA (March 1-April 1, 1951).", "opening_date": "1951-02-01T05:00:00"}, {"id": 520731, "title": "Homer and the Sea", "description": "<i>Homer and the Sea</i>. The Mariners' Museum and Park, Newport News, VA (September 27-October 19, 1964); Virginia Museum of Fine Arts, Richmond, VA (organizer) (October 30-November 29, 1964).", "opening_date": "1964-09-27T04:00:00"}, {"id": 304725, "title": "Winslow Homer: Portrait of America", "description": "<i>Winslow Homer: Portrait of America</i>. The Cleveland Museum of Art, Cleveland, OH (November 10, 1965-May 16, 1966).", "opening_date": "1965-11-10T05:00:00"}, {"id": 515992, "title": "Water Colors by Winslow Homer", "description": "<i>Water Colors by Winslow Homer</i>. Buffalo AKG Art Museum, Buffalo, NY (organizer) (July 8-August 28, 1966).", "opening_date": "1966-07-08T04:00:00"}, {"id": 223376, "title": "Winslow Homer and the Critics:  Forging a National Art in the 1870s", "description": "<i>Winslow Homer and the Critics:  Forging a National Art in the 1870s</i>. The Nelson-Atkins Museum of Art, Kansas City, MO (organizer) (February 18-May 6, 2001); Los Angeles County Museum of Art, Los Angeles, CA (June 10-September 9, 2001).", "opening_date": "2001-02-18T00:00:00"}, {"id": 204986, "title": "Treasures on Paper from the Collection of the Cleveland Museum of Art", "description": "<i>Treasures on Paper from the Collection of the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 9-June 8, 2014).", "opening_date": "2014-03-09T00:00:00"}], "legacy": [{"description": "Washington, D. C., The National Gallery of Art, Winslow Homer: A Retrospective Exhibition (23 November 1958-4 January 1959); traveled to New York, The Metropolitan Museum of Art (29 January-8 March 1959)", "opening_date": null}]}, "provenance": [{"description": "Edward M. Colie, East Orange, NJ", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Miss Margaret Colie, Mill Valley, CA", "citations": [], "footnotes": null, "date": null, "sortorder": 2}, {"description": "(Macbeth Gallery, New York, NY)", "citations": [], "footnotes": null, "date": null, "sortorder": 3}, {"description": "(Valentine Gallery, New York, NY), sold to The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?\u20131943", "sortorder": 4}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "December 29, 1943\u2013", "sortorder": 5}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Homer created some of the most luminous and influential watercolors in the history of the medium. A Fisherman\u2019s Daughter, painted in Gloucester, Massachusetts, is among a group of works that represent his first sustained use of the medium. Here, three girls sit on the shore of a sunlit beach and play with a lobster. Their downcast eyes suggest a solemn tranquility to their activity. The life of the local fishermen was perilous; they often spent weeks away from home and were sometimes lost at sea. Thus, waiting was a central part of life for Gloucester families. An overturned boat on the dunes behind the figures evokes the ominous form of a coffin.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79900647"], "internet_archive": ["https://archive.org/details/clevelandart-1943.660-a-fisherman-s-daught"]}, "citations": [{"citation": "Conrads, Margaret C., and Winslow Homer. <em>Winslow Homer and the Critics: Forging a National Art in the 1870s</em>. Princeton, N.J.: Princeton University Press in association with the Nelson-Atkins Museum of Art, 2001.", "page_number": "fig. 59, p. 76", "url": null}, {"citation": "Burchfield, Louise H. \u201cAn Early Water Color by Winslow Homer.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 31, no. 7 (September 1944): 141\u2013142, 145. <br>Published as: <em>Girls with Lobster</em>", "page_number": "Mentioned: p. 141-142; Reproduced: p.145", "url": "http://www.jstor.org/stable/25141147"}, {"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. 165", "url": ""}, {"citation": "Glaubinger, Jane and Lemonedes, Heather. \u201cTreasures on Paper: The Cr\u00e8me de la cr\u00e8me of the museum\u2019s prints and drawings collection is now on view.\u201d <em>Cleveland Art: Cleveland Museum of Art Members Magazine</em> 54, no. 2 (March/April 2014): 6-9.", "page_number": "Reproduced: p.7 and Mentioned: p. 9", "url": "https://archive.org/details/CMAMM2014-02"}], "url": "https://clevelandart.org/art/1943.660", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1943.660/1943.660_web.jpg", "width": "1206", "height": "893", "filesize": "943728", "filename": "1943.660_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1943.660/1943.660_print.jpg", "width": "3400", "height": "2517", "filesize": "7135892", "filename": "1943.660_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1943.660/1943.660_full.tif", "width": "5000", "height": "3701", "filesize": "55551944", "filename": "1943.660_full.tif"}}, "alternate_images": [], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 123437, "creators": [{"id": 3143, "description": "Winslow Homer (American, 1836\u20131910)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1836", "death_year": "1910", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "1943-12-29T00:00:00", "sortable_date": 1873, "date_added_to_oa": null, "date_text": "1873", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Girls with Lobster"], "is_highlight": false, "updated_at": "2026-03-27 00:08:43.671000"}, {"id": 156505, "accession_number": "1992.220", "share_license_status": "CC0", "tombstone": "Animal Locomotion: Emptying a Bucket of Water, 1887. Eadweard J. Muybridge (American, 1830\u20131904). Collotype; image: 22.5 x 34 cm (8 7/8 x 13 3/8 in.); paper: 47.4 x 60.4 cm (18 11/16 x 23 3/4 in.); matted: 50.8 x 61 cm (20 x 24 in.). The Cleveland Museum of Art, Gift of Laurence Miller Gallery, New York, in honor of Evan H. Turner, 1992.220", "current_location": null, "title": "Emptying a Bucket of Water", "series": "Animal Locomotion", "creation_date": "1887", "creation_date_earliest": 1887, "creation_date_latest": 1887, "artists_tags": ["male"], "culture": ["America"], "technique": "collotype", "support_materials": [], "department": "Photography", "collection": "PH - American 19th Century", "type": "Photograph", "measurements": "Image: 22.5 x 34 cm (8 7/8 x 13 3/8 in.); Paper: 47.4 x 60.4 cm (18 11/16 x 23 3/4 in.); Matted: 50.8 x 61 cm (20 x 24 in.)", "dimensions": {"image": {"height": 0.225, "width": 0.34}, "paper": {"height": 0.474, "width": 0.604}, "matted": {"height": 0.508, "width": 0.61}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 311486, "title": "Signs of Affection: Gifts Honoring the Museum's 75th Anniversary", "description": "<i>Signs of Affection: Gifts Honoring the Museum's 75th Anniversary</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 1992-January 3, 1993).", "opening_date": "1992-10-27T05:00:00"}, {"id": 181802, "title": "The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art", "description": "<i>The Persistence of Geometry: Form, Content and Culture in the Collection of the Cleveland Museum of Art</i>. Museum of Contemporary Art Cleveland (MOCA), Cleveland, OH (June 9-August 20, 2006).", "opening_date": "2006-06-09T00:00:00"}, {"id": 194095, "title": "Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art", "description": "<i>Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 24-September 16, 2007).", "opening_date": "2007-06-24T00:00:00"}, {"id": 455214, "title": "Photographs in Ink", "description": "<i>Photographs in Ink</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 20, 2022-April 2, 2023).", "opening_date": "2022-11-19T05:00:00"}], "legacy": [{"description": "CMA, October 27, 1992 - January 3, 1993: \"Signs of Affection: Gifts Honoring the Museum's Seventy-Fifth Anniversary,\" CMA Bulletin, 80 (February 1993), p. 69, no. 116.", "opening_date": "1992-10-27T00:00:00"}, {"description": "\"CMA Annual Report, 1992\" (Cleveland, CMA, 1993) p. 228 repr.", "opening_date": "1992-01-01T00:00:00"}, {"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. 45, p. 118, repr. p. 60.", "opening_date": "2006-06-09T00:00:00"}, {"description": "The Cleveland Museum of Art (6/24/07 - 9/16/07); \"Icons of American Photography: A Century of Photographs from the Cleveland Museum of Art\", no exhibition catalogue.", "opening_date": "2007-06-24T00:00:00"}]}, "provenance": [{"description": "(Laurence Miller Gallery, New York, NY)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "October 19, 1992", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "description": "Eadweard J. Muybridge initially used horses to capture motion as separate slices of time faster than the human eye could perceive them, then moved on to study other animal and human movements. Everyday activities, like emptying a bucket of water, were broken down and sequenced back-to-back. This series was commissioned by the University of Pennsylvania and intended to diagnose dysfunction in human movement by allowing each consecutive action to be studied in isolation. The university\u2019s desire for distribution called for the use of collotype. The process had been recently improved to the point where editions of up to 1,000 were possible, making it an attractive option for publishers.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q60781071"], "internet_archive": ["https://archive.org/details/clevelandart-1992.220-emptying-a-bucket-of"]}, "citations": [{"citation": "Muybridge, Eadweard. Muybridge's Complete Human and Animal Locomotion: All 781 Plates from the 1887 Animal Locomotion by Eadweard Muybridge. 1979.", "page_number": "pl. 403", "url": null}, {"citation": "Turner, Evan H. \u201cThe Year in Review for 1992.\u201d <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 2 (February 1993): 38\u201379.", "page_number": "Mentioned: p. 69", "url": "http://www.jstor.org/stable/25161388"}, {"citation": "\"1992 Annual Report.\" <em>The Bulletin of the Cleveland Museum of Art</em> 80, no. 6 (1993): 215-295.", "page_number": "Reproduced: p. 228", "url": "https://www.jstor.org/stable/25161418"}, {"citation": "Cleveland Museum of Art, Tom E Hinson. <em>Catalogue of Photography</em>. Cleveland, OH: Cleveland Museum of Art, 1996.", "page_number": "Reproduced: P. 250", "url": ""}], "url": "https://clevelandart.org/art/1992.220", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1992.220/1992.220_web.jpg", "width": "900", "height": "624", "filesize": "198611", "filename": "1992.220_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1992.220/1992.220_print.jpg", "width": "3400", "height": "2359", "filesize": "2020961", "filename": "1992.220_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1992.220/1992.220_full.tif", "width": "10176", "height": "7059", "filesize": "215527256", "filename": "1992.220_full.tif"}}, "alternate_images": [{"date_created": "2006-03-02T16:11:33", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1992.220/1992.220_alt0_web.jpg", "width": "1263", "height": "863", "filesize": "684044"}, "print": {"url": 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Turner", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 156505, "creators": [{"id": 716, "description": "Eadweard J. Muybridge (American, 1830\u20131904)", "extent": null, "qualifier": null, "role": "artist", "biography": "Eadweard J. Muybridge (Edward James Muggeridge) American, b. England, 1830-1904\r\n\r\nAround 1852 Edward James Muggeridge, born in Kingston-on-Thames in Surrey, immigrated to California and by 1856 had established himself in the book business in San Francisco. He learned the art of photography in 1867, possibly from his friend Silas Selleck. Soon after, he emerged as the \"artist-photographer\" Eadweard Muybridge. Also known as \"Helios,\" the proprietor of a mobile photo wagon called the Flying Studio, he became associated with Selleck's cosmopolitan gallery.\r\n\tMuybridge was one of the best early western landscape photographers. His work included a coastal survey for the U.S. government, as well as topographical, landscape, and portrait photographs made from Alaska to Central America. His large wet plate views of Yosemite rank with those of Carleton Watkins as among the finest ever taken, and his multiprint panoramas of San Francisco are highly prized.\r\n\tIn 1872 Muybridge began the experimental study that occupied him for the remainder of his life and for which he is best known. It stemmed from a commission by former California governor Leland Stanford, Jr., who asked him to capture photographically the movement of a galloping horse. Muybridge quickly became a renowned lecturer and authority on the photography of motion, developing one of the first camera shutters in 1869 and the zoogyroscope (an early machine for projecting pictures that appeared to move) in 1880. His work contributed to the development of the motion picture.\r\n\tMuybridge continued his investigations for three years at the University of Pennsylvania (1883-86) and in 1887 published the result of some 15 years of accumulated research in the 11 volumes of his immense study, Animal Locomotion, which consisted of 19,347 negatives. Muybridge's own stride was broken temporarily by his trial in 1874 for the murder of his wife's lover, a charge that he acknowledged but of which he was acquitted. T.W.F.", "name_in_original_language": null, "birth_year": "1830", "death_year": "1904", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 69482, "description": "University of Pennsylvania", "extent": "published by", "qualifier": null, "role": "publisher", "biography": null, "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 2}], "legal_status": "accessioned", "accession_date": "1992-10-19T00:00:00", "sortable_date": 1887, "date_added_to_oa": null, "date_text": "1887", "collapse_artists": true, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-26 23:59:07.638000"}, {"id": 100253, "accession_number": "1919.75", "share_license_status": "CC0", "tombstone": "Rubbing of a Stone from the Tang-Fang Collection (\u6771\u6f22\u6b66\u6881\u7960\u756b\u50cf\u77f3\u62d3\u7247), 1900\u20131916. China, Qing dynasty (1644-1911) or Republican period (1912-49). Rubbing, ink on paper, horizontal scroll; overall: 66.7 x 181.6 cm (26 1/4 x 71 1/2 in.); rubbing only: 134 x 53.2 cm (52 3/4 x 20 15/16 in.). The Cleveland Museum of Art, Gift of Yamanaka & Company, 1919.75", "current_location": null, "title": "Rubbing of a Stone from the Tang-Fang Collection", "title_in_original_language": "\u6771\u6f22\u6b66\u6881\u7960\u756b\u50cf\u77f3\u62d3\u7247", "creation_date": "1900\u20131916", "creation_date_earliest": 1900, "creation_date_latest": 1916, "artists_tags": [], "culture": ["China, Qing dynasty (1644-1911) or Republican period (1912-49)"], "technique": "Rubbing, ink on paper, horizontal scroll", "support_materials": [], "department": "Chinese Art", "collection": "Chinese Art", "type": "Miscellaneous", "measurements": "Overall: 66.7 x 181.6 cm (26 1/4 x 71 1/2 in.); Rubbing only: 134 x 53.2 cm (52 3/4 x 20 15/16 in.)", "dimensions": {"rubbing only": {"height": 1.34, "width": 0.532}, "overall": {"height": 0.667, "width": 1.816}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 394917, "title": "From Caves to Tombs: Chinese Pictorial Rubbings from Stone Reliefs (\u5f9e\u77f3\u7a9f\u5230\u5893\u7960\u2014\u77f3\u523b\u62d3\u7247)", "description": "<i>From Caves to Tombs: Chinese Pictorial Rubbings from Stone Reliefs (\u5f9e\u77f3\u7a9f\u5230\u5893\u7960\u2014\u77f3\u523b\u62d3\u7247)</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 11-November 14, 2021).", "opening_date": "2021-06-11T04:00:00"}], "legacy": []}, "provenance": [{"description": "Yamanaka and Company, New York, NY, given to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-1916", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1916-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "In the period before photography, life-size rubbings of sculptures and cultural relics from ancient sites were useful study material.", "description": "This rubbing corresponds in composition with stone reliefs from the east wall in stone chamber 3 of the Wu Liang shrine. The upper register illustrates stories of virtuous women.<br> <br>Read from right to left, the last scene in the upper left corner shows a bed under a roof that is labeled \u201cVirtuous Woman of the Capital.\u201d The story relates that a woman was blackmailed into helping to kill her husband. She pretended to cooperate but took her husband\u2019s place in bed. When the killers realized in the morning that they had decapitated the woman, they abandoned their murderous plan.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-1919.75-rubbing-of-a-stone-f"]}, "citations": [{"citation": "\"Accessions.\" <em>The Bulletin of the Cleveland Museum of Art</em> 6, no. 5 (1919): 97-98.", "page_number": "Mentioned: p. 97", "url": "http://www.jstor.org/stable/25136292"}], "url": "https://clevelandart.org/art/1919.75", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1919.75/1919.75_web.jpg", "width": "900", "height": "448", "filesize": "", "filename": "1919.75_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1919.75/1919.75_print.jpg", "width": "3400", "height": "1692", "filesize": "", "filename": "1919.75_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1919.75/1919.75_full.tif", "width": "8000", "height": "3981", "filesize": "", "filename": "1919.75_full.tif"}}, "alternate_images": [], "creditline": "Gift of Yamanaka & Company", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 100253, "creators": [], "legal_status": "accessioned", "accession_date": "1919-03-14T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "1900\u20131916", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Rubbing of a Stone from the Tang-Fang Collection corresponding with upper registers on the East Wall of the Wu Liang Shrine in Shandong province"], "is_highlight": false, "updated_at": "2026-03-27 00:00:42.922000"}, {"id": 108172, "accession_number": "1925.794", "share_license_status": "CC0", "tombstone": "Part of a Skirt (Ghaghara), early 1800s. Western India, Gujarat, possibly Kutch. Silk satin embroidered with silk in \"ari\" chain stitch; overall: 83.8 x 35.9 cm (33 x 14 1/8 in.). The Cleveland Museum of Art, Purchase from the J. H. Wade Fund, 1925.794", "current_location": null, "title": "Part of a Skirt (Ghaghara)", "creation_date": "early 1800s", "creation_date_earliest": 1800, "creation_date_latest": 1850, "artists_tags": [], "culture": ["Western India, Gujarat, possibly Kutch"], "technique": "silk satin embroidered with silk in \"ari\" chain stitch", "support_materials": [], "department": "Textiles", "collection": "Textiles", "type": "Embroidery", "measurements": "Overall: 83.8 x 35.9 cm (33 x 14 1/8 in.)", "dimensions": {"overall": {"height": 0.838, "width": 0.359}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 309907, "title": "Needles, Dye-Pots, and Looms: Textile Traditions in India", "description": "<i>Needles, Dye-Pots, and Looms: Textile Traditions in India</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 15, 1985-May 11, 1986).", "opening_date": "1985-10-15T04:00:00"}], "legacy": []}, "provenance": [{"description": "Ananda K. Coomaraswamy [1877\u20131947], sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "?\u20131925", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1925\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The renowned art historian A. K. Coomaraswamy (1877\u20131947) gave another section of this skirt to the Victoria and Albert Museum in London, UK (IM.108-1912).", "description": "Brightly colored floral vine patterns were embroidered using fine chain stitches. Since there are continuous, unbroken lines of stitches on the back side of the cloth, they were created using a hooked awl, which is a much faster process than embroidering with a straight needle. This type of embroidery is known as <em>ari </em>work, which flourished in Gujarat during the 19th century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80056428"], "internet_archive": ["https://archive.org/details/clevelandart-1925.794-part-of-a-skirt-ghag"]}, "citations": [{"citation": "Fotheringham, Avalon. The Indian Textile Sourcebook. 2019.", "page_number": "125 and discussion of embroidery technique on pp. 32-33", "url": ""}], "url": "https://clevelandart.org/art/1925.794", "images": {"annotation": "Front side", "web": {"url": "https://openaccess-cdn.clevelandart.org/1925.794/1925.794_web.jpg", "width": "426", "height": "900", "filesize": "442252", "filename": "1925.794_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1925.794/1925.794_print.jpg", "width": "1610", "height": "3400", "filesize": "4185723", "filename": "1925.794_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1925.794/1925.794_full.tif", "width": "3597", "height": "7595", "filesize": "81989400", "filename": "1925.794_full.tif"}}, "alternate_images": [{"date_created": "2018-02-07T09:07:44", "annotation": "Back side", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.794/1925.794_alt0_web.jpg", "width": "419", "height": "900", "filesize": "393004"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.794/1925.794_alt0_print.jpg", "width": "1584", "height": "3400", "filesize": "3823351"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/1925.794/1925.794_alt0_full.tif", "width": "3537", "height": "7592", "filesize": "80589560"}}], "creditline": "Purchase from the J. H. Wade Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 108172, "creators": [], "legal_status": "accessioned", "accession_date": "1925-07-29T00:00:00", "sortable_date": 1800, "date_added_to_oa": null, "date_text": "early 1800s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:09:30.308000"}, {"id": 110830, "accession_number": "1929.354", "share_license_status": "CC0", "tombstone": "Back Skirt/Sitting Pad (negbe), by 1928. Africa, Central Africa, Democratic Republic of Congo, Mangbetu-style makers. Plant fibers and dye; overall: 26 x 33.7 x 10.2 cm (10 1/4 x 13 1/4 x 4 in.). The Cleveland Museum of Art, Gift of the African Art Sponsors of Karamu House, 1929.354", "current_location": null, "title": "Back Skirt/Sitting Pad (negbe)", "creation_date": "by 1928", "creation_date_earliest": 1900, "creation_date_latest": 1928, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Mangbetu-style makers"], "technique": "Plant fibers and dye", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Garment", "measurements": "Overall: 26 x 33.7 x 10.2 cm (10 1/4 x 13 1/4 x 4 in.)", "dimensions": {"overall": {"height": 0.26, "width": 0.337, "depth": 0.102}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 383281, "title": "Stories from Storage", "description": "<i>Stories from Storage</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).", "opening_date": "2021-02-06T05:00:00"}], "legacy": []}, "provenance": [{"description": "Purchased by Paul Travis on behalf of the African Art Sponsors and the Gilpin Players in Ekibondo, Democratic Republic of the Congo (then-Belgian Congo)", "citations": [], "footnotes": ["<div><!--block-->Boger, Ann C. et al. <em>Paul B. Travis Africa 1927-1928</em>. Cleveland Museum of Art, 1982. PP. 32, 46</div>", "<div><!--block-->It appears on a checklist of \"African Material\" circa 1928 as part of a group of \"7 woven mats of grass and banana leaf. These are hooked in the belt to serve as ornaments when standing and as seats when sitting. Mangbettu, Ekibondis Village.\" Archives of the Cleveland Museum of Natural History.</div>"], "date": "1928", "sortorder": 1}, {"description": "The African Art Sponsors and the Gilpin Players", "citations": [], "footnotes": ["<div><!--block-->12/3/1928 letter to the Cleveland Museum of Art and the Cleveland Museum of Natural History from Hazel Mountain Walker (Gilpin Players, president) and Harry E. Davis (African Art Sponsors, president) reproduced on p. 54 of Adams, Henry et al. <em>Paul Travis 1891-1975</em>. Cleveland Artists Foundation, 2001.</div>"], "date": "1928", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1929-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "A contemporary fashion in 1929, when it was purchased or collected, this <em>egbe</em> is now a historical document of past styles.", "description": "<em>Egbe</em> (singular: <em>negbe</em>) were fashionable and practical garments aristocratic Mangbetu women made for special occasions. Worn over a skirt, it tied onto a girdle along with a frontal \u201capron.\u201d The curved interior piece rested on the lower back. Thickly woven, flexible natural fibers bent with the body, cushioning the wearer\u2019s behind when sitting. When the woman was standing, the decorated flat portion faced outward, showing off bold geometric motifs. Egbe were among items sold to foreigners at the Mangbetu king\u2019s encouragement as the Mangbetu actively constructed their self image for outsiders during the 1920s and 1930s.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80002950"], "internet_archive": ["https://archive.org/details/clevelandart-1929.354-back-skirt-sitting-p"]}, "citations": [{"citation": null, "page_number": null, "url": null}], "url": "https://clevelandart.org/art/1929.354", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1929.354/1929.354_web.jpg", "width": "900", "height": "691", "filesize": "304614", "filename": "1929.354_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1929.354/1929.354_print.jpg", "width": "3400", "height": "2612", "filesize": "2487585", "filename": "1929.354_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1929.354/1929.354_full.tif", "width": "9929", "height": "7628", "filesize": 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null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 110830, "creators": [], "legal_status": "accessioned", "accession_date": "1929-04-23T00:00:00", "sortable_date": 1900, "date_added_to_oa": null, "date_text": "by 1928", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:07:57.741000"}, {"id": 129163, "accession_number": "1951.65.10", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: On the Pont de l'Europe, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 33.4 x 49.5 cm (13 1/8 x 19 1/2 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.10", "current_location": null, "title": "On the Pont de l'Europe", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 33.4 x 49.5 cm (13 1/8 x 19 1/2 in.)", "dimensions": {"sheet": {"height": 0.334, "width": 0.495}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (co-organizer) (July 1-September 19, 2021); Portland Art Museum, Portland, OR (co-organizer) (October 23, 2021-January 23, 2022).", "opening_date": "2021-07-01T04:00:00"}], "legacy": []}, "provenance": [{"description": "(William H. Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": null, "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.74"], "did_you_know": "A popular scene among French Impressionists, Le Pont de l\u2019Europe is also depicted in paintings by Gustave Caillebotte, \u00c9douard Manet, and Claude Monet.", "description": "The Pont de l\u2019Europe, a massive iron bridge built between 1865 and 1869, provided easy access to the expanded Gare Saint-Lazare railway station. Vuillard depicts this quintessential symbol of Parisian modernity with a decorative design of crisscrossing railings. The pattern is reminiscent of the wallpaper and textiles in the artist\u2019s paintings of interiors throughout the 1890s, such as those on view in the first two galleries of this exhibition. In his own witty and highly personal manner, Vuillard domesticized one of the capital\u2019s most important landmarks and technologically modern feats.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909886"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.10-on-the-pont-de-l-eur"]}, "citations": [{"citation": "Brown, Heather Lemonedes. \u201cThe Nabi City.\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 222-261. 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In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. Vuillard's first major commissions date from this time, including nine panels for the dining room of Alexandre Natanson and four decorative panels for the library of Dr. Henri Vaquez. In 1898 Vuillard visited Venice and Florence, and the following year he and Bonnard (q.v.), a fellow member of the Nabis, made an excursion to London. Later they went to Milan and Venice and eventually to Spain. Vuillard also made trips to Brittany and Normandy. His first public commission came in 1912, when he was asked to paint panels for the foyer of the Com\u00e9die des Champs-Elys\u00e9es in Paris. During that period he moved beyond the synthetism of the Nabis and returned to a more traditional perspective. At the same time he was accepting commissions for portraits. In 1936 he was chosen to paint a mural at the Palais des Nations in Geneva and was subsequently elected to the Institut de France.", "name_in_original_language": null, "birth_year": "1868", "death_year": "1940", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 28934, "description": "Auguste Clot (French, 1858\u20131936)", "extent": "printed by", "qualifier": null, "role": "printer", "biography": null, "name_in_original_language": null, "birth_year": "1858", "death_year": "1936", "use_in_caption": false, "include_extent": false, "weight": 2}, {"id": 291938, "description": "Ambroise Vollard (French, 1867\u20131939)", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "French art dealer and publisher, 1867-1939", "name_in_original_language": null, "birth_year": "1867", "death_year": "1939", "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "1951-03-21T00:00:00", "sortable_date": 1899, "date_added_to_oa": null, "date_text": "1899", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "component", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1951.65", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Landscapes and Interiors:  On the Pont de l'Europe"], "is_highlight": false, "updated_at": "2026-03-27 00:00:50.568000"}, {"id": 129174, "accession_number": "1951.65.9", "share_license_status": "CC0", "tombstone": "Landscapes and Interiors: The Hearth, 1899. \u00c9douard Vuillard (French, 1868\u20131940). Color lithograph; sheet: 45 x 36 cm (17 11/16 x 14 3/16 in.). The Cleveland Museum of Art, Gift of the Hanna Fund, 1951.65.9", "current_location": null, "title": "The Hearth", "series": "Landscapes and Interiors", "creation_date": "1899", "creation_date_earliest": 1899, "creation_date_latest": 1899, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "color lithograph", "support_materials": [], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 45 x 36 cm (17 11/16 x 14 3/16 in.)", "dimensions": {"sheet": {"height": 0.45, "width": 0.36}}, "state_of_the_work": "II/II", "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 329533, "title": "Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900", "description": "<i>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889\u20131900</i>. 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Schab Gallery, New York, sold to the Cleveland Museum of Art, Cleveland, OH)", "citations": [], "footnotes": [], "date": "?-1951", "sortorder": 1}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "1951-", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": ["1951.73"], "did_you_know": "Among the Nabis, Vuillard assumed the nickname le Nabi Zouave, as the color of his red beard was reminiscent of headdresses worn by the French North African regiment.", "description": "Vuillard combines potent signifiers of homelife\u2014the hearth and kitchen tools\u2014that pay homage to the daily chores and comforts of the domestic world he shared with his mother. The strange perspective in which the chair looms above the viewer suggests a childlike viewpoint.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79909910"], "internet_archive": ["https://archive.org/details/clevelandart-1951.65.9-the-hearth"]}, "citations": [{"citation": "Chapin, Mary Weaver. \u201cInterior Dramas.\u2019\u201d In <em>Private Lives: Home and Family in the Art of the Nabis, Paris, 1889-1900</em>. Mary Weaver Chapin and Heather Lemonedes Brown, 40-93. Cleveland: Cleveland Museum of Art, 2021.", "page_number": "Mentioned: P. 51; Reproduced: P. 81, no. 28", "url": ""}], "catalogue_raisonne": "Roger-Marx 39", "url": "https://clevelandart.org/art/1951.65.9", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.9/1951.65.9_web.jpg", "width": "732", "height": "893", "filesize": "513404", "filename": "1951.65.9_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.9/1951.65.9_print.jpg", "width": "2788", "height": "3400", "filesize": "7250130", "filename": "1951.65.9_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/1951.65.9/1951.65.9_full.tif", "width": "4368", "height": "5327", "filesize": "69840560", "filename": "1951.65.9_full.tif"}}, "alternate_images": [], "creditline": "Gift of the Hanna Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 129174, "creators": [{"id": 1833, "description": "\u00c9douard Vuillard (French, 1868\u20131940)", "extent": null, "qualifier": null, "role": "artist", "biography": "After attending the Lyc\u00e9e Condorcet, \u00c9douard Vuillard entered the studio of history painter Diog\u00e8ne Maillart (1840-1926). In 1886 he enrolled at the Acad\u00e9mie Julian, where he was taught by Tony Robert-Fleury (1837-1911) and Bouguereau (q.v.). The following year he was accepted into the \u00c9cole des Beaux-Arts and was briefly in the atelier of G\u00e9r\u00f4me (q.v.). At this time he also studied seventeenth-century Dutch painting and the works of Chardin (1699-1779). By 1889 Vuillard was persuaded by his friend painter and theorist Maurice Denis (1870-1943) to join the newly formed group of artists known as the Nabis. The Nabis based many of their ideas on synthetism, first developed by Gauguin (q.v.) and \u00c9mile Bernard (1868-1941), in which the artist was to work not from nature but from memory. Vuillard's initial synthetist works reveal a preoccupation with pattern and bright colors, denying the three-dimensionality of the object. By 1892, however, his colors were more subdued, reflecting his desire to mimic the unusual lighting effects that he had seen in symbolist theater. 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Jean-Baptist Fr\u00e9net (French, 1814\u20131889). Salted paper print from a collodion negative; paper: 23.1 x 16.5 cm (9 1/8 x 6 1/2 in.); matted: 50.8 x 40.6 cm (20 x 16 in.). The Cleveland Museum of Art, Jo Hershey Selden Fund, 2001.5", "current_location": null, "title": "Mother with Two Children", "creation_date": "c. 1855", "creation_date_earliest": 1850, "creation_date_latest": 1860, "artists_tags": ["male"], "culture": ["France"], "technique": "salted paper print from a collodion negative", "support_materials": [], "department": "Photography", "collection": "PH - French 19th Century", "type": "Photograph", "measurements": "Paper: 23.1 x 16.5 cm (9 1/8 x 6 1/2 in.); Matted: 50.8 x 40.6 cm (20 x 16 in.)", "dimensions": {"paper": {"height": 0.231, "width": 0.165}, "matted": {"height": 0.508, "width": 0.406}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "written in black on recto: \"19\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "written in pencil on verso: \"50/2 [upside down]\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "written in black on verso: \"4\"", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 286506, "title": "Cheating Death: Portrait Photography\u2019s First Half Century", "description": "<i>Cheating Death: Portrait Photography\u2019s First Half Century</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 22, 2016-February 5, 2017).", "opening_date": "2016-10-22T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Charles Isaacs Photographs, Inc., New York, NY)", "citations": [], "footnotes": [], "date": "?-2001", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "March 5, 2001", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Fr\u00e9net was one of the earliest photographers to take spontaneous, rather rigidly formal, portraits.", "description": "After anti-government political activity closed off his professional opportunities as a painter, Jean-Baptiste Fr\u00e9net took up photography in 1850 and a decade later opened a commercial portrait studio. He preferred simple, plain settings and relied on sitters\u2019 interactions to reveal their personalities and relationships. This family grouping, probably taken for personal pleasure, offers a sense of casual immediacy unusual for the time in both painted and photographic portraiture.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79985780"], "internet_archive": ["https://archive.org/details/clevelandart-2001.5-mother-with-two-chil"]}, "citations": [{"citation": "Cleveland Museum of Art, \u201cRecent Acquisitions Press Release,\u201d April 4, 2001, Cleveland Museum of Art Archives.<a href=\"https://archive.org/details/cmapr4381\"><br></a>", "page_number": null, "url": "https://archive.org/details/cmapr4381"}], "url": "https://clevelandart.org/art/2001.5", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2001.5/2001.5_web.jpg", "width": "648", "height": "900", "filesize": "239565", "filename": "2001.5_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2001.5/2001.5_print.jpg", "width": "2447", "height": "3400", "filesize": "2489777", "filename": "2001.5_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2001.5/2001.5_full.tif", "width": "4976", "height": "6915", "filesize": "103257996", "filename": "2001.5_full.tif"}}, "alternate_images": [{"date_created": "2016-06-28T12:04:04", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.5/2001.5_alt0_web.jpg", "width": "659", "height": "900", "filesize": "184047"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.5/2001.5_alt0_print.jpg", "width": "2490", "height": "3400", "filesize": "2559594"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.5/2001.5_alt0_full.tif", "width": "5245", "height": "7162", "filesize": "112724864"}}, {"date_created": "2012-05-14T19:33:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.5/2001.5_alt1_web.jpg", "width": "671", "height": "900", "filesize": "249383"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.5/2001.5_alt1_print.jpg", "width": "2536", "height": "3400", "filesize": "2753830"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2001.5/2001.5_alt1_full.tif", "width": "3289", "height": "4410", "filesize": "43538672"}}], "creditline": "Jo Hershey Selden Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162112, "creators": [{"id": 38323, "description": "Jean-Baptist Fr\u00e9net (French, 1814\u20131889)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1814", "death_year": "1889", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2001-03-05T00:00:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "c. 1855", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:50.647000"}, {"id": 162334, "accession_number": "2002.63", "share_license_status": "CC0", "tombstone": "The Brothers Eberhard, 1822. Johann Anton Ramboux (German, 1790\u20131866). Lithograph printed in black and gray; sheet: 32.1 x 34.7 cm (12 5/8 x 13 11/16 in.); image: 31.7 x 34.2 cm (12 1/2 x 13 7/16 in.). The Cleveland Museum of Art, Gift of The Print Club of Cleveland, 2002.63", "current_location": null, "title": "The Brothers Eberhard", "creation_date": "1822", "creation_date_earliest": 1822, "creation_date_latest": 1822, "artists_tags": ["male"], "culture": ["Germany, 19th century"], "technique": "lithograph printed in black and gray", "support_materials": [{"description": "medium to heavy weight wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Sheet: 32.1 x 34.7 cm (12 5/8 x 13 11/16 in.); Image: 31.7 x 34.2 cm (12 1/2 x 13 7/16 in.)", "dimensions": {"sheet": {"height": 0.321, "width": 0.347}, "image": {"height": 0.317, "width": 0.342}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"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": "Heinrich Kaspar Lempertz Sr., Cologne (Lugt 1337)", "citations": [], "footnotes": null, "date": null, "sortorder": null}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This lithograph was printed in only a few impressions, as a gift for the sitters.", "description": "Johann Anton Ramboux belonged to a group of artists called the Nazarenes, who lived a pious lifestyle and emulated the draftsmanship of early masters such as Albrecht D\u00fcrer. This print demonstrates their interest in drawing through Ramboux\u2019s careful modeling of two profiles in light and shade. The sitters were brothers and artists who worked in the same circle as Ramboux. He made the lithograph for the Eberhards as a <em>Freundschaftsbild </em>(friendship portrait)\u2014a type of image given between 19th-century artists to commemorate a relationship.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79986388"], "internet_archive": ["https://archive.org/details/clevelandart-2002.63-the-brothers-eberhar"]}, "citations": [{"citation": "Marchetti, Elena, and Ste\u0301phane Paccoud. <em>Hippolyte, Paul, Auguste: lLs Flandrin, Artistes et Fre\u0300res.</em> [Lyon]: Muse\u0301e des Beaux-Arts de Lyon; [Paris]: In Fine, 2021.", "page_number": "Mentioned and Reproduced: P. 22, fig. 4", "url": ""}], "catalogue_raisonne": "Dussler 1, Winkler 1975, no 648.2", "url": "https://clevelandart.org/art/2002.63", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2002.63/2002.63_web.jpg", "width": "967", "height": "893", "filesize": "690641", "filename": "2002.63_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2002.63/2002.63_print.jpg", "width": "3400", "height": "3141", "filesize": "10163333", "filename": "2002.63_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2002.63/2002.63_full.tif", "width": "5004", "height": "4623", "filesize": "69434540", "filename": "2002.63_full.tif"}}, "alternate_images": [], "creditline": "Gift of The Print Club of Cleveland", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 162334, "creators": [{"id": 42518, "description": "Johann Anton Ramboux (German, 1790\u20131866)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1790", "death_year": "1866", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2002-06-03T00:00:00", "sortable_date": 1822, "date_added_to_oa": null, "date_text": "1822", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Double Portrait of the Brothers Konrad and Franz Eberhard, Painter and Sculptor in Munich"], "is_highlight": false, "updated_at": "2026-03-27 00:07:09.500000"}, {"id": 168732, "accession_number": "2010.438", "share_license_status": "CC0", "tombstone": "Power figure (nkisi), late 1800s-early 1900s. Central Africa, Republic of the Congo, Kongo people. Wood, organic materials (including resin), probably kaolin, and metalized glass; overall: 17 x 7 x 6.5 cm (6 11/16 x 2 3/4 x 2 9/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.438", "current_location": null, "title": "Power figure (nkisi)", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Central Africa, Republic of the Congo, Kongo people"], "technique": "Wood, organic materials (including resin), probably kaolin, and metalized glass", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 17 x 7 x 6.5 cm (6 11/16 x 2 3/4 x 2 9/16 in.)", "dimensions": {"overall": {"height": 0.17, "width": 0.07, "depth": 0.065}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Unidentified art dealer, Nice, FR, 1961, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": null, "date": "?-1961", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1961-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This is the only figure in a group of seven found in a French antique shop adopting a threatening pose.", "description": "This figure is of the <em>nduda</em> type, characterized by the attached \"guns\" loaded with gunpowder and used to shoot witches. It is the only figure that adopts the threatening pose: the right hand raised, holding a spear or knife, and the left hand resting on the hip. Two guns protrude horizontally on both sides of the cylindrical medicine pack on the belly, covered with a round piece of mirror.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075077"], "internet_archive": ["https://archive.org/details/clevelandart-2010.438-figurine"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 54-58.", "page_number": "Mentioned: pp. 54, 56, 113: reproduced: pp. 58-60, cat. 16", "url": null}], "url": "https://clevelandart.org/art/2010.438", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.438/2010.438_web.jpg", "width": "715", "height": "893", "filesize": "321555", "filename": "2010.438_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.438/2010.438_print.jpg", "width": "2722", "height": "3400", "filesize": "5659114", "filename": "2010.438_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.438/2010.438_full.tif", "width": "3148", "height": "3931", "filesize": "37171340", "filename": "2010.438_full.tif"}}, "alternate_images": [{"date_created": "2011-06-03T14:54:39", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt0_web.jpg", "width": "1263", "height": "847", "filesize": "564592"}, "print": {"url": 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"width": "2608", "height": "3400", "filesize": "5508204"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt7_full.tif", "width": "3076", "height": "4009", "filesize": "37049128"}}, {"date_created": "2011-05-20T13:43:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt8_web.jpg", "width": "1158", "height": "893", "filesize": "759395"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt8_print.jpg", "width": "3400", "height": "2621", "filesize": "5098611"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt8_full.tif", "width": "1489", "height": "1148", "filesize": "5161040"}}, {"date_created": "2011-05-20T13:46:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt9_web.jpg", "width": "1244", "height": "893", "filesize": "765696"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt9_print.jpg", "width": "3400", "height": "2440", "filesize": "4562980"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.438/2010.438_alt9_full.tif", "width": "1477", "height": "1060", "filesize": "4728720"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168732, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:20.860000"}, {"id": 168741, "accession_number": "2010.446", "share_license_status": "CC0", "tombstone": "Female Figurine or Finial, late 1800s-early 1900s. Central Africa, Democratic Republic of the Congo (most likely), Cabinda, or Republic of the Congo, Kongo people. Ivory and iron; overall: 11 x 4 x 4 cm (4 5/16 x 1 9/16 x 1 9/16 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.446", "current_location": null, "title": "Female Figurine or Finial", "creation_date": "late 1800s-early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Central Africa, Democratic Republic of the Congo (most likely), Cabinda, or Republic of the Congo, Kongo people"], "technique": "Ivory and iron", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 11 x 4 x 4 cm (4 5/16 x 1 9/16 x 1 9/16 in.)", "dimensions": {"overall": {"height": 0.11, "width": 0.04, "depth": 0.04}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Ren\u00e9 De Wolf, Brussels, BE, before 1972, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": [], "date": "?-1972", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "1972-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": [], "date": "2010", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The oversized hands with elongated fingers are positioned in an anatomically incorrect manner with the thumbs toward the face.", "description": "This ivory figurine most likely served as the finial of a wooden staff or scepter, and owned and used by a high-ranking official or a ritual specialist. The combination of its features is quite unusual. The kneeling attitude is rather common and typically denotes respect. However, the position of the hands is anatomically incorrect with the thumbs toward the face. The idea of the striking hand gesture may refer to mourning.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075103"], "internet_archive": ["https://archive.org/details/clevelandart-2010.446-female-figurine-or-f"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 25.", "page_number": "Menitoned: pp. 25, 113; reproduced: p. 61, cat. 21", "url": null}], "url": "https://clevelandart.org/art/2010.446", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.446/2010.446_web.jpg", "width": "694", "height": "893", "filesize": "290215", "filename": "2010.446_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.446/2010.446_print.jpg", "width": "2641", "height": "3400", "filesize": "5339180", "filename": "2010.446_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.446/2010.446_full.tif", "width": "3076", "height": "3959", "filesize": "36563832", "filename": "2010.446_full.tif"}}, "alternate_images": [{"date_created": "2011-05-17T12:41:47", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt0_web.jpg", "width": "746", "height": "893", "filesize": "319942"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt0_print.jpg", "width": "2841", "height": "3400", "filesize": "5744182"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt0_full.tif", "width": "3076", "height": "3680", "filesize": "33992236"}}, {"date_created": "2011-05-17T14:02:01", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt1_web.jpg", "width": "729", "height": "893", "filesize": "314473"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt1_print.jpg", "width": "2777", "height": "3400", "filesize": "5628327"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt1_full.tif", "width": "3076", "height": "3766", "filesize": "34783516"}}, {"date_created": "2011-05-17T14:48:06", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt2_web.jpg", "width": "757", "height": "893", "filesize": "332835"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt2_print.jpg", "width": "2881", "height": "3400", "filesize": "5871745"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt2_full.tif", "width": "3076", "height": "3630", "filesize": "33530472"}}, {"date_created": "2011-05-17T15:07:18", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt3_web.jpg", "width": "708", "height": "893", "filesize": "304298"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt3_print.jpg", "width": "2695", "height": "3400", "filesize": "5553536"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt3_full.tif", "width": "3077", "height": "3881", "filesize": "35858572"}}, {"date_created": "2011-05-17T15:19:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt4_web.jpg", "width": "723", "height": "893", "filesize": "309762"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt4_print.jpg", "width": "2754", "height": "3400", "filesize": "5602904"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt4_full.tif", "width": "3041", "height": "3754", "filesize": "34283024"}}, {"date_created": "2011-05-17T15:35:52", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt5_web.jpg", "width": "790", "height": "893", "filesize": "378697"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt5_print.jpg", "width": "3008", "height": "3400", "filesize": "6325464"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.446/2010.446_alt5_full.tif", "width": "3189", "height": "3604", "filesize": "34511436"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168741, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s-early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Female Figurine (Staff Finial)"], "is_highlight": false, "updated_at": "2026-03-27 00:09:17.664000"}, {"id": 168743, "accession_number": "2010.448", "share_license_status": "CC0", "tombstone": "Oliphant (Side-Blown Trumpet), late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of the Congo, probably Yombe-style maker. Ivory; overall: 32 x 4 x 6 cm (12 5/8 x 1 9/16 x 2 3/8 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.448", "current_location": null, "title": "Oliphant (Side-Blown Trumpet)", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo (most likely), Cabinda, or Republic of the Congo, probably Yombe-style maker"], "technique": "Ivory", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Musical Instrument", "measurements": "Overall: 32 x 4 x 6 cm (12 5/8 x 1 9/16 x 2 3/8 in.)", "dimensions": {"overall": {"height": 0.32, "width": 0.04, "depth": 0.06}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Ren\u00e9 De Wolf, Brussels, Belgium, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": null, "date": "?-1972", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, Belgium, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1972-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2010\u2013", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Kongo Kingdom rulers sent ornately carved large side-blown trumpets to Europe as diplomatic gifts during the sixteenth century.", "description": "Side-blown trumpets were used on various occasions, and ivory examples seem to have been reserved for more solemn circumstances, such as funerals. As the mouthpiece is located on the inner curve, the person who played this instrument held it horizontally. A seated male Yombe ruler wearing a shell necklace and a European-style cloak and hat is carved on top. His blended dress shows how Yombe people (a Kongo sub-group) selectively adopted elements of foreign dress to wear with their own fashions.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075108"], "internet_archive": ["https://archive.org/details/clevelandart-2010.448-oliphant-side-blown"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 40-41, 45, 112.", "page_number": "Reproduced: p, 40-41, 45; mentioned: p. 112, cat. 7", "url": null}], "url": "https://clevelandart.org/art/2010.448", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.448/2010.448_web.jpg", "width": "565", "height": "893", "filesize": "196019", "filename": "2010.448_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.448/2010.448_print.jpg", "width": "2152", "height": "3400", "filesize": "3974035", "filename": "2010.448_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.448/2010.448_full.tif", "width": "3076", "height": "4859", "filesize": "44883232", "filename": "2010.448_full.tif"}}, "alternate_images": [{"date_created": "2011-05-26T19:03:10", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt0_web.jpg", "width": "578", "height": "893", "filesize": "199726"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt0_print.jpg", "width": "2200", "height": "3400", "filesize": "4071070"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt0_full.tif", "width": "3206", "height": "4954", "filesize": "47687828"}}, {"date_created": "2011-05-26T17:29:08", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt1_web.jpg", "width": "533", "height": "893", "filesize": "189151"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt1_print.jpg", "width": "2030", "height": "3400", "filesize": "4097363"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt1_full.tif", "width": "3077", "height": "5152", "filesize": "47602436"}}, {"date_created": "2011-05-26T19:05:15", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt2_web.jpg", "width": "574", "height": "893", "filesize": "198530"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt2_print.jpg", "width": "2185", "height": "3400", "filesize": "4017239"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt2_full.tif", "width": "3269", "height": "5085", "filesize": "49901624"}}, {"date_created": "2011-05-26T19:07:36", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt3_web.jpg", "width": "565", "height": "893", "filesize": "196862"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt3_print.jpg", "width": "2153", "height": "3400", "filesize": "4005297"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt3_full.tif", "width": "3166", "height": "4999", "filesize": "47513576"}}, {"date_created": "2011-05-26T19:26:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt4_web.jpg", "width": "551", "height": "893", "filesize": "184495"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt4_print.jpg", "width": "2097", "height": "3400", "filesize": "3880333"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.448/2010.448_alt4_full.tif", "width": "3076", "height": "4985", "filesize": "46037848"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168743, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:04:44.626000"}, {"id": 168753, "accession_number": "2010.455", "share_license_status": "CC0", "tombstone": "Divination Implement, late 1800s\u2013early 1900s. Africa, Central Africa, Democratic Republic of Congo, Luba-style maker. Wood, glass beads, and natural fiber; overall: 11.4 x 3.4 x 4.8 cm (4 1/2 x 1 5/16 x 1 7/8 in.). The Cleveland Museum of Art, Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund, 2010.455", "current_location": null, "title": "Divination Implement", "creation_date": "late 1800s\u2013early 1900s", "creation_date_earliest": 1880, "creation_date_latest": 1920, "artists_tags": [], "culture": ["Africa, Central Africa, Democratic Republic of Congo, Luba-style maker"], "technique": "Wood, glass beads, and natural fiber", "support_materials": [], "department": "African Art", "collection": "African Art", "type": "Sculpture", "measurements": "Overall: 11.4 x 3.4 x 4.8 cm (4 1/2 x 1 5/16 x 1 7/8 in.)", "dimensions": {"overall": {"height": 0.114, "width": 0.034, "depth": 0.048}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 202001, "title": "Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture", "description": "<i>Fragments of the Invisible: The Ren\u00e9 and Odette Delenne Collection of Congo Sculpture</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 27, 2013-February 9, 2014).", "opening_date": "2013-10-27T00:00:00"}], "legacy": []}, "provenance": [{"description": "(Jean Dierickx, Brussels, BE, 1959, sold to Ren\u00e9 and Odette Delenne)", "citations": [], "footnotes": null, "date": "?-1959", "sortorder": 1}, {"description": "Ren\u00e9 [1901-1998] and Odette Delenne [1925-2012], Brussels, BE, 2010, sold to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "1959-2010", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH, 2010", "citations": [], "footnotes": null, "date": "2010", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This divination implement is a <em>kakishi</em> (embodiment of an ancestor) device that connects the diviner and the client to the spirit they wish to contact.", "description": "This device helped contact an ancestral spirit who clarified misfortunes. The diviner awakened the ancestor by anointing the rectangular frame of the figurine with pungent basil leaves. Sitting on a textured woven mat, the diviner held one side of the instrument while the client held the other. The diviner then posed questions to the ancestor who responded through certain movement signaling affirmation.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80075133"], "internet_archive": ["https://archive.org/details/clevelandart-2010.455-divination-implement"]}, "citations": [{"citation": "Petridis, Constantine, et al. <em>Fragments of the Invisible: The Rene\u0301 and Odette Delenne Collection of Congo Sculpture.</em> Cleveland, OH: Cleveland Museum of Art. Milan: 5 Continents Editions, 2013, 25, 80, 84.", "page_number": "Mentioned: pp. 25.80, 114; reproduced: 84, cat. 27", "url": null}], "url": "https://clevelandart.org/art/2010.455", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2010.455/2010.455_web.jpg", "width": "761", "height": "893", "filesize": "316840", "filename": "2010.455_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2010.455/2010.455_print.jpg", "width": "2898", "height": "3400", "filesize": "5854380", "filename": "2010.455_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2010.455/2010.455_full.tif", "width": "3076", "height": "3608", "filesize": "33326464", "filename": "2010.455_full.tif"}}, "alternate_images": [{"date_created": "2011-05-18T13:02:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt0_web.jpg", "width": "787", "height": "893", "filesize": "341714"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt0_print.jpg", "width": "2997", "height": "3400", "filesize": "6062634"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt0_full.tif", "width": "3014", "height": "3419", "filesize": "30947696"}}, {"date_created": "2011-05-18T13:48:22", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt1_web.jpg", "width": "682", "height": "893", "filesize": "281724"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt1_print.jpg", "width": "2598", "height": "3400", "filesize": "5217475"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt1_full.tif", "width": "2829", "height": "3701", "filesize": "31441720"}}, {"date_created": "2011-05-18T13:25:13", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt2_web.jpg", "width": "719", "height": "893", "filesize": "313539"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt2_print.jpg", "width": "2736", "height": "3400", "filesize": "5616159"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt2_full.tif", "width": "2911", "height": "3617", "filesize": "31620844"}}, {"date_created": "2011-05-18T12:28:41", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt3_web.jpg", "width": "704", "height": "893", "filesize": "282119"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt3_print.jpg", "width": "2679", "height": "3400", "filesize": "5346584"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt3_full.tif", "width": "2899", "height": "3679", "filesize": "32035896"}}, {"date_created": "2011-05-18T14:09:44", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt4_web.jpg", "width": "735", "height": "893", "filesize": "307341"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt4_print.jpg", "width": "2798", "height": "3400", "filesize": "5585034"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2010.455/2010.455_alt4_full.tif", "width": "2820", "height": "3426", "filesize": "29015556"}}], "creditline": "Ren\u00e9 and Odette Delenne Collection, Leonard C. Hanna Jr. Fund", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 168753, "creators": [], "legal_status": "accessioned", "accession_date": "2006-06-05T00:00:00", "sortable_date": 1880, "date_added_to_oa": null, "date_text": "late 1800s\u2013early 1900s", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:10:09.855000"}, {"id": 169946, "accession_number": "2012.184", "share_license_status": "CC0", "tombstone": "Egypt & Nubia, Volume III, No. 8: Mosque of Sultan Hassan, Cairo, 1842\u201349. Louis Haghe (British, 1806\u20131885), after David Roberts (Scottish, 1796\u20131864). Color lithograph; image: 33.4 x 51 cm (13 1/8 x 20 1/16 in.); sheet: 43 x 60.3 cm (16 15/16 x 23 3/4 in.). The Cleveland Museum of Art, Bequest of John Bonebrake, 2012.184", "current_location": null, "title": "Egypt & Nubia, Volume III, No. 8: Mosque of Sultan Hassan, Cairo", "creation_date": "1842\u201349", "creation_date_earliest": 1842, "creation_date_latest": 1849, "artists_tags": ["male"], "culture": ["England"], "technique": "color lithograph", "support_materials": [{"description": "wove paper", "watermarks": []}], "department": "Prints", "collection": "PR - Lithograph", "type": "Print", "measurements": "Image: 33.4 x 51 cm (13 1/8 x 20 1/16 in.); Sheet: 43 x 60.3 cm (16 15/16 x 23 3/4 in.)", "dimensions": {"sheet": {"height": 0.43, "width": 0.603}, "image": {"height": 0.334, "width": 0.51}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 396857, "title": "Art of the Islamic World (Islamic art rotation)", "description": "<i>Art of the Islamic World (Islamic art rotation)</i>. The Cleveland Museum of Art (organizer) (May 21, 2021-May 31, 2022).", "opening_date": "2021-05-21T04:00:00"}], "legacy": []}, "provenance": [{"description": "(Otto Schreiber, to John Bonebrake)", "citations": [], "footnotes": [], "date": null, "sortorder": 1}, {"description": "John Bonebrake [1918-2011], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?-2012", "sortorder": 2}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2012-", "sortorder": 3}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The <em>minbar</em>, a staircase-like pulpit from which a sermon is delivered by the prayer leader, <em>imam</em>, after Friday services, is visible in the hall on the left side of the print.", "description": "The mosque and <em>madrasa</em>, school, of Sultan Hassan was built between 1356 and 1363 during the Mamluk period (1250\u20131517) in Egypt. The prestige of the project attracted craftspeople from across the Islamic world, which likely contributed to its innovative design. It is possible that stone from the Great Pyramid of Giza was used in its construction. This print features the central courtyard (<em>sahn</em>) with ablutions fountain (for washing one\u2019s hands, feet, and face before prayer) and two of four monumental <em>iwans</em>, three-walled, vaulted rectangular halls. The interior walls and floor are covered in lavish stone and marble mosaics.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80077879"], "internet_archive": ["https://archive.org/details/clevelandart-2012.184-egypt-nubia-volume-i"]}, "citations": [{"citation": "Abbey, J. R. <em>Travel in Aquatint and Lithography, 1770-1860, From the Library of J.R. Abbey; a Bibliographical Catalogue</em>. Folkestone: Dawsons of Pall Mall, 1972.", "page_number": "Vol. I, p. 244, no. 272", "url": null}], "catalogue_raisonne": "Abbey 272:94", "url": "https://clevelandart.org/art/2012.184", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2012.184/2012.184_web.jpg", "width": "1263", "height": "892", "filesize": "213188", "filename": "2012.184_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2012.184/2012.184_print.jpg", "width": "3400", "height": "2400", "filesize": "2265150", "filename": "2012.184_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2012.184/2012.184_full.tif", "width": "6623", "height": "4677", "filesize": "92949160", "filename": "2012.184_full.tif"}}, "alternate_images": [], "creditline": "Bequest of John Bonebrake", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 169946, "creators": [{"id": 27203, "description": "Louis Haghe (British, 1806\u20131885)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1806", "death_year": "1885", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 1474, "description": "David Roberts (Scottish, 1796\u20131864)", "extent": null, "qualifier": "after", "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1796", "death_year": "1864", "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 67934, "description": "F. G. Moon, 20 Threadneedle Street, London", "extent": "published by", "qualifier": null, "role": "publisher", "biography": "Sir Francis Graham Moon, 1st baronet (1796\u20131871) was a stationer, printer, bookseller, and publisher in London to 1853, after which he devoted himself to public life. He became Lord Mayor in 1854, the same year he was knighted.", "name_in_original_language": null, "use_in_caption": false, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2012-12-03T00:00:00", "sortable_date": 1842, "date_added_to_oa": null, "date_text": "1842\u201349", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": ["Egypt and Nubia, Volume III, Mosque of the Sultan Hassan, Cairo"], "is_highlight": false, "updated_at": "2026-03-27 00:06:50.446000"}, {"id": 170719, "accession_number": "2013.241", "share_license_status": "CC0", "tombstone": "Head of a Bearded Man Gazing to His Left, 1859. William Mulready (British, 1786\u20131863). Pen and brown ink; sheet: 22.6 x 18.4 cm (8 7/8 x 7 1/4 in.); secondary support: 28.1 x 24 cm (11 1/16 x 9 7/16 in.). The Cleveland Museum of Art, Gift in memory of Helen Borowitz, 2013.241", "current_location": null, "title": "Head of a Bearded Man Gazing to His Left", "creation_date": "1859", "creation_date_earliest": 1859, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["England, 19th century"], "technique": "pen and brown ink", "support_materials": [{"description": "wove paper lined with antique laid paper", "watermarks": []}], "department": "Drawings", "collection": "DR - British", "type": "Drawing", "measurements": "Sheet: 22.6 x 18.4 cm (8 7/8 x 7 1/4 in.); Secondary Support: 28.1 x 24 cm (11 1/16 x 9 7/16 in.)", "dimensions": {"sheet": {"height": 0.226, "width": 0.184}, "secondary support": {"height": 0.281, "width": 0.24}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "inscribed, in brown ink, at lower left: R Academy / 24 June 1859 / W.M.; inscribed, in graphite, at lower left corner: 156", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 200485, "title": "British Drawings from the Cleveland Museum of Art ", "description": "<i>British Drawings from the Cleveland Museum of Art </i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 10-May 26, 2013).", "opening_date": "2013-02-10T00:00:00"}], "legacy": []}, "provenance": [{"description": "William Drummond, London", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "(Shepherd Gallery, New York)", "citations": [], "footnotes": null, "date": "1984", "sortorder": 2}, {"description": "Helen and Albert Borowitz, Cleveland, OH, given to the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "?-2013", "sortorder": 3}, {"description": "Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2013-", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This instantly recognizable model was the subject of at least one other drawing, titled <em>Head of an Old Man</em>, in the collection of Tate Britain today.", "description": "For William Mulready, drawing was a lifelong preoccupation. This sheet was drawn from a model in the Royal Academy\u2019s life school when the artist was 73. He was one of the Academy\u2019s most devoted teachers, positioning the model for his students and then drawing alongside them. Closely observed and meticulously crafted, the work attests to Mulready\u2019s consummate skill as a draftsman, and the weather-beaten face of the male model is as arresting today as it was in Victorian London.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q80079807"], "internet_archive": ["https://archive.org/details/clevelandart-2013.241-head-of-a-bearded-ma"]}, "citations": [{"citation": "Lemonedes, Heather. <em>British Drawings: The Cleveland Museum of Art. </em>Exh. Cat. Cleveland, OH: Cleveland Museum of Art, 2013.", "page_number": "Mentioned: pp. 108-111, 147, no. 36b; Reproduced: p. 111", "url": null}], "url": "https://clevelandart.org/art/2013.241", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2013.241/2013.241_web.jpg", "width": "741", "height": "900", "filesize": "170243", "filename": "2013.241_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2013.241/2013.241_print.jpg", "width": "2798", "height": "3400", "filesize": "2290673", "filename": "2013.241_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2013.241/2013.241_full.tif", "width": "4742", "height": "5763", "filesize": "82010032", "filename": "2013.241_full.tif"}}, "alternate_images": [], "creditline": "Gift in memory of Helen Borowitz", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 170719, "creators": [{"id": 1268, "description": "William Mulready (British, 1786\u20131863)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1786", "death_year": "1863", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2013-12-02T00:00:00", "sortable_date": 1859, "date_added_to_oa": null, "date_text": "1859", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:06:15.725000"}, {"id": 173021, "accession_number": "2018.283", "share_license_status": "CC0", "tombstone": "Woodbine Table Lamp, c. 1900. Probably by Clara Wolcott Driscoll (American, 1861\u20131944), Tiffany Glass & Decorating Company (America, New York, 1892\u20131902), Tiffany Studios (United States, New York, 1902\u201332). Leaded glass, bronze; height: 55.5 cm (21 7/8 in.); shade diameter: 40.5 cm (15 15/16 in.). The Cleveland Museum of Art, Bequest of Charles Maurer, 2018.283", "current_location": null, "title": "Woodbine Table Lamp", "creation_date": "c. 1900", "creation_date_earliest": 1895, "creation_date_latest": 1902, "artists_tags": ["female", "Cleveland Institute of Art (alumni)", "gender unknown"], "culture": ["America, New York"], "technique": "Leaded glass, bronze", "support_materials": [], "department": "Decorative Art and Design", "collection": "Decorative Arts", "type": "Lamp", "measurements": "height: 55.5 cm (21 7/8 in.); Shade diameter: 40.5 cm (15 15/16 in.)", "dimensions": {"height": {"height": 0.555}, "shade diameter": {"width": 0.405}, "diameter of base": {"height": 0.27}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Base impressed: TIFFANY STUDIOS/NEW YORK/D805/TGDCo", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [{"id": 358650, "title": "Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany", "description": "<i>Tiffany in Bloom: Stained Glass Lamps of Louis Comfort Tiffany</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (October 20, 2019-October 4, 2020).", "opening_date": "2019-10-20T04:00:00"}], "legacy": []}, "provenance": [{"description": "Charles Maurer [1929-2016], Cleveland, OH, bequest to the Cleveland Museum of Art", "citations": [], "footnotes": [], "date": "?\u20132018", "sortorder": 1}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": [], "date": "2018\u2013", "sortorder": 2}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "This shade features confetti glass, a technique in which colored shards are dropped into the molten mixture to resemble trapped pieces of paper or confetti.", "description": "Louis Comfort Tiffany was among those who championed lush, sometimes wild-looking displays of varied species in the garden at his Long Island estate, Laurelton Hall. He encouraged his designers to take inspiration from his garden by shipping fresh cuttings almost weekly to his studios. Ohio native Clara Wolcott Driscoll and her team of female designers created floral and leafy patterns for lamps and mosaics that became among the most sought after and commercially successful of Tiffany\u2019s production.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79874465"], "internet_archive": ["https://archive.org/details/clevelandart-2018.283-woodbine-table-lamp"]}, "citations": [{"citation": "Bifano, Wayne Thomas, and Timothy Lachina. <em>The Wade Chapel: A Story of Art, Spirit, and Family. </em>Cleveland, Ohio: Lake View Cemetery Association, 2019.", "page_number": "Reproduced: P. 95", "url": null}], "url": "https://clevelandart.org/art/2018.283", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2018.283/2018.283_web.jpg", "width": "724", "height": "893", "filesize": "329579", "filename": "2018.283_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2018.283/2018.283_print.jpg", "width": "2755", "height": "3400", "filesize": "4865770", "filename": "2018.283_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2018.283/2018.283_full.tif", "width": "4021", "height": "4963", "filesize": "59924024", "filename": "2018.283_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Charles Maurer", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 173021, "creators": [{"id": 356976, "description": "Clara Wolcott Driscoll (American, 1861\u20131944)", "extent": null, "qualifier": "probably by", "role": "designer", "biography": "Cleveland Institute of Art alumni.", "name_in_original_language": null, "birth_year": "1861", "death_year": "1944", "use_in_caption": true, "include_extent": false, "weight": 1}, {"id": 55726, "description": "Tiffany Glass & Decorating Company (America, New York, 1892\u20131902)", "extent": null, "qualifier": null, "role": "maker", "biography": null, "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 2}, {"id": 292194, "description": "Tiffany Studios (United States, New York, 1902\u201332)", "extent": null, "qualifier": null, "role": "retailer", "biography": "American jewelry and glass manufactory, 1902-1932", "name_in_original_language": null, "use_in_caption": true, "include_extent": false, "weight": 3}], "legal_status": "accessioned", "accession_date": "2018-12-03T00:00:00-05:00", "sortable_date": 1895, "date_added_to_oa": null, "date_text": "c. 1900", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "object", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": null, "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-31 19:03:18.574000"}, {"id": 74637, "accession_number": "2019.62", "share_license_status": "CC0", "tombstone": "Portrait of Alfred de Musset (1810-1857), c. 1850s. Alexandre Bida (French, 1823\u20131895). Black chalk and graphite with stumping, watercolor, gouache, and fabricated colored chalk on medium weight wove paper; overall: 43.6 x 30.7 cm (17 3/16 x 12 1/16 in.). The Cleveland Museum of Art, Bequest of Muriel Butkin, 2019.62", "current_location": null, "title": "Portrait of Alfred de Musset (1810-1857)", "creation_date": "c. 1850s", "creation_date_earliest": 1850, "creation_date_latest": 1859, "artists_tags": ["male"], "culture": ["France, 19th century"], "technique": "black chalk and graphite with stumping, watercolor, gouache, and fabricated colored chalk on medium weight wove paper", "support_materials": [], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Overall: 43.6 x 30.7 cm (17 3/16 x 12 1/16 in.)", "dimensions": {"overall": {"height": 0.436, "width": 0.307}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Watermark: Wise / 1820, vertical at lower right", "inscription_translation": null, "inscription_remark": null, "sortorder": null}, {"inscription": "Signed, at lower right, in black chalk: \u201cA Bida\u201d", "inscription_translation": null, "inscription_remark": null, "sortorder": null}], "exhibitions": {"current": [], "legacy": [{"description": "Shepherd Gallery.  \"French Nineteenth-Century Drawings-Pastels-Watercolors:  November 1977-February 1978.\"  New York:  Shepherd Gallery, 1977:  catalogue # 7, illustrated.", "opening_date": "1977-11-01T00:00:00"}]}, "provenance": [{"description": "Shepherd Gallery, New York, NY", "citations": [], "footnotes": null, "date": null, "sortorder": 1}, {"description": "Mr. Noah L. Butkin [1918-1980]", "citations": [], "footnotes": null, "date": "1977-1980", "sortorder": 2}, {"description": "Mrs. Muriel Butkin [1915-2008]", "citations": [], "footnotes": null, "date": "1980-2008", "sortorder": 3}, {"description": "the Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "March 4, 2019", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "Alexandre Bida was an accomplished illustrator and produced images to accompany an 1865 edition of the works of Alfred de Musset, this portrait\u2019s sitter.", "description": "This portrait is one of only a few that Alexandre Bida\u2014known primarily for his depictions of North Africa\u2014created during his career. It depicts the celebrated French poet and novelist Alfred de Musset (1810\u20131857). Bida was commissioned to create illustrations for an 1865 publication of Musset\u2019s collected writings, and the drawing was likely completed in commemoration of that project.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q79875821"], "internet_archive": ["https://archive.org/details/clevelandart-2019.62-portrait-of-alfred-d"]}, "citations": [{"citation": "Rohowsky, Peter S. French Nineteenth Century Drawings, Pastels, Watercolors: Nov. 1977-Feb. 1978. New York: Shepherd Gallery Associates, 1977.", "page_number": "p. 10, ill no. 7", "url": null}], "url": "https://clevelandart.org/art/2019.62", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2019.62/2019.62_web.jpg", "width": "634", "height": "900", "filesize": "254797", "filename": "2019.62_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2019.62/2019.62_print.jpg", "width": "2395", "height": "3400", "filesize": "3449706", "filename": "2019.62_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2019.62/2019.62_full.tif", "width": "9410", "height": "13358", "filesize": "377123432", "filename": "2019.62_full.tif"}}, "alternate_images": [], "creditline": "Bequest of Muriel Butkin", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 74637, "creators": [{"id": 13275, "description": "Alexandre Bida (French, 1823\u20131895)", "extent": null, "qualifier": null, "role": "artist", "biography": null, "name_in_original_language": null, "birth_year": "1823", "death_year": "1895", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2019-03-04T00:00:00-05:00", "sortable_date": 1850, "date_added_to_oa": null, "date_text": "c. 1850s", "collapse_artists": false, "on_loan": false, "recently_acquired": 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": "2026-03-27 00:00:44.619000"}, {"id": 380083, "accession_number": "2020.165", "share_license_status": "CC0", "tombstone": "Pomona Britannica: No. 74 - Figs, 1807, published 1812. Richard Brookshaw (British, 1736\u20131810). Aquatint and stipple engraving printed in color and hand colored on thick wove paper; platemark: 45.1 x 34.7 cm (17 3/4 x 13 11/16 in.); sheet: 59.2 x 47 cm (23 5/16 x 18 1/2 in.). The Cleveland Museum of Art, Nancy F. and Joseph P. Keithley Collection Gift, 2020.165", "current_location": null, "title": "Pomona Britannica: No. 74 - Figs", "creation_date": "1807, published 1812", "creation_date_earliest": 1807, "creation_date_latest": 1807, "artists_tags": ["male"], "culture": ["England"], "technique": "aquatint and stipple engraving printed in color and hand colored on thick wove paper", "support_materials": [], "department": "Prints", "collection": "PR - Aquatint", "type": "Print", "measurements": "Platemark: 45.1 x 34.7 cm (17 3/4 x 13 11/16 in.); Sheet: 59.2 x 47 cm (23 5/16 x 18 1/2 in.)", "dimensions": {"platemark": {"height": 0.451, "width": 0.347}, "sheet": {"height": 0.592, "width": 0.47}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 396695, "title": "Impressionism to Modernism: The Keithley Collection", "description": "<i>Impressionism to Modernism: The Keithley Collection</i>. 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Many of Brookshaw\u2019s models came from the Royal Gardens at Hampton Court and Kensington Gardens. Each print featured one fruit, often life-size, including detailed depictions of its flower and leaves. Printed in color with hand-painted highlights, this and other illustrated botanicals formed an essential part of the cultured English library in the early 19th century.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q87481578"], "internet_archive": ["https://archive.org/details/clevelandart-2020.165-pomona-britannica-no"]}, "citations": [{"citation": "Rager, Andrea Wolk. \"George Brookshaw.\" In <em>The Keithley Collection at the Cleveland Museum of Art, </em>edited by Heather Lemonedes Brown, 50-55. 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"on_loan": false, "recently_acquired": 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": "2026-03-27 00:08:02.170000"}, {"id": 519467, "accession_number": "2022.158.a", "share_license_status": "CC0", "tombstone": "Sake Pourer with Chrysanthemum, Orchid, and Plum, c. 1887. Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with underglaze blue; height with handle: 23 cm (9 1/16 in.); width with spout: 24 cm (9 7/16 in.); diameter: 18.5 cm (7 5/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.158.a", "current_location": null, "title": "Sake Pourer with Chrysanthemum, Orchid, and Plum", "creation_date": "c. 1887", "creation_date_earliest": 1887, "creation_date_latest": 1887, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan"], "technique": "Porcelain with underglaze blue", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height with handle: 23 cm (9 1/16 in.); width with spout: 24 cm (9 7/16 in.); Diameter: 18.5 cm (7 5/16 in.)", "dimensions": {"height with handle": {"height": 0.23}, "width with spout": {"width": 0.24}, "diameter": {"length": 0.185}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "Artist's signature in underglaze blue on the base.", "inscription_translation": null, "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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It has a painting in underglaze blue of the Four Nobles: chrysanthemum, orchid, plum, and bamboo. Unlike the creamy white color of some Yohei III works, the white of this sake pourer has the bluish cast typical of porcelains produced in Kyoto. It is signed in underglaze blue on the base.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2022.158.a-sake-pourer-with-orc", "https://archive.org/details/clevelandart-2022.158.a-sake-pourer-with-chr"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with underglaze and overglaze colors; diameter: 9 cm (3 9/16 in.); width with handle: 10.5 cm (4 1/8 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.168.a", "current_location": null, "title": "Teapot with Begonias", "creation_date": "1897\u20131914", "creation_date_earliest": 1897, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with underglaze and overglaze colors", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "Diameter: 9 cm (3 9/16 in.); width with handle: 10.5 cm (4 1/8 in.)", "dimensions": {"diameter": {"width": 0.09}, "width with handle": {"width": 0.105}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\"Seifu\u201d is incised in relatively large characters onto the side that would face the host if the teapot were held by the handle with the right hand.", "inscription_remark": null, "sortorder": 1}], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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A band of underglaze blue gives further definition to the lid\u2019s handle, and the area just above the base has a double band of blue above a row of snail-shell curls. <br><br>Unlike many other teapots, which have marks on their bases, this one has \u201cSeifu\u201d incised into one of its sides in relatively large characters. It is the side that would face the host if the teapot were held by the handle with the right hand, which would be the expectation.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2022.168.a-teapot-with-begonias"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Teapot with set of five teacups; porcelain with underglaze blue; height with lid: 6.7 cm (2 5/8 in.); width with handle: 10.7 cm (4 3/16 in.); (each) drinking cup: 5 x 7.7 cm (1 15/16 x 3 1/16 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.170", "current_location": null, "title": "Tea Set with Orchids", "creation_date": "c. 1893\u20131914", "creation_date_earliest": 1893, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Teapot with set of five teacups; porcelain with underglaze blue", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height with lid: 6.7 cm (2 5/8 in.); width with handle: 10.7 cm (4 3/16 in.); (each) drinking cup: 5 x 7.7 cm (1 15/16 x 3 1/16 in.)", "dimensions": {"height with lid": {"height": 0.067}, "width with spout": {"width": 0.1}, "width with handle": {"width": 0.107}, "diameter": {"width": 0.085}, "height": {"height": 0.05}, "lid": {"height": 0.018, "width": 0.052}, "(each) drinking cup": {"height": 0.05, "width": 0.077}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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The teapot has the same design and a blue band painted around the bottom of the lid\u2019s knob. <br><br>The cups\u2019 long wood storage box is stamped on the exterior, over the lid and base, with a small red seal reading \u201cSat\u014d.\u201d The same seal appears on five small squares of yellow textile, one placed in the bottom of each compartment in the teacup storage box. These are additional to the customary yellow cloths stamped with a \u201cSeifu\u201d seal. Interestingly, four of the Seif\u016b cloths are stamped with an ovoid seal, while the remaining cloth, which is a slightly lighter color, has an unusual seal that is not quite gourd-shaped and with the <em>f\u016b</em> of Seif\u016b in a stylized, unrecognizable form. The teapot has its own box with a Sat\u014d seal and is wrapped with an orange textile stamped with the same unusual Seif\u016b seal. <br><br>A set with a very similar surface design is in the Brooklyn Museum. The Brooklyn set has a water cooler and a small pitcher, in addition to the teapot and cups, and all are in a single storage box. This box records the tea tools as made with <em>kanpakuji</em>, or \u201cbright-jewel white porcelain,\u201d counted among Yohei III\u2019s most important inventions, and carved images. In fact, both sets have a white surface much closer in coloration to the cool white of porcelain clay used in Kyoto at the time, and the designs are simply painted. The Brooklyn set was thus likely mismatched at some point with a box intended for another tea set. Nonetheless, the box may have helped prevent the set\u2019s original components from being dispersed, and the set itself provides insight into how the other tools from the present set may have looked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117706837"], "internet_archive": ["https://archive.org/details/clevelandart-2022.170-tea-set-with-orchids"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with underglaze blue. The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.170.1.b", "current_location": null, "title": "Lid for a Teapot from Tea Set with Orchids", "creation_date": "c. 1893\u20131914", "creation_date_earliest": 1893, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with underglaze blue", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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The teapot has the same design and a blue band painted around the bottom of the lid\u2019s knob. <br><br>The cups\u2019 long wood storage box is stamped on the exterior, over the lid and base, with a small red seal reading \u201cSat\u014d.\u201d The same seal appears on five small squares of yellow textile, one placed in the bottom of each compartment in the teacup storage box. These are additional to the customary yellow cloths stamped with a \u201cSeifu\u201d seal. Interestingly, four of the Seif\u016b cloths are stamped with an ovoid seal, while the remaining cloth, which is a slightly lighter color, has an unusual seal that is not quite gourd-shaped and with the <em>f\u016b</em> of Seif\u016b in a stylized, unrecognizable form. The teapot has its own box with a Sat\u014d seal and is wrapped with an orange textile stamped with the same unusual Seif\u016b seal. <br><br>A set with a very similar surface design is in the Brooklyn Museum. The Brooklyn set has a water cooler and a small pitcher, in addition to the teapot and cups, and all are in a single storage box. This box records the tea tools as made with <em>kanpakuji</em>, or \u201cbright-jewel white porcelain,\u201d counted among Yohei III\u2019s most important inventions, and carved images. In fact, both sets have a white surface much closer in coloration to the cool white of porcelain clay used in Kyoto at the time, and the designs are simply painted. The Brooklyn set was thus likely mismatched at some point with a box intended for another tea set. Nonetheless, the box may have helped prevent the set\u2019s original components from being dispersed, and the set itself provides insight into how the other tools from the present set may have looked.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117706869"], "internet_archive": ["https://archive.org/details/clevelandart-2022.170.1.b-lid-for-a-teapot-fro"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: cat. no. 26, pp. 98\u201399", "url": ""}], "url": "https://clevelandart.org/art/2022.170.1.b", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.170.1.b/2022.170.1.b_web.jpg", "width": "900", "height": "821", "filesize": "139147", "filename": "2022.170.1.b_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.170.1.b/2022.170.1.b_print.jpg", "width": "3400", "height": "3102", "filesize": "829612", "filename": "2022.170.1.b_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.170.1.b/2022.170.1.b_full.tif", "width": "7792", "height": "7109", "filesize": "166207388", "filename": "2022.170.1.b_full.tif"}}, "alternate_images": [{"date_created": "2023-02-02T23:11:17", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.170.1.b/2022.170.1.b_alt0_web.jpg", "width": "900", "height": "841", "filesize": "152237"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.170.1.b/2022.170.1.b_alt0_print.jpg", "width": "3400", "height": "3176", "filesize": "1025860"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.170.1.b/2022.170.1.b_alt0_full.tif", "width": "7260", "height": "6781", "filesize": "147717492"}}], "creditline": "Gift of James and Christine Heusinger", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 519557, "creators": [{"id": 299428, "description": "Seif\u016b Yohei III (Japanese, 1851\u20131914)", "extent": null, "qualifier": null, "role": null, "biography": null, "name_in_original_language": "\u4e09\u4ee3\u6e05\u98a8\u4e0e\u5e73", "birth_year": "1851", "death_year": "1914", "use_in_caption": true, "include_extent": false, "weight": 1}], "legal_status": "accessioned", "accession_date": "2022-12-05T05:00:00Z", "sortable_date": 1893, "date_added_to_oa": null, "date_text": "c. 1893\u20131914", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "2022.170", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-03-27 00:05:55.728000"}, {"id": 447765, "accession_number": "2022.195", "share_license_status": "CC0", "tombstone": "Sweets Bowl (\u672c\u7aaf\u749c\u7393\u78c1\u83d3\u5b50\u9262), 1893\u20131914. Seif\u016b Yohei III (Japanese, 1851\u20131914). Glazed porcelain; height: 4.5 cm (1 3/4 in.); diameter: 21 cm (8 1/4 in.). The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.195", "current_location": null, "title": "Sweets Bowl", "title_in_original_language": "\u672c\u7aaf\u749c\u7393\u78c1\u83d3\u5b50\u9262", "creation_date": "1893\u20131914", "creation_date_earliest": 1893, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Glazed porcelain", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height: 4.5 cm (1 3/4 in.); Diameter: 21 cm (8 1/4 in.)", "dimensions": {"height": {"height": 0.045}, "diameter": {"width": 0.21}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u6e05\u98a8", "inscription_translation": "\u201cSeif\u016b\u201d inscribed on the base.", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u91d1\u8072\u7389\u632f", "inscription_translation": "Seal on the lid: \u201ckinsei gyokushin\u201d", "inscription_remark": null, "sortorder": 2}, {"inscription": "\u5e1d\u5ba4\u6280\u82b8\u54e1", "inscription_translation": "Seal and inscription on the inside of the lid: Imperial Household Artist \u201cTeishitsu gigei\u2019in\u201d", "inscription_remark": null, "sortorder": 3}], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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Sencha was popular among the <em>bunjin</em> of Kyoto and Osaka, who often enjoyed it as part of their emulation of Chinese culture. While sencha was by design less formal than the Japanese tea ceremony, it still featured the display of treasured objects. Prized Chinese antiquities were generally unobtainable, so substitutes such as the <em>Gu-Shaped Flower Vase, </em><a href=\"https://www.clevelandart.org/art/2022.224\"><u>CMA 2022.224</u></a>, were much in demand. Bowls for distributing sweets, like this one, were also a staple of sencha gatherings.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117599814"], "internet_archive": ["https://archive.org/details/clevelandart-2022.195-sweets-bowl"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "", "url": ""}], "url": "https://clevelandart.org/art/2022.195", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2022.195/2022.195_web.jpg", "width": "900", "height": "500", "filesize": "122182", "filename": "2022.195_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2022.195/2022.195_print.jpg", "width": "3400", "height": "1887", "filesize": "468022", "filename": "2022.195_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2022.195/2022.195_full.tif", "width": "13786", "height": "7652", "filesize": "316498136", "filename": "2022.195_full.tif"}}, "alternate_images": [{"date_created": "2022-11-15T22:37:23", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2022.195/2022.195_alt0_web.jpg", "width": "900", "height": "499", "filesize": "123990"}, "print": {"url": 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with underglaze blue, overglaze color enamel, molded decoration. The Cleveland Museum of Art, Gift of James and Christine Heusinger, 2022.200.b", "current_location": null, "title": "Lid for a Jar with Peonies", "creation_date": "1897\u20131912", "creation_date_earliest": 1897, "creation_date_latest": 1912, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with underglaze blue, overglaze color enamel, molded decoration", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "dimensions": {}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5927\u65e5\u672c\u6e05\u98a8\u9020", "inscription_translation": "Inscription inscribed on the base: Made by Seif\u016b of Great Japan [Dai Nihon Seif\u016b z\u014d]", "inscription_remark": null, "sortorder": 1}, {"inscription": "\u91d1\u8072\u7389\u632f", "inscription_translation": "Seal on top of the box lid: \u201ckinsei gyokushin\u201d", "inscription_remark": "Storage box is inscribed and impressed with seals.", "sortorder": 2}, {"inscription": "\u5e1d\u5ba4\u6280\u82b8\u54e1", "inscription_translation": "Seal on the inside of the box lid: Imperial Household Artist \u201cTeishitsu gigei\u2019in\u201d", "inscription_remark": null, "sortorder": 3}], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. 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Yohei III also experimented with clay bodies ranging from bluish white to ivory combined with translucent cream-colored glazes. The atmospheric effects he achieved were considered remarkable.", "external_resources": {"wikidata": ["https://www.wikidata.org/wiki/Q117717014"], "internet_archive": ["https://archive.org/details/clevelandart-2022.200.b-lid-for-a-jar-with-p"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</em>. 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with molded and carved design; 9.5 x 18.6 cm (3 3/4 x 7 5/16 in.). 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Seif\u016b Yohei III (Japanese, 1851\u20131914). Porcelain with molded and carved design, underglaze color, and cream glaze; height: 39 cm (15 3/8 in.); diameter: 28.5 cm (11 1/4 in.). The Cleveland Museum of Art, Dudley P. Allen Fund, 2024.36", "current_location": null, "title": "Pheasants in Cherry", "creation_date": "1900\u20131914", "creation_date_earliest": 1900, "creation_date_latest": 1914, "artists_tags": ["male", "Asian (from 1900 to present)"], "culture": ["Japan, Meiji period (1868\u20131912)"], "technique": "Porcelain with molded and carved design, underglaze color, and cream glaze", "support_materials": [], "department": "Japanese Art", "collection": "Japanese Art", "type": "Ceramic", "measurements": "height: 39 cm (15 3/8 in.); Diameter: 28.5 cm (11 1/4 in.)", "dimensions": {"height": {"height": 0.39}, "diameter": {"width": 0.285}}, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [{"inscription": "\u5927\u65e5\u672c\u6e05\u98a8\u9020", "inscription_translation": "Inscription inscribed on the base: Made by Seif\u016b of Great Japan [Dai Nihon Seif\u016b z\u014d]", "inscription_remark": "The glaze on the area around the base inscription was left thin so that the incised text would remain legible after firing.", "sortorder": 1}, {"inscription": "\u6e05\u98a8\u88fd\u4e4b", "inscription_translation": "Box lid inscription: Seif\u016b made this", "inscription_remark": "", "sortorder": 2}, {"inscription": "\u6e05\u98a8", "inscription_translation": "The appropriated box (awase bako) has seal reading Seif\u016b of a type used by Seif\u016b Yohei IV", "inscription_remark": null, "sortorder": 3}], "exhibitions": {"current": [{"id": 448212, "title": "Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio", "description": "<i>Colors of Kyoto: The Seif\u016b Yohei Ceramic Studio</i>. The Cleveland Museum of Art, Cleveland, OH (organizer) (August 19, 2023-March 10, 2024).", "opening_date": "2023-08-19T04:00:00"}], "legacy": []}, "provenance": [{"description": "James and Christine Heusinger, Berea, OH, sold to the Cleveland Museum of Art", "citations": [], "footnotes": null, "date": "2022\u20132024", "sortorder": 3}, {"description": "The Cleveland Museum of Art, Cleveland, OH", "citations": [], "footnotes": null, "date": "2024\u2013", "sortorder": 4}], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": "The unusually large scale of this piece and the fact that he signed the base \u201cMade by Seif\u016b of Great Japan\u201d also suggest that it was made for public display.", "description": "Like the design of <em>Flower Vase with Phoenix in Paulownia</em> (<a href=\"http://www.clevelandart.org/art/2022.199\">CMA 2022.199</a>), the pair of pheasants in a dramatic landscape setting on this vase was created by adding clay to the surface of the clay body and then molding and carving it. Here, instead of a typical white clay, Yohei III has used an ivory clay. He then added gradated pink around the complex design, which with its multitude of cherry blossoms must have been painstaking to mask with precision. For the birds\u2019 eyes, he added a touch of yellow. He then fired the vase with an allover translucent cream glaze. The resulting <em>kanpakuji</em> piece is one in which an academic subject long favored by painters of the Kano school for screen and sliding door paintings in important buildings, that of impressively sized birds within a scene of precipitous, angled rock faces and twisting trees, is made soft and ethereal while retaining a sense of gravitas.", "external_resources": {"wikidata": [], "internet_archive": ["https://archive.org/details/clevelandart-2024.36-pheasants-in-cherry"]}, "citations": [{"citation": "Maezaki, Shinya and Sin\u00e9ad Vilbar. <em>Colors of Kyoto</em>: <em>The Seif\u016b Yohei Ceramic Studio</em>. Cleveland, OH: The Cleveland Museum of Art, 2023.", "page_number": "Mentioned and Reproduced: pp. 140\u2013143, cat. no. 56", "url": ""}], "url": "https://clevelandart.org/art/2024.36", "images": {"annotation": null, "web": {"url": "https://openaccess-cdn.clevelandart.org/2024.36/2024.36_web.jpg", "width": "703", "height": "900", "filesize": "75959", "filename": "2024.36_web.jpg"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/2024.36/2024.36_print.jpg", "width": "2655", "height": "3400", "filesize": "593500", "filename": "2024.36_print.jpg"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/2024.36/2024.36_full.tif", "width": "10379", "height": "13291", "filesize": "413868676", "filename": "2024.36_full.tif"}}, "alternate_images": [{"date_created": "2023-02-07T18:19:53", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt0_web.jpg", "width": "702", "height": "900", "filesize": "81138"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt0_print.jpg", "width": "2651", "height": "3400", "filesize": "628804"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt0_full.tif", "width": "10379", "height": "13309", "filesize": "414429252"}}, {"date_created": "2023-02-07T18:23:28", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt1_web.jpg", "width": "687", "height": "900", "filesize": "72041"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt1_print.jpg", "width": "2595", "height": "3400", "filesize": "542386"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt1_full.tif", "width": "10652", "height": "13954", "filesize": "445940760"}}, {"date_created": "2023-02-07T18:27:14", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt2_web.jpg", "width": "688", "height": "900", "filesize": "70004"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt2_print.jpg", "width": "2600", "height": "3400", "filesize": "519068"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt2_full.tif", "width": "10652", "height": "13927", "filesize": "445077928"}}, {"date_created": "2023-02-07T18:35:07", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt3_web.jpg", "width": "893", "height": "900", "filesize": "97902"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt3_print.jpg", "width": "3372", "height": "3400", "filesize": "802454"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt3_full.tif", "width": "9852", "height": "9934", "filesize": "293637244"}}, {"date_created": "2023-02-07T18:42:29", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt4_web.jpg", "width": "892", "height": "900", "filesize": "92858"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt4_print.jpg", "width": "3370", "height": "3400", "filesize": "790392"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt4_full.tif", "width": "9852", "height": "9940", "filesize": "293814152"}}, {"date_created": "2023-02-07T17:38:00", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt5_web.jpg", "width": "748", "height": "900", "filesize": "120611"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt5_print.jpg", "width": "2827", "height": "3400", "filesize": "1552011"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt5_full.tif", "width": "10652", "height": "12812", "filesize": "409447900"}}, {"date_created": "2023-02-07T17:45:49", "annotation": "", "web": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt6_web.jpg", "width": "876", "height": "900", "filesize": "204046"}, "print": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt6_print.jpg", "width": "3311", "height": "3400", "filesize": "3353375"}, "full": {"url": "https://openaccess-cdn.clevelandart.org/alternate/2024.36/2024.36_alt6_full.tif", "width": "7067", "height": "7258", "filesize": "153905336"}}], "creditline": "Dudley P. 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